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D-LIGHTTHE BRAND IS BORN

Design: A Development Tool For Lithuanian Business

SOFTIMUSFROM A DESIGN UP TO LIMOUSINE

TEO THE GENTLE GIANT

DAY PRIOR TO JOHN’S NIGHTTHE BRAND REFRESHER

MADE IN MOONTHE BRIGHT SIDE OF THE MOON

100% GREATEST HITS100% DESIGN IN LONDON

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TABLE OF CONTENTS

P.6 P.24P.18

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100% Design in London

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SMALL IS BEAUTIFUL 11

Aukso avis

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MYLIMOJI MEANS MLLYMOY 18

Donata Korzeniauskiene

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THE GENTLE GIANT 24

TEO LT

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THE WINGS OF DESIRE 30

flyLAL

PRO / CONTRA

PECULIARITIES OF THE

NATIONAL DESIGN 36

Prof. Audrius Klimas

PERSONA

THE BRIGHT SIDE

OF THE MOON 40

made>in>moon

PERSONA

NAURIS 46

Nauris Kalinauskas

CENTRUM GRAVITATIS

WENI WIDI WICI 50

Gaumina

CENTRUM GRAVITATIS

SWAROWSKI MADE

IN LITHUANIA 54

Crystal Creations / Moonyah

CENTRUM GRAVITATIS

THE BRAND IS BORN 60

D-Light

CENTRUM GRAVITATIS

FORM IS NOT THE GOAL

BUT THE RESULT 65

Hansabankas

CENTRUM GRAVITATIS

THE VALUES OF THE BRAND 70

Snoras

CENTRUM GRAVITATIS

L.A.S.E.R. 76

Geola

CENTRUM GRAVITATIS

FROM A DESIGN UP TO

LIMOUSINE 80

Softimus

CENTRUM GRAVITATIS

THE BRAND REFRESHER 84

DPJN

NOTA BENE

YOUNG GUNS 90

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COVER: SOFTIMUS “LIMOUSINE”(DESIGN BY DARIUS BUDRYS)

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The main objective of Lithua-nia’s long-term development strategy is to create favorable

environment for the development of national material and social welfare, which prospers in secured knowledge society and competitive economy. It is important for us to know, what fac-tors create added value in our coun-try, make it more competitive, strong and able to produce national prosper-ity and welfare of each citizen.Problems in our economy arise from its outdated structure and insufficient development of high-technology in industrial and other sectors. New investment can change such situa-tion - investment into technology itself, scientific research, and human resources, who are engaged in scien-tific engineering and other creative activity. Solution of these problems needs great investment, and time is running.But there is an activity sphere, which creates great added value and has a potential to represent our country successfully in the worldwide cul-tural sphere - that is creative indus-tries and especially industrial design. We cannot ignore aesthetics and its educative and refining impact, but at the national level design in the first place means innovations, and innova-tions respectively are one of the most perspective ways for our country to have a certain bright future in Europe and all the world.

• So this conference is very impor-tant, as it involves young people, students into innovation sphere and helps to create contacts between rep-resentatives of business and creative industries.• One more critical task is to stimu-late public interest, education in this sphere. Until there is no strong per-ceived awareness in the society about the importance and role of innova-tions-scientific, creative, engineering, for our future perspectives, it would be very difficult for any country to realize all objectives of long-term development strategy.• I welcome all initiatives from the society, which are more often each time in this sphere. Talking of cre-ative innovations, it is a pleasure to mention that alongside strong institutions, which unite designers for few years already, we have modern Design Innovation Center in Vilnius Art Academy, very active Graphical design association and new Lithu-anian design forum. This year we have already supported (or it is better to say - invested into future) few projects, which are related with the propaganda of our national design’s potential in the country and abroad. I hope we have more and more such projects.We can hear sometimes that situation in this sphere haven’t been improv-ing sufficiently rapidly, because our country does not have its design policy. Design policy is an important benchmark of strategic development

in Scandinavian and other countries already. Apparently that is why GDP proportion for research and development has already exceeded objectives, which were raised for all EU countries in 2000 in Barcelona. Those countries, which have dear national design policy (eg., Finland, Denmark, Norway), are leading competitive countries in Europe. It is a clear guide for Lithuania and its developing economy, increas-ing creative potential, which has to get sufficient attention from all structural departments of national institutions. Cultural industries and design innovations could exceed even revenue from tourism (in Great Britain in 2003 this revenue exceeded tourism revenue twice, and annual total was 53,4 milliard pounds, 2 million people were employed in this sphere). Scandinavian countries. Great Britain and other countries could be good example for Lithuania and other Baltic countries, which try to get leading position in regional economic development. In Estonia and Latvia, this activity is already included into national strategy, and Lithuania has all conditions to do so, too. I am sure that progressive business and creative society, which is active in public organizations, has very important role in the formula-tion of main regulations of design policy. The fact that we still do not have valid design act, clear defini-tion of designer’s profession and its competence limits, could be the main goal of these organizations and lobbying in a good sense.I encourage all to take an interest in financing possibilities for innovative projects, which are provided by our ministries and EU institutions - there is quite many of them already today. For a start, it is important to prepare a feasibility study in order to formu-late tasks for the national integrated programme, including education of design specialists, development of design research, creative activity and innovations, design business.I invite all to pin forces tor common work and creative activity.

Prime Minister of the Republic of Lithuania Gediminas Kirkilas

The greeting of the Prime Minister to the organizers and participants ofthe International Conference “Design Innovations and Economy in BalticRegion Countries”, held in Vilniuson 29 September, 2006.

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Lithuanian design already finds niches for it in foreign states. However, its appearance here

is fragmentary in the meanwhile. Up to now, design presentations included participation in several international exhibitions only. The last example – the joint stand of Lithuanian design-ers at the exhibition “100% Design” in London – showed once again that Lithuanians are able to compete in this sphere as well. Works provided by our designers generated a great interest even in England that is spoilt by a good design. For example, the work “Mom” by N.Dervinyte was elected as the symbol of the exhibi-tion and provided in official booklets for a presentation of the event. At the exhibition “Tendence Lifestyle” in Frankfurt, the organizers of the exhibition acquired a work of above-mentioned Neringa Dervinyte. So, it may be supposed that design stars will appear in Lithuania in the course of time.

Frequently, we devalue ourselves and dissociate ourselves from the foreign states: we are here and are capable to carry out certain works only; they are there and are capable to carry out not only certain works. We are parts of the same world and may offer our work to everybody. Foreigners began taking an interest in us, probably for two reasons: we are capable to keep in step with the up-to-minute fash-ions and trends of the world and are

attractive for our solutions, based on our culture, that singles out us from the others.

A profession of a designer is in high demand in the today Lithuania: they study at Vilnius Academy of Arts as well as its subdivisions in Kaunas and Klaipeda and are admitted to studies through a large entry. Howev-er, the community knows only about a dozen of famous designers. This fact shows that making a career upon such economical situation requires persistence, enterprise and marketing skills.

The general cultural situation in Lithuania allows to conclude that the word “design” is perceived too narrowly: it is bound with fashion, superficiality, limited responsibility, purely aesthetical features of a prod-uct. In fact, design is much more than a decoration of everyday life of the affluent. Design is the key factor in striving of the state and its economy for a competitive advantage in the market where a sharp struggle takes place. In the course of time, we’ll yield in the marathon for reducing the production costs to states of Far East. Everywhere in Europe, centers are established and investments in science and innovations are made in order to increase intellectual advan-tage. And the nature of design just enables it to provide a surplus value and an advantage in the market.

However, it can achieve this, if it becomes a constituent part of philoso-phy and technology of the state, not only of certain companies.

A perspective always exists – it is sufficient to look around. We can present ourselves to the world in two ways. In this age of communications, we have abundant opportunities to present ourselves to the world, to be responsive to the global trends and to offer urgent and fashionable products. In the meanwhile, our pos-sibilities are limited only by insuf-ficiently modern technological base available in our country. However, outsourcing attests that this obstacle can be overcome. The second ways is our ethnological and cultural Baltic peculiarity. Upon the rapid global as-similation, humans further will strive for self-identification, expression of individuality and improbability.

Founder of Association“Lithuanian Design Forum” Marius Dirgela

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Lithuanian stand at “100% Design”in London.

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The idea of self-presentation at “100% Design” exhibition in London ap-peared about six years ago. Repre-sentatives of the British company “Volume furniture”, engaged at that time in production of furnishing in Lithuania, selected several works made by local designers and brought the designers to the exhibition in London for the first time. The design-ers were strongly impressed by the exhibition, so they decided to take part in it the next year as “Contra-forma” Company, not as individual designers on behalf of a foreign state. At that time, the Lithuanian creators had no strategic business develop-ment programme and a curiosity was their guiding star.

Gradually, such participation became fruitful, although in the beginning Lithuanians were told that first posi-tive results would appear only 3 or 5 years later. In the beginning, single small orders were received; later “Mint”(representatives of the Compa-ny) appeared in London. Three years ago, mentioning of Lithuania in the local design market caused surprise; however, the incredulity reduced in course of time. Each participation brought a larger number of orders; “Contraforma” successfully pro-moted itself and gained a repute of a reliable and well-established partner. First of all, clients highly appreciated well-establishment of the Company, high quality of its works and ideas.

“Romance 01 Doppio” by Neringa Dervinyte

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Part of the exposition

Chair “Ku-Dir-Ka” by Paulius Vitkauskas

Nauris Kalinauskas talks to Lithuanian Ambassador Mr. Vygaudas Usackas

Among those having taken an inter-est in “Contraforma”, British compa-ny “The Conran Shop”, managed by Sir Terence Conran was presented; in the opinion of the latter, Lithuanian design is able already to present itself to British market and enjoy a great demand.

The said exhibition is chamber-like and compact, as compared to other European furnishing design exhibi-tions; it lasts for 4 days (one day for public and three days for profession-als); however, it is accompanied by abundant design-related events, be-cause it is the key part of the annual “Design Week” in London. Because of this, it is the unique one over Europe

and the most important design-re-lated event in Great Britain. Interior design is a core of the exhibition.

This year, “Contraforma” (together with Lithuanian furnishing com-panies “YZY” and “Sedes Regia”), sponsored by the association “Lithu-anian Design Forum “, the Embassy of Lithuania in London and provided a financial support from Lithuanian state authorities, took part in the exhibition for the sixth time. This participation of Lithuanians was most abundantly described in press. Lithu-anians were pleasantly surprised by the visit of well-known British designer Tom Dixon at the Lithuanian stand (arranged by our Ambassador) who assessed the exposed furnish-ing very positively. We also are glad to know that Lithuanian authorities finally cognized design and as-sessed its importance for Lithuanian economy. The said changes allow us to hope an appearance of purposeful actions related to a development of a design strategy of the Government. At the above-mentioned exhibition, Lithuanians were practically the only representatives of Eastern Europe equal to Germans, the Spanish or Ital-ians in respect of the extent.

The Company does not create any special assortment for exhibitions; sometimes, it only provides a supple-mental extravagancy to some models, because it is well-liked in England.

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Lithuanian landing

Famous neighbourhood in the East End of London

“Romance 02 Solo” by Neringa Dervinyte

The Company is specialized in small-scale production of furnishing; it often executes individual orders as well. In Lithuania, “Contraforma” own a sufficiently modern production base and – in spite of rapidly worsen-ing situation caused by mass migra-tion of qualified labour force from Lithuania – in the meanwhile does not plan a removal of its industrial capacities to states with a cheaper manpower, because an assurance of high quality requires a permanent author’s supervision. A product fit for a buyer of “Ikea” is not fit for a buyer with more delicate taste.

Two persons manage the Company: Rolandas Bitinas is responsible for marketing and commerce; Nauris Kalinauskas is responsible for the creative activities. The 18 employees are divided into three groups: one third of them are engaged in creative activities, one third – in production and one third – in servicing and man-agement.

A majority of products of “Contra-forma” are exported; only about 20% of them remain in Lithuanian market. In the meanwhile, the tastes of Lithu-anian buyers in respect of trends, fashion, style and so on differ consid-erably from the ones of Western buy-ers. In Lithuania, the principal part of the Company’s business is presented by creation of interior, not impressive collections of furnishing.

In this sphere, the list of clients in-cludes the ones of Russia as well.The Company plans to take part at “100% design” 2007.¶

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SMALLIS BEAUTIFUL

Julija Zileniene

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Q. How the wish to establish “Aukso avis“ /“The Golden Sheep“/ appeared?

A. In Lithuania, abundant shops of pseudoartworks appeared and they offered pop style goods, usually imported from Scandinavian States or Germany, to consumers. I wished to establish a similar shop; however, I preferred to offer handmade goods with the Baltic identity signs that would be utilitarian as well. I wished to develop, first of all, a concept of the shop that would be simply “clon-able“ in future. The development of this vision is in progress now.

Q. Why the name “Aukso avis“ /“The Golden Sheep“/ was chosen?

A. Because a majority of goods at our salon is related to textile and we propagate woollen felt as a strik-ing example how modern articles may be made using one of the most ancient technology in the world. For our trademark, we were looking for a name related to textile. The base of the vision of our salon was a town-ish shop where townish goods are offered.

Q. Is it easy to be a businesswoman and a creator simultaneously?

A. True, I am engaged in business de-velopment and in the creative activi-ties simultaneously. However,

I always wished to create nice things; so, I must arrange training of my staff in order to have persons engaged in management and to have more time for creative activities. I hope to have an administrator who will replace me in management next year. In the meanwhile, the creative activities take 30% of my time only and the re-mained time is used for management.

Q. Was it difficult to attract capital for this project?

A. A success of such small shops-sa-lons is predetermined not only by the assortment of goods, but also by their atmosphere and the manner of work-ing with potential clients. Searching for investments was really very hard, so we did our best to minimize the costs. Luckily, we successfully agreed on postponement of the loan repay-ment for two years. The business became profitable after one year and half.

Q. What period of the activities of “Aukso avis” was the most difficult?

A. The above-mentioned first one year and a half were really the most difficult, because I had to draw about two thousand Litas monthly from my own pocket to support “Aukso avis” and to remain with the only hope for a better future. I wrestled with the problem of attraction of visitors. Within the spring of the first year,

Hand bag by Ruta JankunieneShawl (top) by Natalija BrancevicieneShawl (bottom) by Loreta Buciene

Stand and pillow by Giedre Rimkute

The interview given to Robertas Jucaitis by fashion designer Julija Zileniene, the establisher of “Aukso avis”

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sometimes only one person a day (or nobody) visited the salon...

Q. What goods are offered by “Aukso avis”?

A. The salon deals in textile, glass and ceramic goods; however, 80% of the whole exposition is presented by textile. In the beginning of the activities, I invited familiar artists to present their works, if their creation could conform to the concept of the shop; however, the response was very skeptical. Probably, it was caused by the orientation of our artists towards large-format works, so only few art-ists can imagine their works in many copies. Small works usually require

larger labour expenditures. Seeking to attract our first authors, we were forced to provide abundant discounts and to make experiments; after a half of year, we carried out the first “cleaning”, i.e. rejected works that did not conform to the conception or were not fit for any other reason; this procedure is repeated on regular ba-sis twice a year. At present, we follow the strict provision: only high-quality works that conform to our conception are chosen. The share of my works in the assortment accounts to 4-5% only.

The other step was entering agree-ments with our most successful authors on ordering their works in order to form our permanent

collection, i.e. our brand to be called “Aukso avis”.

To what extent, the taste of the con-sumer predetermines your supply?We have chosen colours as the land-mark. Our scale of colours conforms to the interior, because we are aware that the abundance of small things may cause a great chaos in absence of their systematization. So, the prin-ciples of the exposition were prede-termined by colours. The first room is bound with the newest trends; for example, if red-white-black-golden colours are the most fashionable within the three last months, you’ll find them there. So, we as if unite arts and handicrafts with the trends of

Chandelier “Tulip” by Rasa Labinaite

Ties by Audrone Zilinskiene SECT

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Chandelier “Mandala” by Rasa Labinaite

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world fashion. The other room (we call it retro) is calm and much more traditional. It is gingered up by a col-lection of erotic postcards dated back to the early previous century that is exposed on the walls. The assort-ment at the room is targeted to the tastes of elder visitors. At the third room, skyey, navy blue and mazarine, violet and claret, red and tangering are the dominating colours. In such a way, we try to satisfy the needs of a majority of the clients. You’ll find here ironical things for teenag-ers and goods for mature persons of the chosen scale of colours. They are fashionable, original, fit for making presents; if you decorate yourselves with them while traveling to foreign

states, you’ll attract an attention and proudly inform that they are Baltic articles.

Q. What works are in the highest demand in present?

A. Felt rapidly becomes more and more popular. This unique phenom-enon was initiated by the textile workers’ group “Baltos kandys”. The group had developed an original style and our salon became a promot-er of the style; we arrange lessons on works with felt, so persons without special education in arts learn to make original and fresh works of it. I think the opportunities of using this material are not completely explored.

Large volume things, mural deco-rations and very small accessories may be made of this easily formable material. Some categories of products made of felt, such as angels, sheeps, hearts, brooches, are in high demand. A majority of buyers are foreigners in summer and Lithuanians in winter.

Q. Do you feel a competition?

A. Partially. There are no centers similar to “Aukso avis”. Galleries are engaged in selling more “seri-ous” artworks; and our commodities are presented by original pop style goods. There are several foreign brands; however, they do not rep-resent the Baltic style. So, our posi-tion in this niche of the market is exclusive. Upon reaching a sufficient extent of copying of works, I’d like to “clone” “Aukso avis” and to estab-lish its centers in other towns, such as Klaipeda, Trakai, Riga, Tallinn. Of course, I’ll need business partners for implementation of this plan.

Q. Is your assortment perspective for offering it to salons and fairs in foreign states?

A. Yes, it is; however; such participa-tion requires considerable free funds. I did not seen such commodities in

Handgloves by Audrone ZilinskienePillow by Jurate Petruskeviciene

Shoes by Jolanta Rimkute

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Teddy Bear by Necona

Pillow by Giedre Rimkute“Lotus” by Ausra KleizaiteBox by Giedre Rimkute

Riga, Tallinn, Warsaw and Prague. Such gifts would become competitive and saleable ones; however, a higher extent of copying of works should be ensured.

Q. What is your vision of the future of “Aukso avis”?

A. Each trend of fashion lasts 10-12 years on the average, so we have much time for development. We use natural materials – it is a great advantage, in particular, in the recent years. In this century of globalization, a natural striving for individualiza-tion and singling out the own identity appears. So, all the trumps are in our hands. ¶ SE

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MYLIMOJIMEANS

MILLYMOYIn the summer of 2000, fashion

icon Donata Korzeniauskiene left Lithuania to pursue her dream of becoming a world

renowned fashion designer by mov-ing to London, England and enrolling in the prestigious Central St. Martins School of Arts. While studying to obtain her BA in Arts and Design, Do-nata discovered her passion for print design and thus, engrossed herself in the industry by working for Trend Forecast Company Studio M for a 2 year period.

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Upon completion of her degree in 2004, Donata incorporated her very own design company, entitled Millmoy, which means “My Love” in Lithuanian. Her first collection was very different from the direction she has chosen to pursue to date. As a new designer, Donata tried her hand in a wide range of women’s clothing, but after a couple of years experi-menting with textile print design, she has found her niche market and now specialising in the design of women dresses.

Within a 2 year time frame, Donata has grown her collection and her business from herself and a sales girl to a full fledge conglomerate. Her dis-tributor now showcases the Millymoy collection in over 40 shops world-wide. Her most successful collection to date was that of her Spring Sum-mer 2007 showing. It was showcased in Paris and Milan for the first time and was received with welcoming arms for its Mediterranean feel and vivid colour scheme.

Donata is indeed a success story, having found her market niche in the middle class market for party and ev-eryday dress. Within such a competi-tive industry, Donata has undeniably set herself apart from the rest. She has developed a reputation within the fashion industry for providing high quality dresses at affordable prices. She uses only the best quality silks for which she designs her own prints on. No other designer has the same look, and in fact most pale in comparison.

All the hard work and late hours have finally paid off for this girl from Lithuania. It wasn’t at all an easy road, involving living out of a suitcase for the better part of 2 years while she travelled to India, Hong Kong, Brazil, Portugal, and Paris to name just a few. Her story shows the possibility of being creative and run-ning a full time business.

In the future, Donata plans to intro-duce accessories and hand bag line along side with Millymoy.¶

Spring Summer 2007 Collection

The glamorous Millymoy collection of luxurious pieces designed for sensual, feminine woman who loves life and likes to look-and feel-good.

The collection is fresh and modern with a ro-mantic and playful spirit. Inspired by exquisite fabrics and print, each piece is lovingly created with a light a playful touch, combining vibrant colours and embroidered embellishment with the most delicate of fine silks and cotton. A naturally sophisticated palette of tropical aqua, peach and melon imbues this summer collection celebrating femininity and style.¶

www.millymoy.com

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The first thoughts related to a need of change appeared in “Lietuvos telekomas” as early

as in the year 2004. Thorough and all-round activities started two years later, after a detailed analysis of the image of “Lietuvos telekomas” that proved a necessity of changes for “Lietuvos telekomas”. In autumn 2005, testing of new possible names of the Company was arranged. The short list of the names included about 500 items. Questionings were ar-ranged in Lithuania, Latvia, Estonia, Great Britain, and USA. In the year 2006, first visualizations of the name were developed. In March 2006, the Board of Directors passed a resolu-tion on approval of the image altera-tion; on 24 April 2006, shareholders of the Company passed a resolution on such approval.

Why “Lietuvos telekomas” decided to change its visual image? The brief answer would be following: the name of “Lietuvos telekomas” was identi-fied with fixed telephone communica-tions. In course of auditing the image, it was disclosed that fixed communi-cation services are associated with an inclination to unfashionable things, the passed epoch, passivity and consumers of elder age groups. In ad-dition, the abundance of titles of pay-ment plans caused a hugger-mugger. By the way, the new services, such as internet and future digital TV, that formed a considerable share of the portfolio of services provided by the Company, and caused associations of verdure, advancement, dynamism and freedom, were not identified with “Lietuvos telekomas”...

The vision of future and the new val-ues propagated by the new manage-ment team of “Lietuvos telekomas” differed considerably from the realty perceived by the community. The analyzed situation clearly showed that (over the world) only compa-nies capable to adapt themselves to rapidly changing needs and expecta-tions of the market become winners (the last version of the emblem of “Lietuvos telekomas” was developed by UAB “Dizaino institutas” about the year 1995, after separation of the

Business solutionsDigital TV

InternetFixed-line telephony

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Company from Lithuanian Post). The expeditiousness is very important in telecommunications business. “Estijos telekomas” completed its rebranding some earlier (it became “Elion”). Both telecommunications companies were branches of the same mother compa-ny – Scandinavian company “Telia-Sonera”. This circumstance facilitated sharing with experience, knowledge and information. Striving for a devel-opment of the optimum policy and strategy in respect of the image and trademark, this Lithuanian company of the highest capitalization analyzed patterns and trends of the activities of analogous companies of other states (such as “France telecom”, “Telefon-ica”, “British Telecom”, “Deutsche Telekom” and so on).

A particularity of “Lietuvos teleko-mas” was predetermined also by the level of development of the local market with its competitive environ-ment and economical capacities of the consumers. The situation in Lithu-ania was unique: the only provider of fixed telecommunications services competes against 4 large providers of mobile telecommunications services and cable TV companies engaged in rendering internet services. So, it was impossible to adapt a model of any other country.

The objects set by the management team of the Company (to achieve the status of the best company of the relevant category and to get rid of the tail of the former “Lietuvos

telekomas” image and the view that the company is out of fashion and has no perspectives) could be pursued by synthesizing the totality of informa-tion available, formulation of a clear strategy and taking into account the future perspectives.

The chosen strategic model of ser-vices included: the fixed communica-tions, digital television, internet and IT services for business. All of them should be united by the name of the mother company. Marketing, pric-ing, investments in new technologies, client servicing policy and standards were reviewed (about two thou-sand of employees of the Company passed training for improvement of their qualification). In the light of the said changes, the Company began to prepare itself for an alteration of its visual image that ought to strengthen and consolidate the new strategy and business philosophy of “Lietuvos telekomas”.

Now the Company was able to for-mulate its requirements for the enter-prise engaged in a development of its new name and visual image (it was the advertising agency DDB Vilnius). The total process was managed by the formed Corporation Image Formation Group that directly co-operated with the management team of the Com-pany. The process was divided into phases and each of them was coordi-nated with the directorate, the trade union and the shareholders.

New logo of the company

New uniform

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The mother company “TeliaSonera” relied on the competence of the man-agement team of its daughter com-pany, so it observed the run of the process but did not manage it. The management team of “TeliaSonera” allowed Lithuanians to express their creativity.

The chosen new name of the Com-pany became the Greek word “Teo” (“A Creator”). It has abundant advan-tages: is short, easily pronounceable in any language, open to a protection by a patent in the sphere of telecom-munications, its sound is open and harmonious, it is told in one respite, is bound with the totality, center, es-sence and – the most important factor

– clearly defines the new aspirations of the Company.

Testing of the name showed a favor-able opinion of the population on the new name and confirmed a correct-ness of the decision of the Company. Simultaneously, the investigation for analysis the new trademarks for services was carried out: “Vox” was chosen for fixed telephone communi-cations, “Zebra” – for internet, “Gala” – for digital television, and “Teo vers-las” – for business of IT services.

The results of questionings allowed identifying of the following associa-tions caused by the names. “Vox” was associated with neutrality,

uproar, strictness, prominence, and accurateness. “Zebra” caused associa-tions related to safety, clearness, joy, advancement, and advertisement. “Gala” was associated with holiday atmosphere, particularity, fashionable and stylish character. “Teo verslas” was bound with complex character, competence, and large resources.

The new trademarks were presented to the community in May 2006. For information, special centers for clients servicing by phone were established where each person could be provided detailed information on the changes.

Before the above-mentioned date, the Company had to carry out abundant

Mobile display Web site

Branch office

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internal works, such as changing its websites and office documentation, renewal of its publications to be sent by post, issuing of folders of explain-ing character and advertising materi-als, involving public relations compa-nies in the process. New marketing proposals were accompanied by the new trademarks already.

First of all, the new trademarks were presented to employees of the Company. General meetings were arranged in all large towns of Lithuania, such as Vilnius, Kaunas, Klaipeda, Panevezys, Siauliai, Aly-tus. Both employees of the Mother Company and daughter companies observed the presentation. Simulta-neously, the campaign for informing commodity exchange companies and public was arranged.

Renovation of “Teo” (including websites, documentation, signboards, vehicles, advertising & informa-tion materials, uniforms and so on) was completed in July. Complaints related to inconveniences were very few. The new name became widely known within a sufficiently short period. Later, “Teo” shall make every effort to transform the trademark into a brand in the consciousness of the population, to fulfill their com-mitments in order to preserve the loyalty and sympathy of its consum-ers, to become their good friend and to ensure strong emotional links with them. Because a success of a brand is predetermined, first of all, by the positive emotions related to the high-quality service. ¶

Advertising campaign

Hot-air balloon

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If you inquire Americans after the association caused to them by pink (rose) colour, probably

one of three would identify the Pink Panther. Representatives of the com-pany “flyLAL – Lithuanian Airlines“ (“flyLAL“) believe that after some years the pink colour will be associ-ated with the said Lithuanian aircraft company by one of three Europeans. Over one year ago, the colours of the national flag that dominated in the attributes of the Company were replaced with the pink colour. Repre-sentatives of the Company joke that they contributed to popularization of this colour in Lithuania. It is difficult to identify any causal links; however, shortly after presentation of the new

“flyLAL“ trademark, both dress de-signers and other companies became fond of this “unfashionable” colour.

“Lithuanian Airlines“ = LAL?

Sometimes it seems that alteration of the name, trademark and colour of the logo of a company came into vogue recently. Managers of “fly-LAL“ company assert that they felt a necessity to change its identification signs. The trademark of the Company was changed immediately after its privatization in August 2005. The change of the image was partially bound with the new attitudes of the Company.

However, according to Arunas Griskunas the Head of “flyLAL“, the trademark was changed in order to make it short, easy understand-able and identifiable out of Lithu-ania. “Foreign clients often inquired whether the name “Lithuanian Airlines“ and the trademark “LAL” identify the same company. We fly practically to all European states, so it is very important to have a trademark that is clear both to Lithuanians and the Irish, British or Italians “, A. Griskunas says.

The very first “Lithuanian Airlines” identity in 90’s on YAK-42 airplane

“Lithuanian Airlines” previous identity on SAAB 2000 airplane

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“After one-year activities under “flyLAL“ trademark, the Company decided to change its official legal name in November of the current year. “Lithuanian Airlines“ changed its name for “flyLAL – Lithuanian Airlines” in order to become the only national aircraft company and a leader of the aviation business in the region. Because of this, an implemen-tation of projects of Vilnius Airport reconstruction was started; in addi-tion, we are searching for opportuni-ties of extension in foreign states“, general manager of the Company Arunas Griskunas says.

The world with wings

The new trademark of “flyLAL“ was developed within several months. In course of passing the decision on understandable and clear self-pre-sentation to Lithuanian and foreign markets, we discussed with design-ers, marketing professionals, the management team and shareholders of the Company.

New “flyLAL” uniforms designed by Jurga Kasperaviciute

New signage

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The author of the logo is Vaidotas Skolevicius, having developed trade-marks for a number of well-known Lithuanian enterprises. In the logo, the world and the outspread pigeon’s wings (the symbols of travels by air that become more and more popular) are used.

According to A.Griskunas, “flyLAL“ trademark means a unity of modern innovations and important traditions. On the development of the trade-mark, it was agreed to remain the known name “LAL“ in it.

“We associate the name of “flyLAL“ with all features of a modern West-ern aircraft company, such as new technological solutions, high quality of servicing and innovations “, CEO says.

Pink uniforms

According to the Head of the Com-pany, the visual attributes of “fly-LAL“ introduced one year ago finally replaced the old ones. At present, a consolidation of the chosen symbols and colours takes place. In the near-est future, air hostesses will wear gaily coloured uniforms created by a Lithuanian dress designer. In the new uniforms, the colours analogous to the ones of the logo are used.

“Pink colour is a very female and live-giving colour. In addition, it symbolizes a safety. I wished the new uniforms to be as if a contrast to Lithuanian climate and the hostesses wearing the gaily coloured uniforms to feel not only comfort and feminin-ity but to exhilarate the passengers as well”, Jurga Kasperaviciute the designer of the new “flyLAL“ uni-forms says.

The pink uniforms replaced the grey uniforms of hostesses used for almost three years. On developing the new uniforms, a particular attention was paid to emphasizing the identity of the Company.

New “flyLAL” identity on SAAB 2000 airplane

New “flyLAL” identity on the company’s car

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About “flyLAL“

The aircraft company “flyLAL – Lith-uanian Airlines“ is a company of Lithuanian capital. This autumn, the Company celebrated its 15-year jubi-lee. Some over one year, the company “flyLAL“ acts as a private company. At present, “flyLAL Group“ controls 100 percent of shares of Lithuanian national carrier. The principal activi-ties of “flyLAL – Lithuanian Airlines“ include passenger transportation as well as cargo and parcel transporta-tion (regular and ordered flights).

The Company transports passengers directly from Vilnius and Palanga in regular flights to 19 popular Euro-pean towns. In co-operation with the joint code partners, “flyLAL – Lithu-anian Airlines“ provides its passen-gers an opportunity to fly to over 650 towns worldwidely.

“flyLAL“ has initiated an investment programme for 80 million Litas. The Company plans to build two new hangars for aircraft repairs and a new passenger terminal.

The development of “flyLAL“ is car-ried out in two directions: a natural growing of the business and an extension by acquisition of new enter-prises. “flyLAL Group“ that controls “flyLAL – Lithuanian Airlines“ is going to acquire Hungarian aircraft company “Malev”. After an acquisi-tion of the said Company, the passen-gers will be offered a larger variety of flights, a larger number of connecting airports and the integrated servicing system. ¶

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PECULIARITIESOF THE NATIONAL

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At the conference “Design Inno-vations and Economy in States of Baltic Region” arranged at

Vilnius Academy of Arts in the end of September, examples of a co-operation between representatives of business, industry and training institutions were provided, the importance of design and its innovations was discussed upon. Col-leagues from Finland, Denmark, Norway, Great Britain, and Latvia shared their experience. Herein we provide the thoughts of profes-sor of Vilnius Academy of Arts, mem-ber of the Board of Lithuanian Graphic Design Association Audrius Klimas on the situation of design in Lithuania. The interview of Elena Cerniauskaite.

Q. During the Conference, it was spoken much about the design policy on the national level, various strategies of the relevant activities, innovation centers. This event is important and useful for the es-tablished Design and Innovation Center in Lithuania. A. For the meanwhile, the Center can-not use all its capacities. Such a possi-bility will appear after a formation of a favorable media for design. Only in such a case, it will become meaning-ful and valuable. Of course, it is pos-sible to form a base of the Design and Innovation Center now; however, this way will be very long in the realty. If a greater attention to design appears, a need in the Design and Innovation Center will appear as well.

Q. What should be done and what is done for existing of the Center?A. Once we were sitting at a café situ-ated at Pilies Street. A waiter brought coffee to us. We put him a question: what is design, in his opinion? He an-swered that maybe it is something re-lated to wear and to fashion. It is very good, if a person associates design with wear and fashion. However, it is very bad, if design does not cause any other associations. To a certain extent, the situation of design in Lithuania is similar to the answer of the waiter. Maybe, somebody knows what does design mean, but is not capable to provide its precise definition... I use the word design in a broad sense. In Lithuania, we say “Full name and designer”. In the civilized world, you would be asked to identify the sphere of design. Are you a dress designer, a textile designer, a jewellery designer, a graphical designer, an architectural designer or an industrial designer? If it is written Rita Rudyte the dancer, many additional questions appear. Does she dance folk dances or is engaged in ballroom dancing or in ballet? Dances are abundant and various. The situation of design is the same. However, both journal-ists and even designers themselves very frequently do not emphasize this. Designers are various. Design is a type of creative activities reflect-ing relations with the community. There are abundant various opinions on closer or more distant relations

of one or another sphere of design with pure arts, such as graphical art and so on. We can speak about vari-ous matters, such as the situation of design in Lithuania, its perspectives, the Design and Innovation Center, generally about a design center, ways of design propagation; we can discuss whether design is more economic or artistic concept. Design helps to sell. In an economical system, marketing is technology and design is culture. Design increases the surplus value of each product. Design is worthwhile. It is impossible to create good design, if you lack money. In such a case, we produce bad products, for example, a bad furnishing, a bad watch, a bad earring, a bad logo, a bad inte-rior. However, if you choose a good design, it always causes high invest-ment returns.

Q. Are these facts understood in Lithuania?A. We can identify many causes of non-understanding or an insufficient understanding of them in Lithu-ania. Both Lithuanian industry and Lithuanian budget are formed upon ignoring design. Industry includes the energy sector, the transport sec-tor and the consumer goods. For example, “Achema“ is engaged in production of fertilizers. What level

of design it needs? Most probably, it is sufficient to pack fertilizers in large sacks. They are not consumer goods. They belong to the sphere of whole-sale trade with its other problems and other objects. The energy sector (Igna-lina Nuclear Power State, Mazeikiai

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nafta) has nothing in common with design. State authorities and econo-mists think that economy is presented by the above-mentioned sectors only, and such thinking is natural. How-ever, design in the sector of consumer goods increases considerably their surplus value. Italy produces 80% all furnishings in the world. And they are saleable. Why? Excellent wood, good laminate or perfectly dressed leather contribute to its marketability, but their roles are not critical. The key factor is their good design. There are many enterprises engaged in furnishing manufacture in Lithuania and they issue abundant production. However, only few products distin-guish themselves for a good design. Very often, enterprises orient them-selves towards the technological pro-cess only. Technology without design is nothing. You can have very good materials, very good technologies and modern equipment, but if your products are bad, their market will involve only consumers of the lowest level of sophistication or purchasing power. Such enterprises and such products will further exist. In fact, they will further vegetate in absence of ambitions to create a good design that would enable them to access Europe, more attractive markets...It is, undoubtedly, a long-year perspec-tive. Very frequently, business (in particular, small business) is limited by the lifetime of one businessman. As a rule, design-supported industry exists for a long period; some com-panies (such as Thonet) may act for a hundred years. The possibilities of design should be explored and ap-plied. Of course, some awkwardness of Lithuanian designers takes place as well. Sometimes, they as if look at us from an ivory tower: all of you have a poor taste, you know nothing about design, and we know it well but shall not disclose to you out knowledge (laughs). It is a process that requires both-side attempts. A similar situ-ation took place in Sweden. Some years ago, a well-known Sweden designer visited Lithuania and told us about the benefits of design. We inquired: does the population of Sweden know what is design? He answered that now a majority of it

does. However, a considerable work was carried out before the people got to know and assessed this. In Stockholm, a large exposition of the achievements of design where the best examples of design for the pe-riod from the post-war years to pres-ent time were exposed was opened. In the beginning, only three visitors a day or a week appeared there. Then devoted designers thumbed through the Yellow Pages in order to select enterprises that really could have a need of design in future (maybe, even on that moment); each of them delivered 200 lectures a year, visited various enterprises and responsible persons, trying to convince them... Such actions are needed in Lithuania as well. On the other hand, many businessmen know about Armani suits, Porsche, Nokia Vertu. These luxurious goods cannot be imagined without the design. They cannot exist without a good design. However, such persons do not understand that a good design can be created in Lithuania as well. Of course, it needs a proper orientation and a good strategy. There are some good works of Lithuanian design that gain a com-mercial success in foreign states as well. Nothing is impossible.

Q. May it should be concluded that the situation of design in Lithuania is complicated?A. I inquired Finns (participants of the same conference) about the situation of design in Finland. It is poor, they told. Ho, if the situation in Finland is poor, maybe it is good on the Moon (laughing)? Or it is good in Lithuania. It is possible to wish more and more. From the report of Latvians, I concluded that a manage-ment of this sector is arranged in their country on the national level. They gradually integrate the concepts of competitiveness in laws on develop-ment of industry strategies. They start thinking about the future of design in Latvia.

Q. It may be concluded from the report of Ass. Prof. Barbara Abele, the Pro-dean of the Latvian Aca-demy of Arts Design Faculty, that a clear project had been developed in Latvia.

A. Yes, they had project “Design in Latvia“, developed by design consult-ing group managed by well-known designer Per Mollerup from Den-mark. He had created a system for a development design programmes in states where such programmes do not exist. I think, it was successfully ad-opted in Latvia, although there were many doubters who told: “No benefit will be caused by such programmes offered by foreigners”. However, the positive results gradually appear. Three years later, the same doubters probably will remember, how and when it was started.Of course, an initiative is the key factor. The Design and Innovation Center should, first of all, care about a formation of favorable media for design. The abundant new ideas will appear and they can be analyzed: there is a traditional design, or design based on styling, or absolutely inno-vative, modern, revolutionary design. In the meanwhile, the situation in Lithuania is another. On the other hand, herein we do not consider particularly gifted persons or some progressive enterprises where design dominates in their business philoso-phy. Undoubtedly, a certain number of them exist in Lithuania as well. However, herein we speak about a certain system of design, a certain structure of it; maybe supported by the state’s initiative, starting from higher schools, study programmes and links with industry. Experienced designers should assist industry by introducing their design-related ideas. It is necessary to avoid a situa-tion when a designer on the first day of employment is told “OK, you can work here for a short time; however, your ideas are not needed here, be-cause we produce plates that are well saleable (in the meanwhile)”.

Q. Does the Design Department of Vilnius Academy of Arts keep rela-tions with enterprises?A. Yes, some relations exist. Un-fortunately, they are limited with production of patterns according to our diploma projects. Furnishing enterprises help us, the patterns look as real products and we always enjoy their success during maintaining of

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diploma projects. However, such works very rarely are transferred for mass production. Probably, this fact attests that there are no sufficiently productive links between industry and the higher school. In fact, it is a problem of the whole system of higher education in Lithuania. On the other hand, an enterprise produces and sells the today products and a higher school should be oriented to the future products. Probably, the said lack of agreement is caused by these circumstances. However, projects developed of students do not distinguish themselves for a high professional level – after 4 or 6 years of studies, a student is hardly capable to develop a good product that causes a whoop “Ho! It’s wonderful! Every-thing is OK”. Because the idea itself consists of various factors, including economical ones, such as production costs, successful selling and so on. Design considers a distinguishing and complicated process. A product with a poor design cannot be popular.

Q. What do specialists after gradua-tion from the studies at the Design Department of Vilnius Academy of Arts?A. Probably, their activities are related to design. (Laughing). Of course, to design. They are engaged in popular spheres, such as furnishing industry, interior and graphical design, and advertising sectors. A need in them is enough high. However, to what extent such a need is conscious? Have you abundant clients that can say “I know what does a good design mean”, whom a designer can con-sider reliable ones. Most frequently, it is told “ I know what does a good design mean; please, make for me anything original but the same as everybody has”. It is a problem.

Q. Do you know cases when gradu-ates of other specializations pro-vided at the Academy of Arts are engaged as designers?A. Yes, yes. Many painters and sculptors are engaged at advertising agencies. It is interesting that often such a painter comes to an advertis-ing agency and says: “I am not aware of graphic design softwares; however,

I have abundant ideas in my head”. And such a person is engaged as cre-ative director. When a graduate of the Design Department of Vilnius Acad-emy of Arts comes, he (she) is told “You are able to work with a com-puter, so you’ll implement the ideas of the painter”. And nobody takes an interest, whether the designers has own ideas as well. Although he (she) was trained as a creative person at the Academy.

Q. And a designer turns into a simple technician?A. It is sufficient ironical ...But it, of course, is not a rule.

Q. Design is predetermined by the opinion of the boss, not the profes-sional designer?A. It is a general problem of our culture. Of course, I cannot state that such situation exists always and ev-erywhere. It depends on the intellect, cultural level, education of persons and many other factors. However, it should be recognized that the level of visual culture in Lithuania is gener-ally low. Buyers are always right: the pattern (of a fabric) is nice because it is chosen by a majority of buyers. This reflects a certain level of devel-opment of the community’s visual culture. In the meanwhile, such a situation is unchangeable.

Q. Are the professionals able to impact the supply?A. Such impact is also bound with the problem of financial maturity. When maturity is achieved, a neces-sity of experiments and innovations appears.

Q. Is it true that no institutions for a formation of the taste of a buyer exist?A. Why no? There are professional organizations, such as Lithuanian Designers Union and Lithuanian Graphic Design Association; the National Fashion Design Association was established as well. I think the said public organizations should in-clude broader enlightening activities into their plans.

Q And in the end – about the inter-relations between design and in-novationsA. Design is innovative because of its nature. The process of design changes a thing: it becomes newer, friendlier in respect of environment, its manu-facturing technology becomes easier or its price becomes lower. However, in such a case, we should speak about an innovative character of the ideas of design: instead of the traditional design, a new design appeared. How-ever, it should be understood that de-sign is a synthesized phenomenon: a new design is impossible without an innovative technology. Of course, it is possible to offer an innovative design in absence of modern technologies, i.e. to offer only the idea. However, technologies and design are closely interrelated, so a designer, a group of designers or a designing company presents only one segment of the total process. So, it is necessary to discuss upon how to use the possibilities of design for development of other spheres. I repeat: these processes are sophisticated and complicated. A designer really can (and should) be a business partner. Design is an eco-nomical concept. It is a sphere bound with the style of life, human habits, preferences of various persons in respect of certain commodities as well as their needs to manifest themselves, to take a pride or to satisfy their aes-thetical dispositions.¶

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THE BRIGHT SIDE OF THE MOON

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“We are a small community in the moon. We live close to the stars and their close-ness inspires us with ideas encouraging visions of the future. Curiosity. The power of knowledge. Positive thinking. Personal touch. We believe this to be the beginning of all small and great discoveries. Design is our path where the soaring of visions create new reality. This is thrilling. The satellites passing by remind us of the beings elsewhere, who seek for communication, just like we do. In order to create together. Therefore, we send out this signal to communicate the message about us...”

The authors of this message - a new design group /made>in>moon/- chose to present their brand in a quite unexpected and intriguing way. Two years ago a funny idea crossed the minds of three Lithuanian

designers to use the symbol of the moon for expressing their brand identity; since then the concept /made>in>moon/ has been gaining momentum and new fans in different countries of the world.

Concept

Design from the moon? What kind of design is it? Futuristic and cold-hearted or, quite opposite, attempting to bring a personal touch of human hand…/made>in>moon/ team attempts to uncover this mystery through a reconcep-tualizing the purpose of things, for expressing their view of what constitutes reality and perfect result, for which they use technological processes;

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Surely, seriously speaking, /made>in>moon/ concept is well articulated. It is an attempt to tie in several things which look so distantly unrelated to each other; namely, an innovative design as a creative business and a small country - Lithu-ania - as a place where an innovative design can be created. Team members are delighted that their brand concept was well received and appreciated by well-known design gurus. “Well done, well done” - was the reaction of the branding guru Wally Ollins from “Saffron Branding Consultants” to a catalogue portfolio of /made>in> moon/ which was given to him dur-ing his last-year’s visit to Lithuania (accidentally this visit was co-or-ganized by /made>in>moon/ and Lithuanian Graphic Design Associa-tion to which all three members of

/made>in>moon/ belong to). Stefan Sagmeister, another famous name in design world, was even more appre-ciative - he commented that “the sun always shines on the nose” of these artists.

The story

/made>in>moon/ was created by three well-known designers: Kriste, Marius and Aidas. The trio believes that in a very near future product design can bring a lot of benefits to Lithuanian design as well as future-oriented local manufactur-ers of stylish design objects (some of them are already supporting this project). The project was initiated by Vilnius-based Marius Kasperavicius, Aidas Urbelis (both well known for their legendary, unexpected, daring

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graphic design created in the design studio “Barikada”) and their talented colleague from Kaunas Kristina Zalnierukynaite. By branding their design as /made>in>moon/ three friends and colleagues decided to prove that it is possible to create world-class design objects in Lithu-ania, a country which is not readily associated with design achievements if at all.

The innovative concept was pre-sented for the first time at the ex-hibition “ReDesign Europe ‘05” in Berlin where the catalogue of /made>in>moon/ was exhibited and received a lot of interest from design specialist, thus showing the creative potential of the group.

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First projects under the brand of /made>in>moon/ were presented at the innovative design event “Design-boom mart ’06” which was orga-nized as part of a larger international design biennale in St. Etienne, France. The concept and its creators were re-ceived to a wide acclaim and gained new fans among designers from such countries as Japan and Israel.

Products

The first collection represents tech-nological reflections on the theme of several “object ideas”. One of them is the project “FootMoon” - funny foot-wear made from felt and polyester - materials with two distinct qualities of touch: felt is soft and human, close to one’s skin, polyester - artificial and detached from any human touch. Through the mix of two opposite ma-terials, “FootMoon” attempts to me-diate between technological processes and soft touches of human hand. An-other project governed by the same idea of mixing the opposites is called “GoodMooning tea” - it is a mix of herbal teas packed in a sack made from special type of rubber-coated film used in advanced printing.

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Facts in nutshell

Plans are to update the website www.madeinmoon.com with the presentations of new objects and an e-shop.

Team works according to the principle of workshop (one object - one technology), thus /made>in>moon/ is always open to new contacts with manufacturers from different fields (from modern printing industry and lasers to electronics and smart textiles).

Team members have been numerously awarded at international events: among their trophies are Grand Prix at “Cos-mopack International Design Award” (for the perfume “A la soleil” concept project), Silver Medal at International Design Competition “Design DO! “ in Nagoya for conceptual packaging design.¶

Cité du design at Saint-Etienne 2006 International Design Biennial

/made>in>moon/ at Saint-Etienne 2006 International Design Biennial

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Today, he is one of the most famous Lithuanian furnishing and interior designers, the cre-

ative director of UAB “Contraforma”. Nauris Kalinauskas started his career by the studies at Vilnius Civil Engi-neering Institute (at present - Vilnius Gediminas Technical University). In 1992, he continued his studies at Vilnius Academy of Arts Faculty of Architecture and Design and since the year 2000 is a head of “Contrafor-ma” Studio. In the year 2006, together with his supporters, he established the association “Lithuanian Design Forum” for a propagation of Lithu-anian design and its possibilities.

The start of the creative activities

It coincided with the re-establishment of Independence of Lithuania and the change of the economical system. Establishment of abundant small private companies started. Nauris dived into business as well. While being a second-year student, he with his friends established “Hardas” company engaged in production of illuminative signboards. In course of time, this sphere appeared to become too narrow and tedious; however, small manufacturers of furnishing just started to express themselves in the market and they provided a new perspective to the future architect – furnishing design. Then the young designer probably could not imagine that furnishing will become the core of his further creative activities.

In the year 1997, N.Kalinauskas started his co-operation with “Ukas” company and several other small manufacturers of furnishing. Nau-ris admired “Ukas” because of its experimenter-like attitudes: many products of the company differed from those that were usual in the market; the company used progres-sive high-quality materials, because its head was a person of a progressive attitude. In co-operation with “Ukas”, a number of successful collections of bureau and domestic furnishing were developed.

Contraforma

In the year 1998, the financial crisis of Russia affected Lithuania as well. Originality and high quality were placed in awkward position. Many companies crashed. Then the time of “Contraforma” came. N.Kalinauskas with his partner Rolandas Bitinas established it in the year 2000. They started their activities from small orders for furnishing and interior. Because of its poor capacities and modest investments, “Contraforma” executed its orders at industrial bases of its stronger partners. It was a time when a company was forced to offer both an idea and its materialization to clients. Nobody wished to pay individually for an idea. Nauris rec-

Carpeting “Imperial”2005

ognizes that even now clients hardly accustom that ideas have their price as well. Today “Contraforma” already re-ceives also purely conceptual orders both from companies engaged in manufacture of furnishing, and from individual clients. Since the year 2001, N.Kalinauskas studio takes part in specialized furnishing expositions in Lithuania and abroad (such as “ReDesign Europe” in Berlin, “100% Design” in London, “Interior Life-style” in Tokyo and so on). Although “Contraforma” does not try in the meanwhile to make investments in its promotion, its popularity is growing.

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Markets

The principal market for selling the products of the Studio is Western Europe. However, “Contraforma” carefully examines the Russian mar-ket as well. Together with its staff, the designer takes part in exhibitions ar-ranged in Kaliningrad area; however, only complex interior-related solu-tions are exposed there, because the recent furnishing design trends have not taken roots here yet. The designer notes that Russian consumers may be divided into two groups: those who buy production of the most famous production of Italian designers (if has money for it) and those who buy the cheapest local production or production imported from China. So, the label “Made in Lithuania” is not sufficient in Russia. However, serious investments in Russia are bound with too high risks. In addition, influential intercessors and useful contacts are very important factors in this state as well, and this circumstance limits an aspiration for “conquering” the East.

Competition

Although the design’s competitive environment in Lithuania is not savage, Nauris does not reduce the standards set for him. The ideas are implemented and tested in Lithuania; then they are polished and brought for presentation to foreign states. Culture of Lithuanian design is in the

phase of formation now and it stands behind the neighboring Estonia or Latvia. In the opinion of Nauris, even the Academies of Arts of the said neighbors have stronger bases for production and experiments, so more favorable conditions are ensured for formation of young talents. Generally, 3D design is hardly realizable in Bal-tic States because of the poor indus-trial base; the only pleasant exception is furnishing design. So, the only re-mained perspective in the meanwhile is orientation towards more powerful Western countries. Because of this, young creators are highly tempted to leave for West where much better conditions for creative activities are provided today.

Inspirations

The designer finds the sources of creative inspiration in the everyday life. The strategic credo of the author: the style of the design house “Contra-forma” presented by the staff of talent designers (not the touch or style of an individual). Nauris provides the creative model of Dutch design studio “Moooi” as an example. N.Kalinauskas describes his personal creative style as minimalism strongly affected by Dutch design as well as by the strict philosophy of archi-tects modernists and Bauhauz. The designer takes an interest in modern trends as well; he likes creative works of Dutch Marcel Wanders and Briton Tom Dixon.

Table “Mild”2002

Armchair “Mago”2003

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Partners

4 Lithuanian companies engaged in manufacture of furnishing were cho-sen as strategic partners and the Stu-dio provides them its collections for individual or serial production. Usu-ally, a creation of a collection contin-ues for up to a year and a creation of a prototype – for one or two months; a major part of the time input is taken by improvement of technological and structural parts.

Perspectives

The strategic direction of develop-ment of the Studio - London-Tokyo-New York. After a formation of this rearwards, the Studio plans taking a more serious interest in the potential-ly perspective Russian market, first of all, Moscow market. The second pri-ority is investment into e-commerce (e-shop), where the assortment from individual furnishing to complex interior-related solutions is saleable.¶www.contraforma.lt

Collapsible seat “Mutabor M” 2003

Shelves system “Quad”2006

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In 1998 while sitting on a lonely chair in an empty room next to three of Gaumina’s computers, connected to

the game network, Darius Bagdziunas, the future director of Lithuanian e-solu-tion company Gaumina, said: “We will be the world’s best in web development and quality will be our God.”

Founded in 1998, Gaumina has become a leading e-solutions provider in the Baltic States. Gaumina’s business activities lie in web development, multimedia, anima-tion, e-commerce systems, online games, usability and e-business consultancy. Providing a full range of services from graphic design to internet strategy and advertising campaigns for clients cross-ing all business sectors, the company gains 39 percents of Lithuanian e-solu-tion market share, provides jobs for more than 65 employees and counts more than 2000 implemented projects. Delivering projects from small enterprises to Lithu-anian business leaders and governmental institutions Gaumina also works with global brands like Procter and Gamble, Nokia, Hydro Texaco, 7up, SPAR, Dunnes stores, Phillip Morris, FIBA Europe, Finnish and Irish public sector.

Working actively in foreign locations: Ireland, Denmark and United King-dom, the company is about to establish the international network. What makes Gaumina an evident competitor with the best web design agencies in European Union?

Gaumina’s idea

“Why do most of the websites make you feel the same: boring, poor, not worthy to spend any time at them? Most web developers go the tem-plate-based way. They change a logo, color and here it is a new web page. That is the reason why most of the websites look absolutely the same. Our clients move in a different way. We approach each unique client situ-ation with deep business and com-munication analysis, creative ideas and perfection in implementation. Each interactive product we deliver is to make internet users fall in love with our client’s brand” tells Darius Bagdziunas, director of Gaumina.

MTV Baltic websites

Recently Gaumina has implemented an extraordinary project for MTV Networks Baltic – created websites for MTV in Lithuania, Latvia and Estonia – mtv.lt, mtv.lv, mtveesti.ee.

Websites for Lithuania, Latvia and Estonia provide a wide range of youth entertainment by connecting large scale musical information to MTV live and recorded programmes, mobile content, blogs as well as in-formation about the concerts, cinema timetables and club events.

“Gaumina simply left us no other option, but to love the idea straight away. I am afraid, what if they will create something as good as this for our competitors? But I guess it takes many things for great things to come to life: the ambition of the client, the creativity and inventiveness of the web agency and from both of them – braveness. I am positive there will be no website like this. You hate it or you love it, and that’s what we want.” commented Tomas Ra-manauskas, Head of Marketing, MTV Networks Baltic.

Creative concept

“Rebel. That was the only word included in the MTV brief. While brainstorming our creative team came up with a number of ideas faced by

youth nowadays, ranging from Cyber space with You Tube and Google to Eastern lifestyle and the nineties, coming back to shatter music and fashion. We realised that MTV is all that and more. We needed something that in terms of design and technical implementation will be fashionable tomorrow. The concept that was implemented is unexpected, brave and misterious... Even for ourselves.. Check out yourself at www.mtv.lt “ said Darius Bagdziunas.

Technical solution

“The competitive advantage is a video background. This technology is brand new and a cutting-edge way to provide content and advertising in an unexpected (therefore very effective) way. Video in the website back-ground was used for the first time in the Baltic’s and it is likely to be one of the very first times in the European Union. Video background helps MTV websites stand out from the crowd and be remembered in a user’s head and heart” comments D.Bagdziunas.

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Business benefit

“The objective of the MTV websites is to become the most visited youth websites in the Baltic’s. To achieve that constant work with MTV Baltic’s is precisely planned. We are to have weekly objectives, calculate the re-sults, meet and discuss progress. This way the websites are not forgotten as it usually happens soon after the release, content is being constantly updated and results are precisely calculated. This way the client knows the measurable business result pro-vided by the website”, remarks direc-tor of Gaumina.

Measurable result

“MTV case is an evident example that to deliver a superior solution the overall creative execution and ad-vanced technology is not enough. To be capable of bringing real competi-tive advantage to each of the clients, the e-solution company must know the methods to follow and measure the results.

Successfully combining creativity, technical expertise and measurable business results into one Quality Con-tact methodology was the core step that moved us to partner level work-ing with Leo Burnett, DDB, McCann Erickson, TBWA, BBDO, Ogilvy, Saa-tchi and Saatchi, Young and Rubicam, Euro RCSG international advertising

networks, these and many more global advertiser trust us with their clients for the interactive projects. Gaumina helps to compete.

We, the people of Gaumina believe in web. We believe in a measurable business result that companies get from their websites”, smiles Darius Bagdziunas.

Case studies

The website of Finnish design agency “Tuuletin” / www.tuuletin.fi

Aim of the website: increase the num-ber of agency’s clients and partners.

Creative concept: Sophisticated mod-els presented without a text, all in animated story.

Solution:Those visitors, who want to know more, each time are invited to register on the extranet so that the agency could get their contacts. Why without a text? 65% of Finnish advertising departments are headed by women!

Awards: Golden Hammer, Euro-prix Top Talent Award, thefwa.com, Grand Prix (best site of a year) at Lithuanian web sites Championship.

Toxic (pre-paid mobile card) brand website for Latvian youth /www.toxic.lv

Aim of the website: brand awareness, attracting new consumers .

Creative concept: The city I live in. A place to feel free and practise.

Solution: Pictures and photos of well known Riga (capital of Latvia) objects create the city attractive to the young and active target group. The virtual real-istic city (including 3D elements) has no bounds and offers a great enter-tainment: mixing the music, painting graffiti on the walls, watching how

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professionals practise their X-treme tricks.

Those who want to save created grafitti and music tracks, need to register on the extranet and purchase LABAS pre-paid card.

Awards: Golden Hammer, ADrenalin

The website, presenting Lithuanian housing estate ,,Pavasaris“ /www.pavasaris.net

Aim of the website: Present new housing estate and increase sales.

Creative concept: ,,Next to the na-ture“.

Solution: Emotional solution: implemented by creating 3D animals, living next to the people and having fun together. Each time visiting the website, a user can see one of the 5 different interac-tions with the nature (in order to see all of them, open the page in a new window).

Functional solution: reservation of apartments and getting details of us-ers’ contacts

Awards: create.lt, e-zine.lt

The e-shop of New York residing designer Alex Sepkus jewelry /www.alexsepkus.com

Aim of the website: present jewelry and excite to purchase ,

Creative concept: let the jewelry talk itself .

Solution: Flash e-shop, providing easy to look over jewelry. Each time the visitor opens the website, he sees a different handicraft on the front page. ¶

www.gaumina.lt

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SWAROVSKIMADE IN

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it’s professionals with professionals of Austrian company “Swarovski Decoration Systems“ – from the ideas to their final implementation. In course of the implementation of this unique project – that has no analogues in Europe – our reliance on the own creative potential and technical performance increased; in addition, our partners provided very good assessment of our work. In course of creation of the said jewellery, designers of “Crystal Creations“ had come a long way from the idea, collection of needed information, transforming of the collected material into artworks (drawings, relieves) up to turning small segments of the artwork into jewellery.

Moonyah®

Each article from Moonyah® is a modern artwork, not only a decoration. The collection adopted the expressive symbols of Egyp-tian culture and discloses them in smaller artworks.

Each decoration is created on the base of four elements – fire, air, water and earth as well as a wider classical interpretation of the light and dark sides of the moon.

Each artwork of Moonyah® is pro-vided with a special mark - a small opaque shining moonstone, casted into a different place of each jewel.

Creation of Moonyah® Egyptian collection

A great role of ancient Egypt in formation of future cultures pro-vided a clearly defined subject and a spiritual base for creation to the creators of Moonyah® collection.

In course of thorough studies of Egyptian culture, several most expressive symbols of the ancient civilization and the most charac-teristic features of its life had been chosen. The result is a unique col-lection of drawings that forms an artistic totality of Egyptian culture.

On 14 December 2005, a first shop of Moonyah® jewellery in Lithuania was opened at

Visu Sventuju/ Karmelitu St. 5, Vil-nius. Moonyah® is an exclusive col-lection of Egyptian culture, so each Moonyah® has a unique element – a small opaque shining moonstone, casted into a different place of each jewel.The new collection had been created by professionals of Austrian compa-ny “Swarovski Decoration Systems“ and its secondary enterprise “Crystal Creations“ in Lithuania.

The Start

The era of “Swarovski” began in the year 1895, when Austrian Dan-iel Swarovski created the world of wonderfully shining crystals using a special polishing technology. Today Swarovski jewellery presents both the privilege in the world of fashion and an opportunity of search for internal self-expression and its discovery for each of us.

The success of Swarovski Company was not occasional. It was a result of long-year diligent activities in crystal producing and polishing, searching for the most optimum artistic forms, using the most updated enterprise management technologies and con-ceptions of development.

One of such steps was the establish-ment of UAB “Crystal Creations“ in Lithuania in the year 2001. This enterprise is a secondary company of “D.Swarovski & Co“. UAB “Crys-tal Creations“ did not limit itself by technical activities. On the contrary, it established a group of twelve de-signers that improved their skills at famous jewelry workshops of Austria and France. And their attempts were assessed positively: Moonyah® col-lection that expresses a new attitude towards jewellery creation was the principal creative examination of UAB “Crystal Creations“ and one of its key challenges.

According to Asta Maksimiakiene the Director of the enterprise, this collec-tion is a result of the joint activities of

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After improvement of Ceralun™ technologies and their adaptation for jewellery manufacturing, a creation of “crystal pictures” started. Each picture is unique not only because of applying the special technology and using Swarovski crystals, but also because of its artistic value. In addition, each artwork is a hand-crafted one.

Creation of “Crystal pictures“ is ended by a development of the general artistic conception that reflects symbols of ancient Egypt. Various frag-ments of such a picture are usable in subsequent making smaller jewels. Moonyah® collection provides a wide spectrum of colours, forms and sizes of decorations. ¶

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IS BORNBRANDTHE

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Baltic Beverage Holdings wished to fill a gap in the mar-ket for an innovative, modern

and easy to drink light beer. The new Lithuanian brand was to be named “Delight” and endorsed by “Utenos alus”.

Design concepts were required for the new brand identity graphics and 33cl glass bottle structure aimed at a uni-sex consumer aged between 18 and 28 years. The target market was to be urban, single and well-educated, with a good social life and few responsi-bilities.

The design had to communicate a sense of ‘heffortless cool’. A sense of

modernity, innovation, originality and refreshment were key to the look and feel of the brand.

The Name

The original brief stated that the beer should be named “Delight” which did not seem to fit with the brand val-ues of being cool and having appeal to both sexes.

The team explored other ways of looking at the name: looking at the meaning of “light” (weight, colour, brightness, humour). They also looked at changing the look the word by adding emphasis to certain letters or by changing them completely.

Design concepts

The design concepts explored various aspects of the brief. Care was taken to ensure each design had a strong core message behind it. The graph-ics and structural designers worked closely together to ensure that the bottle structure and graphics worked harmoniously. The designs were then supported by simple ‘mood’ images.

Structural design

The structural design began with loose hand-drawn visuals which explored a number of options ranging from embossing details to a distinc-tive profile.

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The chosen route was then worked up in 3D computer software which gave a highly finished impression of the bottle and allows the design to be viewed from every angle. Refinements can be made and visualised relatively quickly.

The structural team worked with the manufacturer to ensure the design worked within technical restraints.

Graphic design

One route from the initial design concepts was chosen for develop-ment.Inspired by a tattoo, it signified

individuality and an urban sense of cool.

Technical restraints made it impossi-ble to print directly onto the bottle. A silver label was chosen and the tattoo image became a much more subtle background detail.

“Utenos alus” has been given more prominence in the final design and the flavour has been highlighted. It still remains true to the initial con-cept.

Results

D-Light’s launch exceeded expecta-tions with the brand’s packaging playing a key role in delivering on brand values. Its success enabled D-Light to break into a highly competi-tive market.

Results during the launch of D-Light were three times higher than those expected. Had supply been able to keep up with rising demand, launch results would have been up to five times those expected.

Massive interest in the brand has resulted in overwhelming success six months on – 60% greater than planned.

D-Light set a new beer culture, eliminating the main emotional and functional beer usage barriers.

Most importantly, D-Light’s design delivered on its main strategic chal-lenges: it successfully recruited young users back to the beer category from ciders, long drinks, soft drinks and other youth-targeted beverages.

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Design concepts About Lloyd Fergusson Hawkins Brand Identity Consultants

Established in 1993, LFH is a branded packaging design specialist based in London, but with extensive international experience of global and local brands.

The relationship between the agency and Baltic Beverage Holdings began back in 2003 and has continued with the creation and development of several brands in the Baltic and Russian markets.

LFH’s design team comprises both graphic and structural designers. This was ideal for the “D-Light” project - a completely new brand which needed a strong identity and a bespoke bottle structure.

www.lfh.co.uk

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Product specification

In 2006, “Svyturys-Utenos alus“ company has presented its new prod-uct “Utenos D-light“ – the mild low-spirit drink produced of “Pilsener“ beer and natural lime juice. Accord-ing to the message of the Company, such composition enables to reduce the hop bitterness that is specific to the traditional beer. “The beer with natural fruit juice is a new category in Lithuanian beer market. Other beer cocktails in the market are produced by mixing beer with fragrants ,” Ro-landas Virsilas the Director General of “Svyturys-Utenos alus“ company tells.

“Utenos D-light“ is targeted to consumers that lack a better choice of a milder beer among Lithuanian brands of beer.

“By manufacturing this only 2.9 degree beer, our Company takes the initiative to alterate habits of consum-ers and encourage them to choose milder drinks with a lower content of alcohol”, R. Virsilas states.

The manufacturers believe “Utenos D-light“ to turn into “Lithuanian Corona“.

Similar types of beers, such as “Beck‘s Green Lemon“, are singled out as a special category in countries of West-ern Europe and recently it becomes more and more popular. According to research data, this product is chosen not only by users of the traditional beer, but also users of wines and alco-holic cocktails.

Within seven last years, investments in “Utenos alus” Brewery amounted to 100 million Litas. At present, it is the largest and most modern brewery in three Baltic States where high qual-ity of beer is ensured by the intro-duced ISO 9001 standard.¶

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FORM IS NOT THE GOAL BUT THE RESULTHANSABANKAS:

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“Hansabankas” plans a renovation of its branches to ensure a clarity and convenience for its clients

This autumn, two first branches of “Hansabankas” equipped in accordance with the client

servicing standards were opened in Vilnius and in the center of Raseiniai. In addition to updating the standard of equipment of branches, “Hansa-bankas” simultaneously renovates the stylistics of its trademark in its communications.

Members of the management team of “Hansabankas” argue that the bank is changing because of changes of the needs of its clients.“Within several last years, rapid changes of needs of clients took place: a majority of payments are made through electronic channels, so a bank branch is turning into an institution where clients come to be provided consulting services related to everyday problems of finance man-aging, investing or borrowing”, Head of the Retail Banking Service Antanas Danys says.According to him, for this reason, a larger space is provided at new “Han-sabankas” branches for workplaces of professionals engaged in consulting the clients on various financial issues; in addition, a servicing zone where the clients shall be able to use bank-omats and “hanza.net” terminals is provided at a branch.

Music will sound at Bank branches.“We try to make the new branches cosy and convenient for our clients: first of all, a bank employee shall come to meet clients at larger branch-es, assist them to find a necessary specialist and the needed informa-tion in order to save their time; the design will be renovated and become more lively; also other details, such as comfortable settees for clients, a larger space and warmer colours of the interior, are planned. The musical background will ensure a pleasant environment and increase a confiden-tiality of the conversations “, A.Danys told. According to him, it is planned to arrange plasma screens for display-ing information useful for clients at

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some branches of “Hansabankas”.“We hope the cosiness and comfort of bank branches will persuade clients that the bank may be a cosy and “homey” place; however, high-quality servicing and high level of the professional skills are of the key importance “, A.Danys says.In order to facilitate an orientation of the clients at renovated branches of “Hansabankas”, zones for render-ing different services will distinguish themselves for different colours: the zone for everyday financial opera-tions (such as payment for public util-ities, making bank orders and so on) will be yellow, the zone for consulting on problems related to borrowing of funds will be red and the zone for

consulting on planning of personal investments will be blue. For a fur-ther facilitation, the administrator of a branch shall come to meet a client at the entrance and help him/her to find a needed professional of the Bank.By the end of the year, “Hansa-bankas” plans to equip or to recon-struct 15 bank branches according to the new standard; in 2007, - about 25.

The new concept of equipment and design of branches and stylistics of the trademark were developed by “Hansabank” group with an assis-tance of well-known British consult-ing company.

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The said Company provided con-sulting services on equipment and design of bank branches to a number of banks in Europe, USA and other states.

At present, “Hansabankas” has 120 branches in Lithuania and almost 3000 employees are engaged at “Han-sabankas” Group in Lithuania. “Han-sabankas” is a leader in many spheres of retail banking, such as financing of private persons, electronic banking, pension accumulation, life insurance and so on.

“Hansabankas” is a member of “Swedbank”, the leading financial group of the region of Baltic and Nordic States. This group has over 10.4 million private clients and almost 436 thousand business clients in Lithuania, Latvia, Estonia, Rus-sia and Sweden. The group includes 758 branches in Sweden and about 286 branches in Baltic States. Over 16 thousand employees are engaged at “Swedbank” group.

“Hansa lizingas”, “Hansa gyvybes draudimas”, “Hansa investiciju valdymas”, “Hansa draudimo bro-keris”, “Baltijos autolizingas” and “Hansa valda” are members of “Han-sabankas” Group in Lithuania.¶

Larger space and warmer colours of the interior

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In Lithuanian media there is a growing tendency to talk about brands, their popularity and

publicity, to discuss whether brands are original, how do they influence the market, company’s values and success at all. One of the retail bank-ing leaders Bankas SNORAS which renewed its identification elements last year has accented the values of its brand, has created an integral stylis-tics and communication.

Lots of large companies in Lithu-ania (TEO LT, DNB NORD etc.) have changed their brand names and logos during the last year; Bankas SNORAS AB has accented its values previously implicated in its brand as well. The renewed logo symbolizing qualitatively new stage of operations was presented to public during the fourteenth anniversary of SNORAS operations. This new logo represents the spirit of the bank and its achieve-ments, clearly transmits the main value of the bank – to become the closest one to everyone.

The logo of the bank SNORAS fea-tures all the advantages of the previ-ous one; however, it is lighter and brighter. Assoc. Prof. Kristina Maik-steniene, Head of Marketing Strat-egy and Management Programmes in ISM University of Management and Economics emphasizes that the purpose of the identification elements of the brand – brand name, logo and symbols – is to arouse customers’ thoughts and associations with the brand. The brand itself is a network of associations, a network of thoughts or experiences of a customer. “It is not possible to see, read or hear a brand – it is often said, that the brand just appears in the head of a cus-tomer. A person can read, hear or see only the identification elements, i.e. tangible items, provoking network of thoughts on a certain brand” - Assoc. Prof. Kristina Maiksteniene com-ments on the components and turns and twists of a brand.

The renewed logo of the bank SNO-RAS resembles a fluttering flag, streaming effect reflects development of the bank, constant progression,

Previous identity

Flags with the old logo

Previous identity on the Savings outlet

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moving towards the tasks set. Two colors of the logo – blue and yellow – were carefully considered. Blue is the corpo-rate color of the bank and symbolizes appreciation of the banking traditions, responsible approach and discharge of liabilities to the customers. Newly added amber color delivers energy and warmth, reflects development and growth of the bank as well as its goal to become the closest one to every customer.

Do we change seeking for publicity or for image-making?

There are usually two aims considered when creating and promoting brands: publicity and image-making. According to Assoc. Prof. Kristina Maiksteniene, by increasing the publicity, the connection between identification elements and a category of products and services is strengthened. The main purpose is usually to make a customer think of identi-fication elements first upon mention of a certain category, for example “a bank”. When creating a task-oriented image the key point is to provoke positive and strong thoughts about certain brand in the head of a target customer and to “program” the customer for buying action.

Bankas SNORAS has changed its identification elements in order to change the brand image itself. That is why the ele-ments that reflect new values of the brand more accurately were chosen.

“The identification elements of the bank SNORAS were old both physically and spiritually. They were created at the time when not so many font and design options were available, besides they were not reflecting the values of the bank

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New credit cards design

New web site design

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New identity on the Savings outlet

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in the best way. It was necessary to add some warmth and sincerity” - Ringaudas Rucys, Director of Busi-ness Development and Sales of VRS Group names the reasons for updat-ing the logo.

All the employees of the bank – form the customer service managers to the executive directors – have partici-pated in promotion of the new brand. Assoc. Prof. Kristina Maikštsniene says that change of certain identifica-tion elements is not complicated or dangerous if done methodically and upon necessary preparations. “You know, there is an interesting paradox – the stronger a brand is, the easier it is to change separate identification elements. Updating of identification element of a weak brand is dangerous and may compete as regards expens-es with the creation of a new one” – explains Head of Marketing Strat-egy and Management Programmes of ISM University of Management and Economics.

The representative of VRS Group states, that the process of SNORAS brand elements renewal was long but rewarding. Both customers and employees of SNORAS feel integral stylistics transmitting the values of the bank. According to Ringaudas Rucys, this guarantees security, reli-ability and comfort.

Changes both outside and inside the bank

There are changes taking place in other aspects of SNORAS as well – both employees and technologies must correspond to the requirements of the age. The Bank has the most expansive network of saving outlets usually staffed with a single employ-ee, so it has created a unique profes-sion – universal banker, the expert of banking services.

As of today the network includes over 220 outlets and over 300 ATMs. SNORAS has issued over 720 000 payment cards; more than 830 000 customers use the services of the

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bank. Bankas SNORAS AB has earned LTL 37.2 million of non-audit-ed profit in three quarters of this year, i.e. LTL 6.7 million (22.1%) more than in the same period last year.

SNORAS successfully keeps its lead-ing position in the retail banking field in Lithuania, it implements its devel-opment strategy in the EU Member States featuring deep banking tradi-tions. The bank controls 75% of shares of the oldest and the largest in terms of the customer service network bank in Latvia LATVIJAS KRAJBANKA as well as a financial institution in Great Britain. Bankas SNORAS AB is a member of international banking group Conversgroup, consisting of

10 banks, and has its representative offices in Latvia, Estonia, Ukraine, Belarus and Czech Republic.

Constant investments into advanced informational technologies and devel-opment along with the aim to become the closest bank to every customer for SNORAS team means, first of all, the ability to provide simple and clear services approachable to everyone. ¶

SNORAS head office

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Light Amplification by Stimulated Emission of Radiation

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From now on it is possible to imprint real life scenes and real products on three-dimensional

prints. Even object in motions, i.e. in time, can be imprinted. Such prints are called “Syn 4D prints”. Below are three photographic pictures of such four-dimensional prints taken from the different viewing angles. Up to 15 seconds of the real life can be cap-tured and stored in one synthetic four dimensional print. When the viewer is moving in front of the poster, the person can contemplate how the scene was evolving during the shoot-ing process.

Thanks to Geola’s original inventions, science fiction dreams of living ob-jects jumping out of a frame becomes reality. These new Syn 4D design tools are now available and can be widely used in a variety of applica-tions.

UAB Geola is the Lithuanian joint stock Company with a British major-ity capital. It is a research laboratory mainly working on four and 3D imaging. Geola is worldwide-recog-nized expert in the holography field and is well-known holographic print-ing industry’s pioneer. Since 2000, Geola ‘scientists are invited to present their innovation to all-major hologra-phy and optoelectronics conferences. The three-dimensional holographic printing equipment, incorporating pulsed colour lasers, was developed

and patented by Geola in 1999. All that happened in Vilnius, Lithuania. The first prototype printer built and designed in Lithuania.

The first 3D printer manufactured by Geola in 2001 supplied to Canada

The Geola 3D printer opened a new era in the so-called Holography Industry. With the Geola’s inventions it is now possible to print big sized in full colour, three-dimension and in motion. The subjects to be printed can be generated by computer and worked out with 3D based program like 3ds Max, or recorded life with a special 4D camera system. . When lighted by spot light source (halogen lamp, spot projector) the Syn 4D prints give the impression of the pres-ence of a real three-dimensional scene in front and behind the plane.

Views of the 4-d print exhibited during the International Symposium on Display Holography July 2006

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The latest model of 3D printer based in Vilnius, Lithuania

First HoloCam device – 4 meters length camera track at the studio in Wales, UK

The portable HoloCam device: 4D capture at any location

Such kind of three-dimensional prints were successfully used in several advertising campaigns.

The market research performed in the point of sales where the three-dimensional posters were installed has shown that such displays were capable of generating a spontaneous awareness of 37% of one or several elements of the concept advertised. In addition, the displays generated a total awareness (including sponta-neous and cued) of 41%. To put this in context, comparable figures for standard 2D displays are usually in the range 8-10%.

At the beginning, all those 3D post-ers needed three-dimensional object models built in sophisticated 3D design programs, such as 3ds Max. Because of that, the most of the advertising agencies’ specialists were not involved in the image creation.

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Moreover, not all the design compa-nies employ a skilled 3D designer. That was drastically stopping the 3D poster use in advertising campaigns or special new product presentations until 2005, when Geola uab has devel-oped and built here in Lithuania the device enabling the real life scenes capture in a usual photographic way. The new device is capturing not only the three-dimensional scene shape, but also enables to capture the life objects movements, adding the fourth time dimension a three-dimensional print.

The first such 4D capture device was installed in Wales, UK in 2005. The computer controlled fast digital cam-era moves on the four meters length rail and captures the whole life scene in front of the camera’s objective. Of course, 4 meters length photocamera is hardly movable, but when installed in the photographic studio, it can shot the life scenes in size to 2 m x 2 m.

Next Geola’s capturing device, also built in Vilnius, Lithuania, is easy transportable to any location, even outdoor, enabling the capture of the life scene in size of 50 x 70 cm.

Today UAB Geola, together with its distributor Syn4D GmbH (Germany), offers a complete 4D printing service, including life scene’s shooting equip-ment for rent, virtual scene’s creation and the printing itself.¶

www.geola.com

One of the Puma 3D prints displayed during the Formu-la Grand Prix in Montreal, Canada

Nike 3D print displayed in Niketown on Oxford street in London, UK

Convergence® 2006, Detroit, USA: 4D print placed above LCD displays

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FROM A DESIGN UP TO LIMOUSINESOFTIMUS

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Lithuanian author’s design, high quality, functionality and comfort are the key requirements of “softimus” company to soft furnishings as well as the obligations of the company to its clients.

In March of the current year, “Softimus” presented new collections of soft furnishings,

armchairs for relaxation and beds developed in co-operation with well-known Lithuanian designer Darius Budrys at the exhibition “Baldai 2006” (”Furnishing 2006”). In these collections, a particular attention is paid not only to stylistic but also to technological solutions: the functional & relaxation mechanisms of the new generation just having appeared in Europe are built in the said furnish-ings.

Visitors of the exhibition “Baldai 2006” paid a particular attention to

“Limousine” because of its distin-guishing sophisticated style and the maximum comfort for sitting; it was highly assessed by professionals as well: in the contest of author’s de-signs, this collection was recognized the best. According to director of the Company Dainoras Palaima, this rec-ognition is very important, because the process of creation was not easy, although very interesting. The initial idea of the author was very original: he wished to combine two differ-ent – at first sight - forms in the soft furnishing: an aircraft’s turbine and a post-war limousine. Constructors, technologists, modelers and other specialists of “Softimus” Company made a number of experimental products according to the initial design. Even the initial prototype was further thoroughly improved. An un-interrupted constructive dialogue be-tween the creator (designer) and the executor (manufacturer) caused the positive results: the idea turned into a model that met all requirements to soft furnishings. Its streamlined shapes as well as the raised massive front part that is narrowing and softly sinking towards the end formed together an impression of an old lim-ousine. The manufacturers ensured extraordinary softness, comfort and ergonomity of the furnishing, but pre-served its typical form and clear lines. For this purpose, the manufacturers used polyurethane. The luxurious aniline leather with naturally orna-

mented surface was used for uphol-stery of “Limousine” furnishing.

Other projects developed by “Softi-mus” and designer D.Budrys that distinguish themselves for excellent functional and relaxing possibilities generated considerable interest and sympathy. Armchair “Flex” with its elegant lines and various functional possibilities will decorate the interior and guarantee a good rest. Modern small armchairs “Sito” with their ir-reproachable design are excellently fit both for public and private interior.

The perfect capabilities of the Com-pany in combining the design with technologies are reflected in models with built-in sleeping mechanisms of the new generation. They include the angular model “Kvadrat”. This furnishing with clear lines is nice and comfortable; if required, it may be turned into an excellent bed.¶

Limousine

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Kvadrat

83

84

DAY PRIORTO JOHN’SNIGHT

CENT

RUM

GRAV

ITATIS

85

CENT

RUM

GRAV

ITATIS

Throughout its history, DPJN (“Day Prior to John’s Night”) has been proud to work with

Lithuanian companies and this long standing collaboration with Lithuanian business is one of the main reasons why DPJN has become of the lead-ing brand consulting and packaging design specialists in the Baltic States. Today, its growing reputation for high quality value added brand consultancy and packaging design increasingly sees DPJN attract clients from a variety of sectors and from countries across Eastern and Northern Europe.

In choosing DPJN as their brand con-sulting and packaging design partner, its clients gain access to its exclusive

in-house services and facilities. No other agency in Latvia can rival its on-site product and service offer-ing. This includes the very latest pre-print software and technology and the state-of-the-art ‘Tone’ photo studio which is an integral part of the agency’s on-site office infrastructure.

DPJN was set up to refresh brands that lead and stay ahead of the competition. It aims to achieve this by delivering Relevant, Original and Impactful brand and packaging design insights that ensure Return On Investment for its clients by adding value to their process of winning and retaining customers.

DPJN Brand Refresher™ is its for-mula for turning its know how into success in the market-place. It is continually working to improve this unique proprietary service in order to alter customer perception by match-ing its clients’ brands to individual lifestyles, attitudes and behaviour.

Leading Lithuanian companies from a wide range of sectors have worked with DPJN for a number of years now transforming their brands into origi-nal, distinctive and dynamic category leaders.¶

www.dpjn.com

“Dadu” ice cream. Packaging for VIKEDA

86

“Koko” fish products line.Packaging for NORVELITA

“Ekstra” cereals.Packaging for MALSENA

CENT

RUM

GRAV

ITATIS

87

“Oho” chips.Packaging for NAUJASIS NEVEZIS

“Ruta 1913” sweets.Packaging for RUTA

“Credo” ice cream.Packaging for INGMAN

CENT

RUM

GRAV

ITATIS

EDITO

88

“Bravo” ice cream.Packaging for PREMIA

“Skaneja” cereals.Packaging for SKANEJA

EDITO

89

“Express” soup.Packaging for SALDVA

“Liker” sweets.Packaging for NAUJOJI RUTA

90

YOUNG GUNSIDENTE

91

NOTA

BEN

E

Idente was named one of the Europe’s best design firms in the first edition of Eulda, the Euro-

pean Logo Design Annual, selected among of almost 1000 entries from 36 European countries. Eulda is the new high-profile graphic design award scheme that will reward the finest logos designed in Europe, the only in the world endorsed by ICOGRADA, PDA, BEDA, ADCE and 40 other design associations.

Thanks to its originality and design excellence, the “Ornamentum” logo-type has been selected for the “Best of Nation” award and will be included in the printed Eulda 2006 Annual, plus an honourable mention on the Eulda website.

To select the winners, an innovative international three-tier jury consisting of 10 top design professionals, 10 ma-jor international Clients and finally of 10 members of the public, reviewed all the logos submitted following a unique process which reflects the actual process that turns any logo into a successful logo: the designers decide what to present to the clients, the clients decide what to present to the public, but in the end it is always the public that decides if a brand is successful.

The 30 judges have been selected respectively from PDA (the Pan-Eu-ropean Brand Design Association), Richmond Events (organizers of the prestigious Marketing Forum) and Consumers International, an indepen-dent, non-profit organisation which supports, links and represents con-sumer groups and agencies all over

the world with a membership of over 230 organisations in 113 countries.

Idente is a graphic design studio based in Vilnius that creates graphic design of brands, corporate style, packaging and labels.The aim of the studio is to create the identity of your goods and services, highlight their distinctive features so that in any situation consumers would recognize them, and make them attractive and, of course, sale-able.

They services are used by companies that want to acquire an eloquent new brand or re-design the old one and give sense to it. The clients of Idente are also those who pose strict require-ments for packaging, labels as well as for business cards and graphic design of all other representative elements of the company that are used in its activities.

Striving for the best result, the com-pany work together with advertise-ment, marketing, and public relations agencies as well as packaging and label producers.¶www.idente.lt

“Ornamentum” identityClient: Atradimu studija

92

NOTA

BEN

E

“Linea oecologica” identity.Client: VP Market

“Le petit jardin” identity.Client: BM1

“Tunex” identity.Client: VP Market

93

NOTA

BEN

E

“X point” identityClient: VP Market

“Svaja”identity and packagingClient: Naujasis Sirijus

“Sirijus” packagingClient: Naujasis Sirijus

94

Ministry of EconomyThe Republic of Lithuania

Supports:

Lithuanian Confederation of the Industrialists

Publisher:

The publication is supported by:

Concept and design: Robertas Jucaitis

LithuanianDesignForum

LithuanianGraphic Design Association

LithuanianDesign Association

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TO HEAR IS TO FORGETTO SEE IS TO REMEMBERTO DO IS TO UNDERSTAND

VILNIUS ACADEMY OF ARTS | Department of DesignMaironio Str. 4, LT-01124, Vilnius, Lithuania • Tel. +370 5 210 54 76 • Fax +370 5 210 54 44 • dizainas@vda.lt

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