{"id":4336,"date":"2019-07-15T00:00:00","date_gmt":"2019-07-14T22:00:00","guid":{"rendered":"https:\/\/myn006.staging.360vier.net\/digitalni-kolaz-umelecky-potencial-kopirovani\/"},"modified":"2025-06-03T14:25:08","modified_gmt":"2025-06-03T12:25:08","slug":"digitalni-kolaz-umelecky-potencial-kopirovani","status":"publish","type":"post","link":"https:\/\/www.mynd.com\/cs\/blog\/digitalni-kolaz-umelecky-potencial-kopirovani\/","title":{"rendered":"Digit\u00e1ln\u00ed kol\u00e1\u017e: Um\u011bleck\u00fd potenci\u00e1l spojen\u00ed Ctrl C + Ctrl V"},"content":{"rendered":"

Vyst\u0159ihnout, vlo\u017eit, zopakovat\u2026 Tento jednoduch\u00fd proces ukr\u00fdv\u00e1 vizu\u00e1ln\u00ed techniku s obrovsk\u00fdm um\u011bleck\u00fdm potenci\u00e1lem. V tomto \u010dl\u00e1nku se bl\u00ed\u017ee pod\u00edv\u00e1me na techniku digit\u00e1ln\u00ed kol\u00e1\u017ee, od jej\u00edho zrodu na po\u010d\u00e1tku 20. stolet\u00ed, a\u017e po pou\u017eit\u00ed v sou\u010dasn\u00e9m modern\u00edm um\u011bn\u00ed a komunikaci.<\/strong> \u00bb<\/strong><\/p>\n

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\"digitalni-fotomontaz-noznic-mynd\"<\/figure>\n

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<\/a> Avantgarda a zrod kol\u00e1\u017ee<\/strong><\/h2>\n

Po\u010d\u00e1tek 20. stolet\u00ed rozv\u00ed\u0159il vody kreativity a experimentov\u00e1n\u00ed. Zrodila se zcela nov\u00e1 \u00e9ra, b\u011bhem kter\u00e9 rozkvetly –ismy<\/em> avantgardy (kubismus, surrealismus, dadaismus, futurismus\u2026).<\/p>\n

Skupina vizion\u00e1\u0159\u016f zapo\u010dala sv\u016fj boj proti mainstreamu. Odvr\u00e1tila se od nastolen\u00e9ho po\u0159\u00e1dku a postupn\u011b zcela rozt\u0159\u00ed\u0161tila status quo v um\u011bn\u00ed. Kreativn\u00ed jazyk se jednou prov\u017edy zm\u011bnil.<\/p>\n

Pablo Picasso a Georges Braque byli kolegov\u00e9, kamar\u00e1di a oba g\u00e9niov\u00e9. V tvorb\u011b se navz\u00e1jem inspirovali a dodnes je pokl\u00e1d\u00e1me za praotce kol\u00e1\u017ee. Pr\u00e1v\u011b v kubistick\u00fdch detailech se poprv\u00e9 za\u010daly objevovat v\u00fdst\u0159i\u017eky z novin \u010di etikety z cigaret a alkoholu.<\/p>\n

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\"digitalni-fotomontaz-picasso-braque\"<\/figure>\n

Glass and bottle of Suze (Picasso, 1912) \u2013 vlevo; Guitar (Georges Braque, 1919) \u2013 vpravo<\/span><\/p>\n

Tuto techniku brzy napodobili dadaist\u00e9 jako Marcel Duchamp a futurist\u00e9, mezi n\u011b\u017e pat\u0159\u00ed nap\u0159\u00edklad Giacomo Balla. Zaj\u00edmav\u00e9 je, \u017ee nap\u0159\u00edklad dadaisti\u010dt\u00ed tv\u016frci v Berl\u00edn\u011b, dodnes nejv\u011bt\u0161\u00ed rebelov\u00e9 mezi um\u011blci, se sp\u00ed\u0161e ne\u017e za um\u011blce sami ozna\u010dovali jen za st\u0159iha\u010de a lepi\u010de.<\/p>\n

Dadaisty m\u016f\u017eeme pokl\u00e1dat za zakladatele fotomont\u00e1\u017ee, proto\u017ee jako prvn\u00ed za\u010dali kombinovat obraz s typografi\u00ed \u2013 n\u011bco, co dnes pokl\u00e1d\u00e1me za \u00faplnou samoz\u0159ejmost. Pomoc\u00ed vyst\u0159ihov\u00e1n\u00ed a op\u011btovn\u00e9ho skl\u00e1d\u00e1n\u00ed odm\u00edtali logiku, zkoumali chaos a b\u00e1dali v podv\u011bdom\u00ed. V rekontextualizaci na\u0161li zp\u016fsob, jak provokovat v maxim\u00e1ln\u00ed mo\u017en\u00e9 m\u00ed\u0159e.<\/p>\n

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\"digitalni-fotomontaz-braut-bayer\"<\/figure>\n

Anatomie als Braut, (Max Ernst, 1921) – vlevo; Lonesome City Dweller (Herbert Bayer, 1932) – vpravo<\/p>\n

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<\/a> Kol\u00e1\u017e v digit\u00e1ln\u00ed \u00e9\u0159e<\/h2>\n

Kol\u00e1\u017e je jednou z vizu\u00e1ln\u00edch technik, kter\u00e9 za\u017eily nejv\u011bt\u0161\u00ed rozmach s n\u00e1stupem digit\u00e1ln\u00ed \u00e9ry. D\u016fle\u017eitou roli v tomto sm\u011bru sehr\u00e1l technologick\u00fd v\u00fdvoj fotografie, videa a digit\u00e1ln\u00edho softwaru.<\/p>\n

Pomohl tak\u00e9 neomezen\u00fd p\u0159\u00edstup k vizu\u00e1ln\u00edm zdroj\u016fm. V\u017edy\u0165 takov\u00fd Google pot\u0159ebuje necelou sekundu na to, aby na\u0161el 1,44 miliard obr\u00e1zk\u016f kon\u00ed. K dispozici jsou tak\u00e9 bezplatn\u00e9 internetov\u00e9 knihovny<\/a> s mno\u017estv\u00edm ilustra\u010dn\u00edch obr\u00e1zk\u016f a fotografi\u00ed, kter\u00e9 je mo\u017en\u00e9 upravovat milionem kreativn\u00edch zp\u016fsob\u016f.<\/p>\n

Experimentov\u00e1n\u00edm s kol\u00e1\u017eemi podobn\u00fdmi technikami se d\u00e1le rozv\u00edjela pop kultura, firemn\u00ed identita i modern\u00ed komunikace zna\u010dek. V z\u00e1sad\u011b se princip digit\u00e1ln\u00ed kol\u00e1\u017ee ani po stalet\u00ed nezm\u011bnil, to jen technologie a masm\u00e9dia z n\u00ed ud\u011blaly sou\u010d\u00e1st na\u0161eho ka\u017edodenn\u00edho \u017eivota.<\/p>\n

\"umelecka-fotomontaz-spotify-outdoor-kampan\"<\/figure>\n

Outdoorov\u00e1 kampa\u0148 od Spotify<\/a><\/span><\/p>\n

Digit\u00e1ln\u00ed kol\u00e1\u017e se stala popul\u00e1rn\u00edm komunika\u010dn\u00edm n\u00e1strojem, a to hlavn\u011b pro svou abstraktn\u00ed povahu. P\u0159enos informac\u00ed je d\u00edky n\u00ed v\u00edce sv\u011b\u017e\u00ed, zaj\u00edmav\u011bj\u0161\u00ed a v neposledn\u00ed \u0159ad\u011b um\u011ble\u010dt\u011bj\u0161\u00ed.<\/p>\n

Pod\u00edvejte se na projekt Ariela Costy, tvo\u0159\u00edc\u00edho pro pseudonymem Blink My Brain<\/a>, kter\u00fd pro \u010dasopis The New York Times vytvo\u0159il animovanou videos\u00e9rii s n\u00e1zvem The Interpreter<\/em>. Ta upozor\u0148uje na n\u00e1vrat n\u011bkter\u00fdch zem\u00ed sv\u011bta k autorit\u00e1\u0159sk\u00e9mu re\u017eimu.<\/p>\n

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