{"id":145574,"date":"2021-10-08T10:00:24","date_gmt":"2021-10-08T08:00:24","guid":{"rendered":"https:\/\/www.drawplanet.cz\/drawstudy\/?p=145574"},"modified":"2021-10-08T10:15:03","modified_gmt":"2021-10-08T08:15:03","slug":"3-trendy-ktere-navzdy-zmenily-designovy-prumysl","status":"publish","type":"post","link":"https:\/\/drawstudy.eu\/en\/3-trendy-ktere-navzdy-zmenily-designovy-prumysl\/","title":{"rendered":"3 trendy, kter\u00e9 nav\u017edy zm\u011bnily designov\u00fd pr\u016fmysl"},"content":{"rendered":"

“Grafick\u00fd design se nikdy neohl\u00ed\u017e\u00ed zp\u011bt.”
\n– Steven Heller<\/p>\n

Grafick\u00fd design je obor neust\u00e1l\u00fdch zm\u011bn. Technologie ovliv\u0148uj\u00ed estetiku i to, jak\u00fd vliv m\u00e1 estetika na formu proveden\u00ed. Jsou to my\u0161lenky v\u0161eho druhu – komer\u010dn\u00ed, filozofick\u00e9 i kritick\u00e9 – co ur\u010duje styly a postupy v b\u011b\u017en\u00e9 praxi grafick\u00e9ho designu. V tomto \u010dl\u00e1nku se soust\u0159ed\u00edme na t\u0159i hlavn\u00ed my\u0161lenky, d\u00edky kter\u00fdm m\u00e1 dne\u0161n\u00ed grafick\u00fd design takovou podobu, jakou zn\u00e1me.<\/p>\n

1. Pohyb<\/p>\n

Bezpochyby nejrychleji rostouc\u00ed technikou je pohyb. Tato nov\u00e1 discipl\u00edna nastupuje na m\u00edsto, kde se st\u0159et\u00e1v\u00e1 film, video, animace a filmov\u00e9 intro a z ka\u017ed\u00e9ho si trochu p\u016fj\u010d\u00ed. Grafika pohybu m\u016f\u017ee b\u00fdt dokonce stejn\u011b d\u016fle\u017eit\u00e1 jako typografie. Vizu\u00e1ln\u00ed vyj\u00e1d\u0159en\u00ed zp\u011bvu a tance je pro grafick\u00fd design t\u00edm, \u010d\u00edm jsou soundtracky pro n\u011bm\u00fd film.
\nTituln\u00ed sekvence od Kyla Coopera pro film Sedm (Se7en) je jedn\u00edm z nejbohat\u0161\u00edch p\u0159\u00edklad\u016f modern\u00ed grafiky pohybu.<\/p>\n

2. Zvuk<\/p>\n

Saul Bass posunul filmov\u00e1 intra na vy\u0161\u0161\u00ed level svou prac\u00ed pro Alfreda Hitchcocka (Zdroj: Alfred Hitchcock Productions).<\/p>\n

\"\"
\nV\u00edce ne\u017e p\u0159id\u00e1n\u00ed pohybu odp\u00e1lilo grafick\u00fd design do jin\u00e9 dimenze p\u0159id\u00e1n\u00ed zvuku. Prvn\u00ed experimenty s t\u00edm, \u010demu se kdysi \u0159\u00edkalo \u201evid\u011bt hudbu\u201c, se shodovaly s programem zvukov\u00fdch kin z poloviny 20. let minul\u00e9ho stolet\u00ed. Pohybov\u00e1 grafika si kone\u010dn\u011b p\u0159i\u0161la na sv\u00e9 a\u017e v 60. letech, a to d\u00edky filmov\u00e9mu intru Saula Basse. Ten vytvo\u0159il pro Alfreda Hitchcocka s\u00e9rii polo-abstraktn\u00edch zn\u011blek, jejich\u017e expresivn\u00ed grafika byla v perfektn\u00ed harmonii s repetitivn\u00edmi motivy hudebn\u00ed partitury skladatele Bernada Hermana. Od t\u00e9 doby se objevuj\u00ed st\u00e1le hybridn\u011bj\u0161\u00ed styly grafick\u00e9 animace.<\/p>\n

V\u0161echny formy designu vyjad\u0159uj\u00ed aktu\u00e1lnost, d\u016fle\u017eit\u00e9 je te\u010f. V tomto smyslu je nezbytn\u00e9 zohlednit i druhou kl\u00ed\u010dovou my\u0161lenku, kter\u00e1 poukazuje na pozl\u00e1tko modernosti, tzv. “nucen\u00e9 zastar\u00e1v\u00e1n\u00ed”. Ve 20. letech 20. stolet\u00ed se tomu \u0159\u00edkalo \u201ein\u017een\u00fdrstv\u00ed styl\u016f\u201c a \u0161lo o to, aby produkty byly co nejstylov\u011bj\u0161\u00ed a t\u00edm atraktivn\u00ed pro spot\u0159ebitele. Propag\u00e1tor reklamy a pr\u016fkopn\u00edk pr\u016fmyslov\u00e9ho designu Raymond Loewy tuto snahu slovem MAYA (Most Advanced Yet Acceptable neboli nejpokro\u010dilej\u0161\u00ed ale st\u00e1le p\u0159ijateln\u00fd). Princip MAYA prosazoval barvy a tvary, kter\u00e9 odr\u00e1\u017eely hlavn\u00ed my\u0161lenku n\u011b\u010deho \u201enov\u00e9ho a lep\u0161\u00edho”, co v\u0161ak nen\u00ed svou novotou p\u0159esp\u0159\u00edli\u0161 \u0161okuj\u00edc\u00ed.<\/p>\n

Pro v\u011bt\u0161inu americk\u00fdch design\u00e9r\u016f byl modernismus jen pytlem trik\u016f, d\u00edky kter\u00fdm um\u011blci d\u011blali z nov\u00e9ho je\u0161t\u011b nov\u011bj\u0161\u00ed, a to v\u010detn\u011b futuristick\u00e9ho \u201edekorov\u00e1n\u00ed\u201c za pou\u017eit\u00ed modern\u00edch font\u016f s l\u00e1kav\u00fdmi jm\u00e9ny Cubist Bold \u010di Novel Gothic. Nucen\u00e9 zastar\u00e1v\u00e1n\u00ed bylo p\u0159evlekem, kter\u00fd um\u011ble stimuloval r\u016fst.<\/p>\n

3. Barva
\nPr\u00e1ce Josefa Alberse s n\u00e1zvem Interaction of Color st\u00e1la u zrodu psychedelick\u00e9ho trendu (Zdroj: Josef Albers, muzeum Met).<\/p>\n

\"\"<\/p>\n

T\u0159et\u00ed my\u0161lenkou je vibruj\u00edc\u00ed barva. V polovin\u011b \u0161edes\u00e1t\u00fdch se d\u00edky um\u011blci a studentu Bauhausu Josefu Albersovi objevil psychedelick\u00fd styl. Prost\u0159ednictv\u00edm sv\u00e9 pr\u00e1ce Interaction of Color pomohl zah\u00e1jit trend, kter\u00fd je typick\u00fd sv\u00fdmi psychedelick\u00fdmi plak\u00e1ty a batikami vibruj\u00edc\u00edmi barvou. Victor Moscoso, kter\u00fd studoval u Alberse na Yale a byl dal\u0161\u00edm ze zakladatel\u016f vibruj\u00edc\u00edch barev, prohl\u00e1sil, \u017ee slavn\u00e1 Albersova cvi\u010den\u00ed s barevn\u00fdmi pap\u00edry se svou marnost\u00ed daj\u00ed p\u0159irovnat k u\u010den\u00ed algebry na st\u0159edn\u00ed \u0161kole.<\/p>\n

Psychedelici od z\u00e1kladu p\u0159ekopali pravidla. Nap\u0159\u00edklad z pravidla \u201enepou\u017e\u00edvejte vibra\u010dn\u00ed barvy\u201c se stalo \u201epou\u017e\u00edvejte je kdykoli a ne\u0161et\u0159ete jimi\u201c. Ze z\u00e1sady \u201ep\u00edsmo by m\u011blo b\u00fdt v\u017edy \u010diteln\u00e9\u201c se stalo \u201ezamaskujte p\u00edsmena, a\u0165 jsou \u010diteln\u00e1 co nejh\u016f\u0159e\u201c.
\nJedn\u00edm z v\u00fdznamn\u00fdch prvk\u016f Albersovy teorie byla relativita barev: barva se m\u011bn\u00ed v p\u0159\u00edm\u00e9m vztahu k jej\u00edmu okol\u00ed. Barva klame a nelze p\u0159edpokl\u00e1dat, jak se bude chovat: tat\u00e1\u017e barva m\u016f\u017ee vypadat r\u016fzn\u011b, proto\u017ee nez\u00e1le\u017e\u00ed jen na samotn\u00e9 barv\u011b ale i na tom, jak\u00e9 barvy se nach\u00e1zej\u00ed v jej\u00edm okol\u00ed. Vibra\u010dn\u00ed barva byla ur\u00e1\u017ekou smysl\u016f a vehnala div\u00e1ka do kinetick\u00e9ho, dynamick\u00e9ho vn\u00edm\u00e1n\u00ed dvourozm\u011brn\u00e9ho obrazu. V dne\u0161n\u00ed dob\u011b je vibra\u010dn\u00ed barva jen jedn\u00edm z mnoha n\u00e1stroj\u016f na palet\u011b ilustr\u00e1tora.<\/p>\n

Toto byly t\u0159i ze stovek n\u00e1pad\u016f, kter\u00e9 zm\u011bnily grafick\u00fd design. V budoucnu bezpochyby dojde k dal\u0161\u00edm zm\u011bn\u00e1m. Zm\u011bna je \u017eivot!<\/p>\n

Zdroj: Steven Heller je autorem cel\u00e9 \u0159ady publikac\u00ed o grafick\u00e9m designu.
\nTento \u010dl\u00e1nek byl poprv\u00e9 publikov\u00e1n v 294. \u010d\u00edsle \u010dasopisu Computer Arts, nejprod\u00e1van\u011bj\u0161\u00edho \u010dasopisu o designu na sv\u011bt\u011b.<\/p>\n","protected":false},"excerpt":{"rendered":"

“Grafick\u00fd design se nikdy neohl\u00ed\u017e\u00ed zp\u011bt.” – Steven Heller Grafick\u00fd design je obor neust\u00e1l\u00fdch zm\u011bn. Technologie ovliv\u0148uj\u00ed estetiku i to, jak\u00fd vliv m\u00e1 estetika na formu proveden\u00ed. Jsou to my\u0161lenky v\u0161eho druhu – komer\u010dn\u00ed, filozofick\u00e9 i kritick\u00e9 – co ur\u010duje styly a postupy v b\u011b\u017en\u00e9 praxi grafick\u00e9ho designu. V tomto \u010dl\u00e1nku se soust\u0159ed\u00edme na t\u0159i […]<\/p>\n","protected":false},"author":8,"featured_media":145570,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-145574","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-en"],"acf":[],"yoast_head":"\n3 trendy, kter\u00e9 nav\u017edy zm\u011bnily designov\u00fd pr\u016fmysl<\/title>\n<meta name=\"description\" content=\"V tomto \u010dl\u00e1nku se soust\u0159ed\u00edme na t\u0159i hlavn\u00ed my\u0161lenky, d\u00edky kter\u00fdm m\u00e1 dne\u0161n\u00ed grafick\u00fd design takovou podobu, jakou zn\u00e1me.\" \/>\n<meta name=\"robots\" content=\"noindex, follow\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"3 trendy, kter\u00e9 nav\u017edy 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