Academy of Fine Arts in Katowice
37 Raciborska Street
40-074 Katowice
Telephones (switchboard):
+48 32 251 69 89
+48 32 205 50 22, 24
Fax:
+48 32 251 89 67
asp@aspkat.edu.pl

THURSDAY 14.01.2010
 17.30-18.15
Roundabout Art Gallery - Katowice, Rondo
LECTURE: Presentation by AFA's teachers' team
ASP KATOWICE
Justyna Lauer
Justyna Kucharczyk
Andrzej Sobaś
Tomasz Bierkowski
Roman Kalarus

THURSDAY 14.01.2010
 18.15–19.00
Roundabout Art Gallery - Katowice, Rondo
DISCUSSION moderated by Justyna Lauer, Jonathan Barnbrook, Marjatta Itkonen, Ewa Gołębiowska, Marian Oslislo, Krzysztof Lenk

Presentation shortcut:
the presentation starts with an overview of Upper Silesia Region and then shows the activities of students and teachers of AFA that have an impact on it. Special stress will be put on diploma works.

Academy of Fine Arts in Katowice
37 Raciborska Street
40-074 Katowice
Telephones (switchboard):
+48 32 251 69 89
+48 32 205 50 22, 24
Fax:
+48 32 251 89 67
asp@aspkat.edu.pl

THURSDAY 14.01.2010
 9.30
Roundabout Art Gallery - Katowice, Rondo
Formal Opening of the Conference by the Rector of the Academy of Fine Arts in Katowice Professor Marian Oslislo

THURSDAY 14.01.2010
 18.15–19.00
Roundabout Art Gallery - Katowice, Rondo
DISCUSSION moderated by Justyna Lauer, Jonathan Barnbrook, Marjatta Itkonen, Ewa Gołębiowska, Marian Oslislo, Krzysztof Lenk

THURSDAY 14.01.2010
 10.00–10.45
Roundabout Art Gallery - Katowice, Rondo
DISCUSSION moderated by Justyna Lauer, Jonathan Barnbrook, Marjatta Itkonen, Ewa Gołębiowska, Marian Oslislo, Krzysztof Lenk

Lecture Title:
Social projects as part of graphic design studies
Graphic designers are problem solvers and thus they should have a wide understanding on cultural and social issues. A cooperation between students and Finnish non-profit organizations has played an important role in graphic design MA studies for some years at TaiK (Aalto university from 1st of January 2010). The aim of these campaigns has been fund raising for the organizations. Our goal at TaiK is to give students an opportunity to participate real projects and also offer an opportunity for some of them to visit third a world country. Involvement gives students a better understanding on today's social problems.

www.barnbrook.net

THURSDAY 14.01.2010
 12.00 - 12.45
Roundabout Art Gallery - Katowice, Rondo
LECTURE: Virus Studio

1. WHAT THERE IS TOO MUCH OF:
    Asking how instead of why.
    Technology without technique.
    Looking for what1s new instead of what1s best.
    Obscurity and not enough clarity.
    Money making and not enough idealism.
   
2. SOME THINGS YOU ALREADY KNOW ABOUT DESIGN BUT CHOOSE TO IGNORE:
    Faster computers and new software will not make your work better.
    Your work will look dated at some point.
    The more you work in design the more time you spend on things which aren1t to do with design.
    Most people you meet will not even know what graphic design is.
    Big business will use your visual style and throw you away.
    It seems much harder to have a successful career as a designer if you are a woman.
   Many people think seriously about avoiding racism in their design, but very few people think about avoiding sexism.
   
3. YOU SHOULD FEEL GUILTY IF:
    You do beautiful work for a useless product.
    You do beautiful work for a celebrity without talent.
    You don't engage and help people in your local community with your design.
    You do design work for a company that uses exploitative work practice skills.
    You have no moral position in design.
    You are responsible for making the world an uglier place with your work.
4. MAKING MONEY:
    Is the worst reason to be a designer.
    Makes people who are motivated by it ugly.
    Is not a good enough excuse for doing boring work.
    Means that the more you are paid for a job, the worse the job usually is.
    As you get older you will care less about good design and more about money.
5. SOME TRUTHS ABOUT THE ADVERTISING YOU SEE AROUND YOU:
    Most soaps and shampoos clean you the same.
    Most people will not notice the clothes you wear unless they are very dirty.
    The only way to get thin is to exercise and eat less, nothing else will work.
    Even the most luxurious cars get stuck in traffic jams.
    Most products are produced in factories by people who are completely bored by their jobs.
    It is harder and harder to tell the difference between the articles and the adverts in magazines, designers are responsible for this.
   

Academy of Fine Arts in Kraków
Academy of Fine Arts in Kraków
Wydział Form Przemysłowych Akademii Sztuk Pięknych W Krakowie
31-108 Kraków
ul. Smoleńsk 9
tel: (+48 12) 292 62 92 w 12
Fax: (+48 12) 422 34 44
+48 32 251 89 67

FRIDAY 15.01.2010
 18.15 - 19.00
Roundabout Art Gallery - Katowice, Rondo
DISCUSSION moderated by Czesława Frejlich, Filip Blažek, Lex Drewinski, Karel van der Waarde, Justyna Lauer

Czesława Frejlich - graduated from the Faculty of Industrial Design at the Academy of Fine Arts in  Krakow in 1975. Teaches at the Academy of Fine Arts in Krakow and Warsaw. Until the late 90's worked as an industrial designer, simultaneously doing jobs in commercial design and exhibition arrangement. Since then has performed curatorial duties, among others "Common wealth, Polish products: 1899-1999" at the National Museum in Warsaw (2000), "Dealing with Consumption" - Polish exhibition at the Design Biennial in  Saint-Étienne (2004) and "Real-world Laboratory. Central European Design" at the Design Biennial in Saint-�tienne (2008). Author of numerous publications about design. Since 2001 is the executive editor of the Polish Design Quarterly "2+3D".

11-13.01.2010
 9.30 a.m. - 6.00 p.m.
Graphic Design Deparment - Koszarowa Street
3 days WORKSHOP for students in children's education book design
Registration necessary
for ASP KATOWICE students free from charges limited for 20 participants
Assistants responsible for organization and support for participants:

• Agnieszka Antoniewicz agnieszkaantoniewicz@op.pl
  
• Marta Ogonek
  kometka_84@wp.pl

11-13.01.2010
 9.30 a.m. - 6.00 p.m.
Graphic Design Deparment - Koszarowa Street
3 days WORKSHOP for students in children's education book design
Registration necessary
for ASP KATOWICE students free from charges limited for 20 participants
Assistants responsible for organization and support for participants:

• Agnieszka Antoniewicz agnieszkaantoniewicz@op.pl
  
• Marta Ogonek
  kometka_84@wp.pl

THURSDAY 14.01.2010
 10.45 - 11.30
Roundabout Art Gallery - Katowice, Rondo
A Drop in the Ocean

A Drop in the Ocean
Angela is an advocate of the view that Information Design is a vital tool in democratizing complicated, at times inaccessible, information. Not only can Information Design be used to present complicated information in a more accessible way – making it available to a wider audience - but it can also reveal important truths which would otherwise remain hidden behind the data. Angela would focus on some of her recent projects to illustrate this point. In particular, her presentation would describe a 12 month journey that arose out of her great interest in the Water Crisis and which resulted in a project based on research carried out by UNESCO and the University of Twente in the Netherlands. The aim of the project was to visualize the water footprint of 132 nations. In particular, to provide an image of our human impact on the freshwater environment and to enhance our awareness of the way we use this vulnerable yet vital resource. A water professional, if asked to assess the water demand in a particular country, will generally add together the water withdrawals for the domestic, agricultural and industrial sectors of that country. But although useful, this information does not give the full picture of the water requirements of the country (Hoekstra, 2002). Why? Because it leaves out the fact that many of the goods consumed by the population are produced in other countries, using the water resources of those other countries. This hidden water usage – this ‘virtual water’ - is not allowed for. It is equally true that, vice versa, a large number of the products produced in the country, with national water resources, are exported for consumption elsewhere. The design process clearly shows how, in the display of statistical data, the demand for truth and precision, the focus on accessibility and clarity, makes the journey difficult and often turbulent - far away from the immobility of numbers placed in a table of figures. But this demand for truth, clarity and accessibility is absolutely vital. The turbulence well represents the urgency of a world water crisis, whose consequences cannot be ignored. Watching a child walking six hours every day to collect water from a puddle means more to those who witness it than all the statistics they could ever collect in a lifetime. A design project is not a complete solution, it is true – someone could argue that it represents ‘a drop in the ocean’ - but we should never underestimate the power of that drop. Bringing about a change of habits is not an easy task but it can only follow from a true understanding of the problem, from awareness and reflection. Design has a vital, irreplaceable role to play in achieving this understanding and awareness, and to help educate, inform and raise awareness of issues that we may not be able to witness with our own eyes.

THURSDAY 14.01.2010
 17.30 - 18.15
AFA as a part of local community
The presentation by a team of AFA in Katowice Teachers Justyna Lauer - the Dean of the Faculty, Justyna Kucharczyk and Andrzej Sobaś - Industrial Design, Tomasz Bierkowski - Typography, Roman Kalarus - Poster Design studio.

PhD student
Department of Typography & Graphic Communication
University of Reading
m.thiessen@reading.ac.uk

THURSDAY 14.01.2010
 16.15 - 17.00
Roundabout Art Gallery - Katowice, Rondo
Responsible design for literacy education

Responsible design for literacy education
Dyslexic learners struggle to gain literacy skills due to a difficulty with phonological processing. This affects their ability to easily and accurately identify, segment, and sequence the different sounds that make up words. This verbal language deficiency slows literacy acquisition and dyslexic individuals learn to read at a rate that is well below what is expected of their general intellectual ability. In response to this verbal language deficiency many literacy intervention programmes focus on tasks that drill these particular skills; however, this may not be the most responsible approach to the literacy education of dyslexic children. Although dyslexic learners struggle with verbal language skills they tend to excel at those tasks that are associated with visual processing and visuospatial reasoning. As language is processed by both a verbal and a nonverbal cognitive subsystem, this group may be able to use their strengths in nonverbal processing to more easily acquire those skills associated with the verbal subsystem that they find difficult.
Recommendations made for the design of literacy materials tend to be rather prescriptive and specify particular fonts, at particular sizes, and with particular colour combinations, in the belief that these are beneficial to dyslexic readers. The difficulty is that it is unknown whether these materials function in the way that is intended or if they are actually beneficial to dyslexic learners. Research has been conducted with typically developing children, and while limited, it has contributed to our understanding of how these children interact with literacy materials. It cannot, however, be assumed that children with dyslexia approach and use texts in the same way as children who do not struggle. Thus, recommendations continue to be made, and materials continue to be developed, with little understanding of the intended audience.
My ongoing research is examining the materials used to teach literacy skills to dyslexic learners through an evolutionary design process, and aims to discover how visual explanations of complex verbal concepts can be used to aid the literacy acquisition of this group of children. This process began with a series of case-studies that looked at the preferences of children with reading difficulties for the typography and illustration in their reading materials. It focused on what they thought looked the easiest to read, presented the information in the clearest way, and that they liked the look of best. The knowledge gained from these case-studies was then used to inform the creation of test material that looked more specifically at how children with dyslexia read, interact, and extract meaning from visual information. Subsequent studies will continue to utilise the knowledge gained and test literacy materials that have been produced through consideration of, and consultation with, the intended audience. This strategy ensures that the materials created consider the particular learning strengths of this audience and what they are more likely to respond to, and thus, taking a more responsible approach to the development of literacy materials created for dyslexic learners.

Warszawa 00-405
Ludna 7/19
tel. 502-220-681
renewawrzkiewicz@me.com

FRIDAY 15.01.2010
 18.15 - 19.00
Roundabout Art Gallery - Katowice, Rondo
Presentation Nieodpowiedzialność w nieświadomości No-repressibility in unconscious as the introduction to DISCUSSION moderated by Czesława Frejlich with Lex Drewinski, Filip Blažek, Justyna Lauer, Krzysztof Lenk, Karel van der Waarde

Nieodpowiedzialność w nieświadomości
Głównym tematem wystąpnienia będzie omówienie ankiety, przeprowadzonej na grupie grafików reprezentujących różne pokolenia, specjalizacje, miejsca zamieszkania, a przede wszytkim rożne doświadczenia zawodowe. Pytania i wnioski zostały opracowane i zinterpretowane przez socjologa Agata Nowotną (wykładowca w Instytucie Socjologii Uniwersytetu Warszawskiego) i antropologą Robert Zydel (NUQ Research IQS, wykładowca w Instytucie Etnologii i Antropologii Kulturowej Uniwersytetu Warszawskiego).
Ankieta jest wyjściem do rozważań nad pojęciem odpowiedzialności zawodowej pojmowanej jako świadomość swoich czynów i decyzji. Odpowiedzialności która jest wynikiem kryteriów i norm uznawanych przez dane środowisko ale też indywidualnych wyborów zawodowych. Odpowiedzialność która jest dana każdemu twórcy użytkowemu jako doświadczenie i obowiązek społeczny.
Wykład będzie też mówił o nieświadomości i nieokreśloności postaw polskich twórców grafiki. O unikania odpowiedzialności społecznej i braku świadomości swojej roli kulturotwórczej. O zaniku twórczego dialogu wewnątrz środowiska. O myleniu pojeć i definicji zawodowych, o rozmyciu hierarchii wartości i celów grafiki projektowej. O braku myśli i działań krytyczych w temacie polskiego designu oraz o uciekaniu od prawdziwych problemów wizualnych naszej rzeczywistości.

Irresponsibility in awareness.
The main subject of the speech will be a discussion of a survey, conducted in a group of graphic designers, who represent various generations, specializations, domiciles, and first of all various professional experiences. Questions and conclusions were worked out and interpreted by a sociologist Agata Nowotna (lecturer at the Sociology Institute of the Warsaw university) and anthropologist Rober Zydel (NUQ Research IQS, lecturer at the Ethnology and Cultural Anthropology Institute of the Warsaw University).
The survey is a basis for deliberations on the idea of professional responsibility, understood as awareness of one’s actions and decisions. Responsibility which is a result of criteria and norms recognized by the given environment, but also of personal professional choices. Responsibility which is given to every functional creator as experience and social duty.
The lecture will also discuss unawareness and vagueness of the Polish graphic creators’ attitudes. About avoiding social responsibility and lack of consciousness of one’s culture-creating role. About disappearance of creative dialogue inside the environment. About confusing professional notions and definitions, about blurring the hierarchy of values and purposes of design graphics. About lack of critical thoughts and actions in the scope of Polish design and getting away from the real visual problems of our reality.

FRIDAY 15.01.2010
 10.45 - 11.30
Roundabout Art Gallery - Katowice, Rondo
LECTURE:
Type design and the responsibility to cultural identity.

Type design and the responsibility
to cultural identity.
The paper considers the responsibility which typography owes to minority languages, and explores the emergence of type design as a medium of cultural identity.
While type design up to the 18th century encompassed a multiplicity of scripts, type production in the industrial age was characterised by the dominance of the Western Latin alphabet. Successive phases of typefounding technology reinforced this hegemony, in which support for major scripts such as Greek and Cyrillic increasingly took the form of retrospective ‘extensions’ of commercially established Latin faces. Support for languages utilising unique diacritics was similarly inconsistent.
The paper will then consider the changing relationship of type design to linguistic multiplicity in the digital era. In the typographic mainstream, open type encryption has facilitated a cultural shift towards the design of typefaces across multiple scripts, and the introduction of comprehensive character-sets including pan-european diacritic support. The relative accessibility of digital type design media has created the conditions for new type designs for specialized minority scripts including the origination of typefaces for native American languages and improved support for many African and south-east Asian languages. The paper will consider the political and cultural implications of projects such as Pierre di Sciullo’s Tuareg script Aligourane.
Finally, the paper will consider the ways in which type design has been used to reclaim and reappraise national or regional cultural identities, in a medium previously dominated by the US, Western Europe and international modernism. It will review work by Andreu Balius in Spain, Frantizek Storm in the Czech Republic, and Gabriel Maeve in Mexico, as instances of individual type design based in explicit reference to cultural histories marginalized by the foundry economics of the 20th century.

Academy of Fine Arts in Katowice
37 Raciborska Street
40-074 Katowice
Telephones (switchboard):
+48 32 251 69 89
+48 32 205 50 22, 24
Fax: +48 32 251 89 67
asp@aspkat.edu.pl

Adobe Systems, Poland
Regus Business Center
ul. Prusa 2
00-493 Warsaw, Poland
Tel: +48 22 657 0173
Fax: +48 22 657 0111
www.adobe.com/pl

12 - 13.01.2010
 9.30 - 10.30
Koszarowa Street
WORKSOPS
open for general audience
REGISTRATION NECESSARY

Cortland Sp. z o.o.
ul. Zgoda 38, 60-122 Poznań
Oddział Katowice
ul. Uniwersytecka 13
40-007 Katowice
tel./fax 032 790 50 40,
www.cortland.com.pl
Pobierz nowy Cortland Katalog

12-13.01.2010
 10.30 - 19.00
Koszarowa Street
WORKSOPS
open for general audience
REGISTRATION NECESSARY

Logic: Adam Milwiw-Baron
Final Cut & Motion: Dariusz Łęczycki
Mac OS Leopard & Why Mac: Marcin Skowroński

Motion Animation - tworzenie animacji w Final Cut Studio

THURSDAY 14.01.2010
 17.30 - 18.15
AFA as a part of local community
The presentation by a team of AFA in Katowice Teachers Justyna Lauer - the Dean of the Faculty, Justyna Kucharczyk and Andrzej Sobaś - Industrial Design, Tomasz Bierkowski - Typography, Roman Kalarus - Poster Design studio.

THUESDAY 12.01.2010
 9.30 - 19.00
workshops for students - Don't steal: Freeware: fonts, programms, sources for students of graphic design

Nie Kradnij!
krótki opis: Internet oferuje szereg materiałów oraz narzędzi, w tym również programów graficznych, dostępnych na wolnej licencji. Korzystaj z nich bezpłatnie, legalnie, bez naruszania praw autorskich, w domu, w pracy i na uczelni.
Kilka słów na początek:
Wolna Kultura
Linux Ubuntu
Creative Commons
Open Fonts License
Processing
Poznaj wolne programy:

• Inkscape - program do tworzenia i obróbki grafiki wektorowej - instalacja (dla osób z własnymi laptopami), prezentacja podstawowych funkcji, ćwiczenia praktyczne
• Gimp - program do tworzenia i obróbki grafiki rastrowej - instalacja (dla osób z własnymi laptopami), prezentacja podstawowych funkcji, ćwiczenia praktyczne
• Scribus - program do składu tekstu - instalacja (dla osób z własnymi laptopami), prezentacja podstawowych funkcji, ćwiczenia praktyczne

Każdy uczestnik warsztatów otrzyma płytę CD z programami, które będą prezentowane, do zainstalowania w systemach Linux, Windows i Mac OS."

You shall not steal!
Internet offers many tools, included graphic editors, released under free software license. Use it free, legal, without infringing a copyrights, at home, at work and at school
Let me introduce you:
Free Culture
Linux Ubuntu
Creative Commons
Open Fonts License
Processing
practical training:

• Inkscape - vector graphics editor application, distributed under a free software license.
• GIMP (the GNU Image Manipulation Program) - free software raster graphics editor.
• Scribus - desktop publishing application, released under the GNU General Public License as free software.

Each participant will receive CD with presented applications."

Speakers:

• Adobe Systems
• Arctic Paper
• Jonathan Barbrook
• Katarzyna Bąk
• Tomasz Bierkowski
• Filip Blažek
• CORTLAND
• Ewa Gołębiowska
• Noel Douglas
• Lex Drewinski
• Czesława Frejlich
• María González de Cossío
• Will Hill
• Marjatta Itkonen
• Roksana Jędrzejewska
• Justyna Kucharczyk
• Justyna Lauer
• Krzysztof Lenk
• MaKultura
• Steven McCarthy
• Angela Morelli
• Marian Oslislo
• Andrzej Sobaś
• Myra Thiessen
• Karel van der Waarde
• Wacom
• Rene Wawrzkiewicz
• Yadzia Williams

Designiq
Šimáčkova 18
170 00 Praha 7
Czech Republic

FRIDAY 15.01.2010
 15.30-16.15
Roundabout Art Gallery - Katowice, Rondo
LECTURE:
Comenia - school typeface system

 18.15-19.00
DISCUSSION moderated by Czesława Frejlich with Karel van der Waarde, Lex Drewinski, Justyna Lauer, Marian Oslislo, Krzysztof Lenk

Overview of my talk
The talk will cover issues of responsible type design. The first part will focus on Comenia, a unique typographic system of fonts for use on all levels of schools and universities. It introduces new aesthetic standards aimed at improving reading and writing skills and the perception of texts for pupils, students, teachers, office and IT staff at schools. The second part will put the responsibility in type design a broader context. Are there responsible type designers around? Are there also selfish and arrogant font authors? Let’s try to find out what responsibility in type design means.

Contact: Research group Visual Rhetoric
Avans University of Applied Sciences
AKV|St. Joost, PO Box 90.116, 4800 RA Breda,
The Netherlands
km.vanderwaarde@avans.nl

FRIDAY 15.01.2010
 10.00-10.45
Roundabout Art Gallery - Katowice, Rondo
LECTURE: The visual information about medicines for patients. Harmless mixtures or toxic poison.

FRIDAY 15.01.2010
 18.15.00-19.00
Roundabout Art Gallery - Katowice, Rondo
DISCUSSION moderated by Czesława Frejlich with Lex Drewinski, Filip Blažek, Justyna Lauer, Marian Oslislo, Krzysztof Lenk

Lecture Title:
DVisual information about medicines for patients: harmless mixture or toxic potion?
It is very hard to handle medicines properly without visual information. Leaflets, packaging, websites and pharmacist-labels provide patients with a plethora of texts and images that aim to inform about dosage, correct way of taking, side effects, warnings and storage. Unfortunately, all this information does not seem to result in  "effective instructions and warnings" and frequently leads to confusion and anxiety. Medical errors, persistently increasing costs of medicines, and ineffective use are seen as  unavoidable and part of the system. The current responsibility of graphic designers in this area could be characterized as both "harmless decoration" and as "preventing fatal errors".

Prof. dr. Lex Drewinski
Rheinstr. 74
14612 Falkensee /b. Berlin
Germany
E-Mail: DrewinskiLex@aol.com

THURSDAY 14.01.2010
 13.30 - 15.30
GALERIA+
Roundabout Art Gallery - Katowice, Rondo
opening
Lex Drewinski's - Poster Demonstration
exhibition

Lecture Title:
"Lex Drewinski's - Poster Demonstration"
"Responsibility in Graphic Design". Because of the fact that you can use this term on nearly every of my posters you don't have to look further. I would like to use this lecture as a platform for a presentation and a study of my works.
During my lifetime I was able to experience two contrary polities, the cold war, the state of war in Poland and the fall of the Berlin wall (which you can surely compare to the demolition of the Bastille). I was witness to the loss of "Solidarność", the re-seizure of power by the communists, the escalation of the nazi movement in Germany and not only there. If you complement this list by the long-time wars in Yugoslavia, the destruction of the environment, the increasing differences between poor and rich and the gaining violence, you get a clear answer why I am interested in this kind of problems.
(2+3D #1-2001)
It may be that I'm not a responsible-minded person in my private life and that -as a man without a parliamentary seat- I don't have any effect on political happenings but as a poster artist I have nearly boundless possibilities for presenting my political and social comments. I have to add that for me "Responsibility in Graphic Design" is not just the topic of my works but also it is not less than the search for the perfect shape for my posters.
As professor I am not only responsible for my own works but also for the work of my design students. So I use every opportunity to involve young people with social-political topics.

WORKSHOPS: Information design
Workshops assistants responsible for supporting participants:

• Agata Dworaczek agatadworaczek@gmail.com
• Kasia Lewandowska kasia.lewandowska84@gmail.com

Warsztat w projektowaniu informacji (information design)
Celem warsztatu jest wprowadzić uczestników w świat nowoczesnego information design, jego procesów, modelowych rozwiązań, źródeł informacji i literatury, międzynarodowych organizacji, a też metod nauczania na przykładzie programu w Rhode Island School of Design. Współczesne projektowanie informacji używa wielu technik i metod w dość skomplikowanym procesie rozpoznawania i gromadzenia danych; porządkowania zbiorów danych w układy strukturalne; filtrowania uporządkowanych zbiorów danych, żeby znaleźć i oznaczyć ważne i przydatne informacje; wizualnej prezentacji wniosków i analiz. Po etapie analiz przychodzi czas na kreatywne działania i budowanie projektu przez serię początkowo szkicowych, a potem zaawansowanych prototypów i ich krytyczne testowanie. Uczestnicy warsztatu zapoznają się czynnie z procesami analizy i prezentacji. Projektowanie informacji jest bardzo starą częścią cywilizacji. W różnych epokach używano rozmaitych technik zapisu, choć język informacji zna i używa tylko ograniczoną ilość metod zapisu, tak zwanych "figur" języka wizualnego, podobnych do retorycznych figur języka werbalnego. Metody te będą przedmiotem wykładów i pokazów. Metody pedagogiczne i ćwiczenia stosowane w programie projektowania informacji Rhode Island School of Design będą szczegółowo przedstawione i omówione. Zainteresowani tematem mogą odszukać w bibliotece przykłady prac prezentowane w numerze 238 szwajcarskiego kwartalnika GRAPHIS z roku 1985.

Young designer as a citizen. Young citizen as a designer.
Modern communication designers have various obligations: to those who commission their work, and to those who will consume their products. In the middle of many, sometimes conflicting problems and dilemmas is the designer as a citizen. How much his or hers personal opinions or believes should be reflected by their professional works? In the process of educating young designers ethical issues should be address and discuss. Based on the teaching experience from Rhode Island School of Design, the lecture will discuss some pedagogical problems in information design, and reveal design results.

Director of The Silesian Castle of Art and Enterprise
in Cieszyn

The Silesian Castle of Art and Enterprise in Cieszyn
Zamkowa 3 a, b, c
43-400 Cieszyn
tel. 0048 33 851 08 21 ext. 24
www.zamekcieszyn.pl
info@zamekcieszyn.pl

THURSDAY 14.01.2010
 18.15 - 19.00
Roundabout Art Gallery - Katowice, Rondo
DISCUSSION moderated by Justyna Lauer, the Dean of the Faculty
with lecturers of the day: Jonathan Barnbrook, Marjatta Itkonen, Krzysztof Lenk and the Rector of AFA Katowice - Marian Oslislo and the Director of the Silesian Castle of Art and Enterprise in  Cieszyn - Ewa Gołębiowska

Ewa Gołębiowska
Absolwentka polonistyki na Uniwersytecie Jagiellońskim. Kilka lat pracuje w wybranym zawodzie nauczyciela, ucząc zarówno dzieci w wiejskiej szkole podstawowej, jak i dorosłych na wieczorowych kursach. W 1992r. wygrywa konkurs i zostaje naczelnikiem Wydziału Oświaty, Kultury, Turystyki i Sportu Urzędu Miejskiego w Cieszynie. Współinicjator, a od 2005r. dyrektor Śląskiego Zamku Sztuki i Przedsiębiorczości w Cieszynie, jedynego - jak dotąd - regionalnego centrum designu w Polsce. W latach 2005 – 2007 koordynuje realizację projektu Śląska Sieć na Rzecz Wzornictwa (Silesian Design Net), pierwszego kompleksowego programu promocji i wdrażania designu w Polsce. Projekt uważany za najlepszy wzór wdrażania regionalnych strategii innowacji przyniósł widoczną poprawę w wykorzystaniu designu przez przedsiębiorców i samorządy. Został wyróżniony w konkursach Ministerstwa Rozwoju Regionalnego "Najlepsza Inwestycja w człowieka" oraz "Polska piękniej – 7 cudów unijnych funduszy". W ciągu kilku zaledwie lat Zamek pod kierownictwem Ewy Gołębiowskiej stał się popularnym i cenionym miejscem spotkań środowiska dizajnu i biznesu, inspiracją dla podobnych inicjatyw z całej Polski. Mimo peryferyjnej lokalizacji w małym miasteczku na granicy Polski, Zamek jest widoczny w Europie, gdzie promuje polski design i uczestniczy w międzynarodowych projektach: DME European Design Menagement Award oraz SEE. Sharing Experience Europe.

University of Minnesota
240 McNeal Hall, 1985 Buford Ave.
St. Paul, Minnesota USA 55108
612 624-1729
smccarthy@umn.edu

THURSDAY 14.01.2010
 12.45 - 13.30
Roundabout Art Gallery - Katowice, Rondo
Design Authorship and Responsibility: the Personal, the Professional and the Societal

Steven McCarthy (born 1958 in Bordeaux, France) is a professor of graphic and interactive design at the University of Minnesota, Twin Cities campus. He has an MFA in Design from Stanford University, and a BFA in Sculpture and Drawing from Bradley University. McCarthy has a long-standing interest in design authorship, both as a practitioner and a researcher. McCarthy’s graphic design work has been published in Graphis Poster, the annual of the American Institute of Graphic Arts and in Provocative Graphics: The Power of the Unexpected in Graphic Design, among others. Design work and essays have been published in Eye, Step Inside Design, How and Page magazines. His artists’ books are in numerous collections including the Museum of Modern Art, the Banff Centre in Canada, the Sackner Archive of Visual and Concrete Poetry, and university libraries at Yale, Stanford and Harvard. His interactive works have been performed and exhibited internationally, with showings at FILE (the International Festival of Electronic Language) in São Paulo, the Media Art Biennale in Wroclaw, Poland, the Images Festival in Toronto and at the Paris/Berlin International Meetings. In 1995 he co-curated the influential exhibition Designer as Author: Voices and Visions. International design conference presentations have included Declarations, Montréal; Mind the Map, Istanbul; Hidden Typography, London; Politics of Design, Belfast; New Views, London; Wonderground, Lisbon; ConnectED, Sydney; and New Views 2, London. Many of these presentations have led to peer-reviewed articles published in academic journals. When McCarthy isn’t teaching or designing, he enjoys traveling, gourmet cooking and practicing Tae Kwon Do. To learn more and see work, visit his personal web site: www.episodic-design.com.

Since the mid-1990s, theories of design authorship have helped to redefine the notion of responsibility in graphic design. What was once perceived as a service-oriented profession that grew out of the printing and advertising trades, the discipline was enlarged to involve the designer in content, not just visual form. This expanded conceptual space included an emphasis on social justice, politics, alternative lifestyles, niche markets and counter-cultural messages. The supposed neutrality, objectivity and utopian agenda of Modernism were amended – or in some cases, rejected – in favor of subjectivity, diverse audiences and expressive approaches to design and typography.
Whereas once graphic designers were merely responsible for ensuring that the photo was well-cropped, the legibility of the type adequate, the illustration rendered properly, the colors pleasing, and the paper stock or screen size appropriate, the tenets of design authorship invited graphic designers to consider a more comprehensive role in visual communications. Social, economic and political influence have become available to designers, leading Toronto business school dean Roger Martin to coin the term ‘design economy’ to describe this phenomenon. However, with increased agency comes increased responsibility – to whom are designers responsible, and for what?
Addressing the notion of responsibility in graphic design, my university colleagues in architecture, interior and product design claim that unlike the issues of human safety and welfare in their fields, no one has ever died from bad graphic design. Not only is this debatable – consider the risks of poorly designed highway signage, impossibly small type set on medication bottles, ambiguous warning symbols, and so on – but by ‘died’ they limit the definition to catastrophic failure. When one considers the larger implications of the loss of civic space to the branded environment, of the ubiquity of advertising and corporate sponsorships, of the environmental degradation to produce and discard junk mail and packaging, of the personal and national debt loads borne in pursuit of gratuitous consumption, then the decreased quality of life for all becomes a kind of humanitarian death.
So while mainstream graphic design has succeeded in flourishing (proliferation of design firms, design education programs, design publications and conferences, a greater popular awareness and so on), one could argue that it has contributed to some of the challenges our society now faces. In this regard, design authorship’s role becomes like that served by the alternative press: critical, contrarian and reflective. This is its responsibility to the profession.
Social movements such as those for human rights, consumer activism, political change and environmental sustainability create needs that aren’t accommodated by typical corporate client commissions (rather, those messages often critique profit-driven corporate culture). Design authorship may operate outside of the typical client brief, but it rarely operates without the conviction of communicating with an audience. This is its responsibility to society.
Because design authorship engages graphic designers as active rather than passive in the communications paradigm, responsibility is both an opportunity and a burden. Beyond the professional and societal realms used to discuss responsibility within design authorship’s broader mission, the personal should be considered.
On the personal level, one’s ethical and moral convictions serve as a guide to the nature of work a designer might take on: from evaluating the industry served, to assessing the motives of the client, to gauging the desires of the end user. One aspect of design authorship is that designers can often identify both with clients, as they sometimes operate in an entrepreneurial manner, and end users, as designers considers themselves members of a particular subcultural group. Having an affinity based on genuine human concerns, not merely commercial profit, is emblematic of designer-authors’ sympathy and empathy. Change and influence may be incremental, based on the small decisions designers make on a daily basis, or more dramatic and declarative. Responsibility to oneself is paramount.
To illustrate the model of design authorship’s three scales of responsibility – the personal, the professional and the societal – three case studies will be utilized. One, Sheperd Fairey’s Obama Hope poster as an example of design authorship for the greater social good (including a analysis of whether the ‘ends justified the means’ regarding the usage of a copyrighted AP Press photograph); two, Kate Bingaman-Burt’s Obsessive Consumption project as a critique of consumer culture, and of graphic design’s role in its proliferation; and three, a compilation of alternative publications and graphic ephemera by a variety of designers as personal work that exists outside the mainstream of design practice, serving as a form of research and development.

Senior Lecturer, Programme
Leader in Graphic Design
and Illustration, Division of Art and Design
Bedfordshire Institute of Media
and the Creative & Performing Arts
University of Bedfordshire, Luton. noel@noeldouglas.net

FRIDAY 15.01.2010
 17.30 - 18.15
Roundabout Art Gallery - Katowice, Rondo
LECTURE: Sign Wars Visual communication and the struggle of life against things in the 21st century

Noel is an artist, designer and activist who works across a range of media with a particular interest in Anti-Capitalist uses of visual communication, the privatization of urban space, and dialogical models of communication. He completed an MA in Computer-Related Design at the Royal College of Art in London and also holds a BA in Fine Art.
 Recent projects have included: Curation and organization of group show ‘Signs of Revolt–Creative Resistance and Social Movements since Seattle’ at the Truman Brewery, Brick Lane, London November 2009–other exhibitors included, Jonathan Barnbrook, Peter Kennard, David Gentleman, and 14 other, artist, designers and collectives. A retrospective of his activist graphic work in the room ‘A World Where Many Worlds Fit’, curated by Oliver Ressler, which was part of the Taipei Biennial 2008, in Taiwan. A residency using Europe's largest slide projection system at Ars Electronica in Linz, Austria, the bestselling satirical pack of playing cards 'Regime Change begins at Home'. and with the Greater London Authority as an organiser of a 3-day cultural programme for the European Social Forum in London in 2004. He writes regularly for cultural publications including Eye the International Journal of Graphic Design and his publications include, as Editor, Website Graphics Now (Thames and Hudson 1999). His work is part of the permanent collection of the British Museum and has been featured in Adbusters magazine (Canada), Atlas magazine (USA), Art Monthly, Blueprint, Dazed and Confused, The Economist, The Guardian, Malababa (Spain), Mute, NME and Time Out.
www.noeldouglas.net signsofrevolt.net

"To call on people to give up their illusions about their condition is to call on them to give up a condition that requires illusions" - Karl Marx
What is the social basis for the Sign and the morality of the Sign in visual communication? What can visual communication do to challenge the failed yet still surviving Neo-Liberal Capitalist economic dogma that has turned graphic design into a servant of advertising and risks destroying the world as we know it, through unfettered expansion of unsustainable consumption patterns? What could be the 21st century graphic aesthetic forms be for radical social change? What kinds of projects have artist/designers who have had these aims done, what they did and what can we learn from them? This paper will address the moral and ethical basis for Visual Communication, by looking at how Neo-Liberal values and ideology have been influenced contemporary forms of visual communication, making the field little more than an adjunct to corporate interests over the last 20 years. It will contrast this with the ‘rebel’ history of visual communication during the 20th Century and look at practical examples of contemporary practice from various artist/designer/collectives that are connected or associated with the rise of the social movements against Capitalism, War and Climate Change during the past 10 years, in doing so it will offer a theoretical basis for the morality of sign production and offer hope and potential leads for all those interested in the future potential of visual communication in a more just and sustainable post-Capitalist social system.

FRIDAY 15.01.2010
 12.45 - 13.30
Roundabout Art Gallery - Katowice, Rondo
LECTURE: Information design can have political implications: form design in 2006 Mexico's Presidential elections

María González de Cossío is a lecturer and researcher at Universidad Autónoma Metropolitana- Cuajimalpa, Mexico. She studied her PhD in Design from the University of Reading and is a member of the National Researchers System. She is the founder of the Centre for Advanced Studies in Design, which organizes courses, events and develops consulting and research projects. This project was developed in collaboration with María de Lourdes Fuentes Fuentes

Publications:

• González de Cosío, M. and Dyson, M.C. 2002. «Methods for manipulating electronic documents¨ in Visible Language, 36.3, pp282-306. EUA.
• González de Cosío, M., 2004 «Understanding readers’ movements in www documents» in infoDesign. Revista brasileira de design da informação. Brazilian journal of information design.
• González de Cossío, M , 2005 «El Diseño gráfico en México» in Tipográfica 03/05. Buenos Aires, pp34-40.
• González de Cossío, M , 2008 «Diseño Gráfico en México 1950-2005» in Bonsiepe, G y Fernández, S, (Eds) Historia del Diseño en América Latina. Brasil: Editorial Blucher (book chapter).
• Gonzalez de Cossío, M, 2008 «Process to implement new medicine guidelines in Mexico infoDesign. Revista brasileira de design da informação. Brazilian journal of information design (revista arbitrada). No. 3, Vol. 5, ISSN 1808-5377
• González de Cossío, M. 2009 «Comunicación estratégica en actas electorales: El diseño de información y sus implicaciones políticas» in Meyer, J. A (compilator) «Comunicación estratégica: Nuevos horizontes de estudio»), México: UPAEP, Fundación Buendía.
• González de Cossío, M. 2009 «Clara Porset» in C. Soussan (ed), Dictionnaire des femmes creatrices. Ed. des Femmes-Antoinette Fouque, Francia; in press.
• González de Cossío, M, 2009 «Social Mobility in Mexico. Graphs that help understand the relation between education and socio economic level» in Information Design Journal, in press

Editor of Design Essays, Published by CEAD:
Ehses, Hanno, 2009 «Design on a Rhetorical Footing», in Design Essays 1, México: CEAD
*** I will take some issues to Poland

Information design can have political implications: form design in 2006 Mexico's Presidential elections
2006 Presidential elections in Mexico were the closest in history, showing a very small margin of only 0.5% between the two leading candidates. Citizens, who are randomly chosen as electoral officials, run the whole process. They receive the votes, count them and report the results in a written form. This paper investigates what kind of design problems were found in the voting ballots and in the filling of electoral forms, and analyses the different training materials that electoral officials received. The author explain the elections process and propose a new ballot design, the redesign of the electoral forms, as well as alternative training materials that can facilitate the officials’ work and decrease their responsibility. These results are supported by testing with literate and functional illiterate users in their interaction with the forms.

szefowa gr. MaKultura
Jadwiga Husarska-Chmielarz
Product & Graphic Design
+48 602 785 980
www.hejnowkrakow.pl
www.makultura.blogspot.com

FRIDAY 15.01.2010
 16.15 - 17.00
Roundabout Art Gallery - Katowice, Rondo
LECTURE:
Najbliższe otoczenie bazą do działania
The nearest surrounding - the base for action

Najbliższe otoczenie bazą do działania Cele prezentacji: Wykład przedstawia proces projektowy oraz metody pracy wykorzystane przez grupę MaKultura powstałą na Wydziale Form Przemysłowych Akademii Sztuk Pięknych w Krakowie. Polem działania grupy było poszerzanie świadomości proekologicznej oraz propozycja systemu segregacji odpadów w najbliższym otoczeniu. Grupa oddziaływała poprzez grafikę, zaprojektowane produkty, a kcje społeczne, wykłady, warsztaty oraz wystawy. Początkiem działania było zaobserwowanie problemu, a naliza istniejącej sytuacji, następnie propozycje różnych rozwiązań, a ż do stworzenia i wdrożenia systemu segregacji. Plan prezentacji:

1. Przedstawienie struktury Wydziału Form Przemysłowych ASP w Krakowie.
2. Geneza MaKultury
3. Zauważenie problemu i jego a naliza
4. Badania
5. Rozszerzenie pola działania na inne pracownie: Katedra Komunikacji Wizualnej - plakaty, piktogramy, Pracownia Fotografii –,,Kultura a  Śmieci”
6. Realizacja projektów 3D
7. Projekt i wdrożenie systemu segregacji odpadów na Wydziale
8. Metody komunikacji: strona www, profile na portalach społecznościowych, ulotki, plakaty do wystaw i in.
9. Działania MaKultury poza Uczelnią: wykłady, warsztaty i wystawy
10. Podsumowanie

The nearest environs as a base of actions Purpose of the presentation.
The speech is about design process and methodology used by MaKultura group during the student project at Industrial Design Department of Jan Matejko Academy of Fine Arts in Kraków. The aim of the project was to promote the eco-awareness in surroundings and solve a problem of wasting paper by designing and implementing the recycling system. The group used for the realization various methods like: research, analyses of existing situation, designing visual information (graphic design) and products. MaKultura also promotes and educates about eco-design by making workshops, lectures and exhibitions.

The speech Industrial Design Department at Jan Matejko Academy of Fine Arts in Kraków has an unique structure. Department combines and educates in visual communication and product design. It gives students a general knowledge and helps them to communicate in this fields. MaKultura is the designers group which was born in October 2008 during students project in Ergonomic Design Course at Industrial Design Department. Group members: Piotr Hojda, Jadwiga Husarska-Chmielarz, Paulina Kordos, Franciszka Kornecka, Paweł Marcinkowski, Jadwiga Rataj, Przemysław Szuba and recently joined Anna Domaradzka. The Project is focused on recycling of paper and other recoverable materials. Once they saw the problem of wasting paper in Academy, they have decided to make as much as possible to receive different behaviors. The aim of the project was to promote the eco-awareness in surroundings and design new improved recycling system for the Academy. Using mainly recycled paper the group has designed new, improved objects which would solve the waste segregation problem. MaKultura designed the temporary wastes bins for paper and 'green’ logo for the project. The Makultura name is a game of polish words ‘makulatura’ – wasted paper and it remains about wasted paper and self culture ’ma kultura’ – my culture. The Group made a four-months research to analyse amount of wasting paper in Industrial Design building. The paper which was good for recycling was being collected each week from the temporary bins and then weighted. There was 550 kg of wasted paper collected, then it has been recycled. MaKultura made also actions outside the Academy: exhibitions, lectures, workshops. The Group first exhibited naturally at the Design Faculty of Fine Arts Academy in Kraków. The groupe tried convinced city council members to theirs ideas and set up an exhibition inside Kraków's Muncipial Office. All of MaKultura achievements were presented at the Academy of Mining and Metallurgy in Kraków, where the Groupe also gave a lecture. Having been invited to Warsaw by Polish Security Printing Works (at the time of it's 90-th anniversary), they carried children workshops meant to expand eco-awareness within the young generation. Makultura has also prepared an exhibition of ecology-focused design projects of Academy's Design Faculty for 3rd International Design Festival in Łódź

All actions of the group are promoted on it's blog (makultura.blogspot.com). Makultura has it's own 'facebook' and 'nasza-klasa' account which enables certain information to be extended. It also works as a reminder for those who are not regular blog visitors. Additionaly all members use their own ways to promote the blog at important moments. These are: - communicator status box, - personal social network service account such as 'facebook' or 'nasza-klasa', - personal blogs where some unpublished reports of Group's actions are presented. Those interested in Makultura's doings are able to constantly follow the Group using official (the serious type) and unofficial (informal, selective and subject based, witty) sources of information. It all works as a populatiry booster. Naturally by the way of the exhibitions there were produced promotional materials such as flyers, posters and semi business-cards.

MaKultura wanted to extend our actions so they invited students from other courses. Good designed waste segregation system will not function proper if would not meet aware and responsible users. Students from studio of visual comunication made poster which promote proecological behaviour, in turn students from photography studio made photos ‶Culture versus rubbish”. In this cooperation students also made pictograms systems which are used on our recycle bins and show how to segregate rubbish proper. Big freedom of interpretation and sensitivity of students brought intresting and different effects. Part of this things Group showed on theirs exhibitions. During the winter semester 2008/2009 each member of MaKultura group was continuously working on student's project in parallel to organizing mentioned action. This work was also dedicated to the main issue: second life of paper. Tasks were divided to three main groups.First were various devices as waste bins for recycling. Papierodyl made by Jadwiga Rataj is folded cardboard bin for paper segregation. Inside the bin there are knife and line to tie collected paper in handy package. Filit is the bin reducing the volume of paper wastes designed by Paweł Marcinkowski. Pasi is the last project from that group. The author Piotr Hojda designed bin that fit's everywhere. Variable circumference allows it to fit different spaces.Second group were solutions in service to the Faculty needs. Jadwiga Husarska-Chmielarz (Pasedo), Paulina Korndos (Kostek) and Fraciszka Kornecka (Tuboret, Nabrukowiec) designed corridor's seats, because of students waiting for seminars sitting on a floor. Also were made PS exposers designed for annual final exhibition, by Przemysław Szuba.The third idea was to find a new use of paper. Jadwiga Husarska-Chmielarz designes a cellulose tissue with seeds. When watered on a plate in a warm place seeds spring out.

To achieve the aim of having recycling system on Faculty of Design MaKultura had to overtake many difficulties. First they made investigation how many dust bins they actualy need. When they checked it, they started the official way to establish the recycling system. Groupe took part in several meetings with heads of the Academy to convince them to support theirs project. MaKultura found them very helpfull. Group have succeeded. Their task was to find a company responsible for disposal of waste and they immediately started to bring project into life. Very soon they realized that the way to the end is long and they have to cope with the materia of the real world. To produce the dust bins for recycling they have used simple and available technology. Group chose cardboard tubes which provided strenght and durability with very low cost. They also can be cut to every lenght to fit various sizes of bins. To atach the dust bags Group designed special plastic overlays wich also alowed us to put some information about different types of waste. It took very long time to find producer of tubes that could provide quality they were looking for. Than they spent some time to adjust overlays to the size of tubes and to vacum press them. Finaly MaKultura cut vinyl stickers with information labels and set all pieces together. After 9 months of preparations MaKultura could introduce our TUBES into the Faculty building. Now the dust bins work properly and even the work of cleaning stuff is a little bit easier.

Dystrybutor tabletów Wacom
KSK Dystrybucja sp. z o.o.
40-387 Katowice
ul. 11 Listopada 11
Tel: 032 251 69 59; 032 353 05 25
Tel: 032 750 63 80
Fax: 032 353 05 51
www.tabletywacom.pl
www.kskd.pl
info@kskd.pl, dok@tabletywacom.pl

WEDNESDAY 13.01.2010
 10.30 - 19.00
Koszarowa Street
WORKSOPS
open for general audience
REGISTRATION NECESSARY

Aleksy Pawluczuk - Wacom Evangelist
Entuzjasta komputerowy, projektant, rzeźbiarz i fotografik Mieszka w Krakowie.
Studia na Wydziale Form Przemysłowych i Wydziale Rzeźby (dyplom w 1982) w Akademii Sztuk Pięknych w Krakowie. W latach 1982-2005 prowadził własne studio graficzne. Zajmuje się m.in. serigrafią, reklamą, fotografią, projektowaniem wydawnictw, plakatów, logotypów, identyfikacji wizualnej, mody, biżuterii i in. Wykładowca komputerowego wspomagania projektowania 2D (Grafika komputerowa, Prepress, Procesy Poligrafii, Technologie Informacyjne) na Wydziale Form Przemysłowych Akademii Sztuk Pięknych im. Jana Matejki w Krakowie, oraz na Uniwersytecie Jagiellońskim i Akademii Teatralnej im. Ludwika Solskiego w
Krakowie. Po za pracą na uczelni prowadzi warsztaty i prezentacje z zakresu grafiki komputerowej, fotografii, sprzętu i oprogramowania graficznego w kraju i za granicą.
Hobby - wędkarstwo muchowe, technologie komputerowe i fotografia.

Mateusz Urbanowicz - ur. w 1986 r. w Tarnowskich Górach. Ilustrator, rysownik komiksowy, specjalista w dziedzinie cyfrowej kreacji. Autor popularnych komiksów internetowych "Zmiana Epsilon" oraz "12| dwanaście", wielu ilustracji do książek, oraz prac związanych z szeroko pojętym projektowaniem. Do podpisywania swojej twórczości używa pseudonimów "Gom_Jabbar" lub "MAUR". Oprócz swojej działalności artystycznej udziela również szkoleń w zakresie oprogramowania graficznego oraz tabletów piórkowych. Uczeń technikum elektronicznego potem student na specjalizacji Sztuka Nowych Mediów na Polsko-Japońskiej Wyższej Szkole Technik Komputerowych. Obecnie bierze również udział w tworzeniu krótkometrażowego filmu animowanego.

Arctic Paper Polska Sp. z o.o.
ul. Biskupia 39
04-216 Warszawa
Fax: +48 22 20 30 505
www.arcticpaper.com