Female Designers: Rajna Buzić Ljubičić

Rajna Buzić-Ljubičić (b. 1943) has been active in the field of visual communications and photography in Croatia for over 35 years. After studying graphic design and painting at the Academy of Fine Arts in Zagreb, Buzić-Ljubičić focused her talents on photography, a medium that became a key element in shaping her graphic content. During the 70s, she developed a series of solutions in the field of visual communication, winning the second prize of a notable public contest to design the logo of the Slovenian textile and fashion company, Almira Radovljica.

Among her most significant projects was a series of poster designs for the 1979 Mediterranean Games that were held in Split, then part of Yugoslavia. Her work is characterized by the use of photographic and painterly methods that affect the treatment of color to create a striking visual originality. Since 1987 Buzić-Ljubičić has worked as a freelancer designer for Studio International and is a member of the Team of Visual Communications founded by Boris Ljubičić. One of the best examples of her work was presented in a poster exhibition “Željko Pušić: hand-weaving”, shown at The European Design Annual in 1999.

Rajna Buzic-Ljubicic’s notes on her work and methodology


1 – Collaboration and collaborative work (contribution and influence within the team or collective)

Cooperation with Boris as Art Director and other members of the team between the concept and technical realization.

 2 – Conceptual and / or implementing the most mature work.

Work on the two exhibitions by Zeljko Pusic are complete and original projects.

3 – Use of painting / photographic methods in graphic design.

Using photos and colors influenced the project’s visual identity of the 1979 Mediterranean Games since Boris and I graduated painting.

4 – Influence (mentors, colleagues, foreign influences)

No, there was no such thing. We were completely original and independent. We were tuned as a team which is confirmed by international awards, prizes and publications. In the seventies there was no literature available.

5 – Methodology for the development of more complex graphical content and identities

It was part of Boris’ work. For every project he would develop it newly and differently

6 – The position of a women and contribution to the development of conceptual and performance materials.

Women are definitely in an inferior position, which is usually the case in society. At the same time painting oil on canvas in an abstract style was a haven.

Source: Oaza Dizajnerice

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