This issue of the journal is thematic. It covers topics raised in the all-Ukrainian scientific and practical conference "100 years of modernity: the Bauhaus and Ukrainian avant-garde". The authors of the articles focus their attention on the discovery and reinterpretation of ideas and methods of design of both artistic paradigms in the context of modern theory and practice. Their innovativeness and significance are indisputable. At the same time, if the Bauhaus has become a world legend, and the role of the school as the founder of modern design and architecture is a priori recognized by all experts, the phenomenon of the Ukrainian avant-garde still requires close attention, publicity, discovery of its identity and recognition of the status of the world heritage in design.
The purpose of the study is to highlight the specific features of the European poster of the 1890s. of the time of its formation on the example of the line of exhibition posters (art posters) of the leading directions of the Art Nouveau style. Methods of research. During the writing of the study, a historical and cultural approach was applied and a systematic approach was used for art-historical, stylistic, and comparative artistic analysis. The scientific novelty consists in conducting an overview art analysis of the exhibition posters of the leading European countries (Great Britain, Germany, Austria and Poland) in comparison with the generalized regularities of the French posters of the period of the 1890s. It was determined that the posters for author’s, personal and group art exhibitions have unique features, and it was outlined all distinctive features of this type of artistic production. The work of the «Glasgow Four» (C. R. Mackintosh, J. G. McNair, the Macdonald sisters) in the field of linear direction posters and the works of other authors were considered. Features of linear organization and individual floreal elements in the posters of German-Austrian Secession artists (F. von Stuck, L. von Hoffmann, P. Behrens, G. Klimt, K. Moser, J. Olbrich and others) were identified on the occasion of various level exhibitions in Munich, Berlin, Vienna in the 1890s. The parameters of the formation of the national and romantic trend in the exhibition poster of Polish artists F. Wygzywalski, Y. Mehoffer, J. Bukowski, and T. Aksentowicz were determined. Visualization techniques were analyzed, taking into account the specifics of the poster and general stylistic trends in the art of those years. Considerable attention was paid to highlighting the regional features of poster design in the specified countries, as well as the features of the authors’ individual style within these regional models. Conclusions. In the general cultural and historical context of the time, the exhibition poster was an important component of the formation of national trends in the artistic style of the time, primarily floreal, linear, national-romantic. Reflecting the stylistic guidelines of the time, the exhibition poster, aimed at a wide audience, contributed to the formation of a holistic artistic vision as a manifestation of the cultural and artistic guidelines of the specified period.
The purpose of the study is to identify the features of the use of postmodern techniques in poster projects of the period of the COVID-19 pandemic. Research methods. The methodological basis of the study is comparative and art analysis. The scientific novelty of the study is the consideration of the poster activity of the pandemic period 2020-2021 in the context of postmodernism. Conclusions. In the current poster projects of the quarantine period, postmodern features are clearly traced, which are manifested not only in the visual language of the works, but also in the ways of exhibiting and positioning posters in society and the media. The pictorial component is characterized by the use of metaphor as a universal method, as well as a combination of different styles, multiple approaches, the lack of a dominant vector in solving the visual image. The use of double coding, quotes, reminiscences, games, irony, etc. is revealed.
The purpose of the article is to forecast, determine changes in the methodological basis for creating an interior environment by means of design in conditions of extremely uncertain requirements for the protection of the population from COVID-19. The research methodology involves the use of methods of generalization and systematization of scientific and theoretical information on the design of the environment in the context of the spread of coronavirus infection. The scientific novelty of the study is to clarify the features of interior design of healthcare institutions in the context of protection against coronavirus infections. Conclusions. Ukrainian healthcare sector found itself in an ambivalent state in late 2020, as the coronavirus raged relentlessly across the country, vaccination was developed quite slowly, therefore, being in public institutions, vulnerable population groups needed special safety conditions. Coronavirus-related expenses have already leveled a financial blow to healthcare system. Many hospitals lacked the space and resources to treat Covid-19 patients with severe symptoms, while treating those with mild and asymptomatic patients who could infect healthcare professionals and other patients. During the first wave of the virus pandemic, beds for patients were set up in lobbies, conference rooms and even cafeterias. They were added to the wards and corridors, filling any free space. The pandemic required the flexibility of medical and research institutions and services to overcome current and future crises. As a result of the conducted research what specific design decisions should be considered when designing medical facilities in a pandemic. The peculiarities of creating safe, adapted, flexible and efficient spaces that support the quality of medical care and are resistant to infections on the example of foreign experience are highlighted. And research the basic regularities of pandemic-resistant healthcare design were identified: versatility, flexibility, aesthetics and harmony, safety and sterility, mobility and innovation. The interior should be focused on reducing the transmission of infectious particles.
Мета дослідження полягає у виявленні внеску представників українського мистецтвознавства 1900-х рр. у справу визначення національних форм вітчизняної архітектури. Методологія дослідження базується на використанні комбінованого тематико-хронологічного підходу; опис публікацій поєднується з компаративним та порівняльним аналізами. Наукова новизна статті полягає у висвітленні початкової стадії формування уявлень про унікальні риси української архітектури в контексті суспільного запиту і провідних тенденцій загального художнього процесу зазначеного періоду. Окреслено чинники зростання уваги науковців вказаного десятиріччя до системного вивчення споруд України від найдавніших часів до ХІХ ст., зокрема, дерев’яних культових. Охарактеризовано праці відомих фахівців тих років: Г. Павлуцького, Є. Рєдіна, О. Новицького, В. Щербаківського, М. Макаренка, Є. Сіцінського та інших авторів. Вивчення названої проблеми в цих наукових роботах засновано на аналізі численної інформації як результату системної роботи багатьох науковців й аматорів з дослідження творів архітектури. Визначено наукові ідеї дослідників щодо еволюції форм даної галузі образотворчості та обґрунтування унікальності української архітектури. Висновки. Аналіз численної кількості першоджерел наукових публікацій дозволяє зробити висновок, що впродовж 1900-х рр. відбулося становлення концепції своєрідності національних архітектурних форм на всіх історичних етапах. Наукова аналітика характерних ознак українських архітектурних пам’яток різних періодів здійснювалася в ракурсі взаємозв’язків з мурованим зодчеством та з відповідними рішеннями інших історико-національних архітектурних шкіл. Історію української науки про мистецтво означеного десятиліття можна розглядати як історію ідей про національні форми образотворчості та архітектури. Провідна ідея унікальності української архітектури спрямувала і стала підґрунтям розвитку української науки про мистецтво в наступних десятиріччях.
Research aim is to cover and systematize cultural, artistic, scientific, and design projects dedicated to rethinking the period of Ukrainian constructivism in the 1920s and 1930s in the context of cultural reflection of Ukrainian society. The research methodology is to analyze the empirical material. Scientific novelty. The article for the first time organizes and analyzes cultural and artistic projects implemented in Ukraine over the past decade and aimed at revealing the power of this artistic and design phenomenon or rethinking its ideological foundations from the standpoint of contemporaries. In addition, the author argues that design is the most effective tool that allows us to convey the results of scientific reflection to the general public and influence the transformation of public consciousness in the direction of the goal – awareness of Ukraine as a carrier of a unique world cultural heritage. Conclusions. Significant intensification of public cultural reflection on the Ukrainian avant-garde of the 1920s and 1930s was caused, first, by the personal reflections of scientists and designers who design intellectual and material products. Secondly, the growth of the professional level of the institution of cultural management and a systematic approach to design, thanks to which personal reflections are transformed into spectacular content and spread among the public.
Мета дослідження – окреслити тенденції розвитку урбаністичного пейзажу у творчості художників Станиславівщини 1920–30‑х рр. (тепер – Івано-Франківщини) у ракурсі осмислення митцями авангардних течій у регіональному мистецькому процесі. У статті проаналізовано тенденції розвитку урбаністичного краєвиду з акцентом на малярських пошуках нових принципів формотворення у пейзажах художників Станиславівщини 1920–30‑х рр. Методи дослідження. Методика дослідження ґрунтується на формально-стилістичному методі мистецтвознавчого аналізу творів художників, а також на компаративному і структурному аналізі мистецьких концепцій і явищ художнього процесу досліджуваного періоду. Наукова новизна полягає у виявленні провідних тенденцій у пейзажній творчості митців Станиславівщини, визначенні особливостей стилістики їх живописних і графічних пейзажів, обґрунтуванні діапазону діяльності художніх об’єднань і їх представників на прикладі регіональної моделі урбаністичного краєвиду в діалектиці традиційності та новаторства. Висновки. Тенденцї зображення міста 1920–30-х рр., зважаючи на поліваріантність образних, стилістичних і композиційних особливостей, характеризуються ремінісценціями західноєвропейських модерністських течій, втілених новаторськими засобами формотворення і підходами щодо композиційної структури творів, їх малярської інтерпретації, у синтезі з національними самобутніми ознаками. У регіональній мистецькій традиції відтворення міста початку ХХ ст. панівною визнано тенденцію, що передбачає реалістичну манеру з ознаками імпресіоністичного сприйняття навколишньої дійсності. Натомість новаторські тенденції, принципи формотворення та художньо-стильові особливості міського краєвиду в живописі митців Станиславівщини першої третини ХХ ст. зумовлені утвердженням новітньої естетики міста, пожвавленням художніх ініціатив у європейському культурному просторі та інтеграцією модерністських тенденцій у вітчизняне мистецтво першої третини ХХ ст.
The aim of the research. Establishment of authorship of the well-known Ukrainian movie poster which was created by the unstated artist for a film «Ukraziya. 7+2», produced at the 1-st film studios of the All-Ukrainian photo and cinema management in Odesa. The general aim is liquidation of lacunas in the poster-graphic inheritance of the Ukrainian art of 1920-30th. Methods of research. The research is based on art criticism, historical analysis and the comparative method, using the comparison of mediated documentary evidence and facts of the biography of the Ukrainian cinema artist Anatoly Volodymyrovych Martynov. Scientific novelty. For the first time on the basis of scientific analysis an attempt was made to establish the author of an unidentified Ukrainian movie poster «Ukraziya. 7+2» in 1924. Conclusions. The analysis of the compositional techniques, the graphic stylization of realistic content, the specific modeling of the light waves on the faces and clothes of the characters, and the plane interpretation of the forms in the image of industrial motifs, as well as the comparative study of the characteristics of the applied handwritten fonts and the similarity of letters and numbers proved the high probability of belonging the poster to the creative heritage of the Ukrainian artist of the XX century Anatoly Volodymyrovych Martynov. The assumption is confirmed by the results of historical analysis of the source data of the print sheet, the comparison of the mediated facts of the functioning of the artistic industry in Ukraine at that time, documentary tracking of the biographical data of a possible candidate for authorship of a cinematic work, such as professional artistic education, employment, relations with typography of other republics of the USSR, related to the poster graphic arts activities in the field of «lubok» publishing and series of postcards.
The aim of the research is to highlight the tendency of the artist-boychukist Onufriy Bizyukov’s work of the 1960s. To analyze the artistic and stylistic works of the artist of this period, to reveal aspects of the revival of the ideas of Boychukism at this time. Research methodology. Methods of historical and art-study analysis are used. Scientific novelty. For the first time, the facts about the life and work of the boychukist Onufriya Bizyukova were introduced into scientific circulation, the analysis of the paintings of the artist of the 1960s, the tendency to experiment in the perspective of the ideas of Boychukizm was revealed. Conclusions. As a result of the research, it was found out that O. Byzyukov used postcurrency techniques, experimented with the plane and color in the 1960s. In the works the artist focuses on the composition, structure, rhythm, form and their correspondence to the content. The most important is that the artist managed to preserve, develop and transfer the traditions of the school of Michael Boychuk for future generations in the second half of the twentieth century.
Research aim. The article is devoted to the review of modern clothing design projects in the context of quoting the stage images of hard rock and heavy metal musicians of the 1970s-1990s. Research methods. The source analysis method was used to find out the level of scientific development of the problem. Collecting factual material method was used to search for visual information. To describe and process the visual information of stage images of musicians and shows of leading designers’ collections, the Art history methods, aesthetic and structural-compositional analysis, as well as the comparative method, were used. The theoretical generalization method was used to formulate the conclusions. Visual material is taken from printed publications and the Internet. Scientific novelty is in identifying the main stylistic features of the stage costume of performers of the hard rock and heavy metal musical genres in the 70s and 90s of the 20th century, as well as in comparing and finding quotes of stage images of musicians in modern catwalk clothing collections. Conclusions. The development of the stage costume design of hard rock and heavy metal genres with its wide influence on street fashion, as well as “official fashion”, was due to a significant spread of media technologies popularization at the end of the 20th century. Stage images of artists were imitated and introduced into an everyday wardrobe, firstly, by their fans; secondly, its distribution was facilitated by high-profile advertising companies promoting bands and performers; thirdly, it spread through the fashion industry and the work of talented designers who sensed the mood of society and were able to predict the commercial success of the new aesthetic. In the 21st century well-known brands and designers actively quote performers’ stage costumes. Ways of quoting are very diverse: from completely copying images or borrowing a separate assortment, copying forms and details of clothes to the imitation of cut, decoration, and trimming. The most popular quoting is the use of band mascots or logos to print and design materials, various patches, and stickers. Borrowing a characteristic combination of the assortment in creating a general image has recently become the most popular. From the general trends of today, we come to the conclusion that experiments with the form itself and its material components are significantly inferior to experiments with the emotional filling of images, which are successfully provided by quoting the stage costume with its hyperbolized spectacularity and expressiveness.
The aim of this research is to chronologically determine the stages of transformation of the Ukrainian book design of the transitional period of the 1980s and 1990s and formulate their characteristics. Research methods. In this work comparative and historical, chronological, iconographic, classificational, comparative and typological methods, as well as the method of art-study analysis were used. Scientific novelty. During the research of the topic, it was established that the Ukrainian book design of the two adjacent decades (1980s and 1990s) was qualitatively different. The book of the 1980’s is generally marked by deep artistry, figurative symbolism, a tendency toward creative freedom, man-madeness, and the tradition of graphic techniques and means of expressiveness. Instead, domestic book editions of the 1990’s, influenced by various factors, lost their former guidelines for the art of the book, were marked by excellent updated artistic-figurative characteristics. In particular, analyzed artifacts testify to compositional-architectural simplicity, creative «permissiveness», artistic «imporevishment». In addition, it is worthwhile separating the development period of Ukrainian book design in the second half of the 1990’s, as it was at this time that its active renewal and revival began through the mastering of computer tools. Conclusions. In Ukraine, during the last two decades of the twentieth century, a dynamic transformative of imagery system of the book took place, confirmed by the flexibility of creative concepts of publishing houses and creative principles of masters of the book, according to the time conditions. It is explained that the transformational process in the Ukrainian book design of this period is expediently divided into three main stages: the preparatory stage, limited by the 1980s, includes complex adjustment of the imaginative system of Ukrainian book to future changes being a result of the artist’s suffering from the ideological pressure of power and the attraction to national self-affirmation; the adaptive stage, which lasted conventionally from 1990 to 1995, was mainly formed as a result of the complex gradual mastering of progressive design tools on the background of a new self-awareness of artists; the stabilizing stage, which has been implemented since 1996, finally marking and consolidating numerous modifications in the artistic imagery of book editions (positive, negative and neutral).
The aim of the research is to reveal the problems of alternative artistic and memorial objects, which are represented in the open urban spaces of Western Ukraine in the period of 2010–2016. These objects are distinguished by non-typical forms in comparison with traditional monuments and memorials. The scientific and methodological approaches to studying the mentioned problem are generalized; a considerable volume of literature and visual sources has been processed. In particular, it has been founded that this subject is entirely new and little studied in the Ukrainian art discourse. Almost there are no professional materials that would disclose the specifics of alternative artistic and memorial projects implemented in recent years in the cities of the Western Ukrainian region. This in turn causes the relevance, scientific novelty and practical significance of the proposed research. Conclusions. As a result of the research, the peculiarities of realization of modern art objects and projects aimed to actualization of collective cultural memory in the cities of Western Ukraine were found out. The international experience was comprehended. The most representative projects implemented in the region were analyzed. To large extent it give grounds to talk about positive changes in the development of new artistic and memorial forms in urban spaces and striving for Western European trends. The visual aesthetic and socio-cultural aspects of alternative memorial objects were analyzed.
The aim is to identify the key porcelain works painted by the Honored Artist of Ukraine Angelina Zhdanova during the second half of the 20th century, to reveal the artistic features of her decoration of sculptures, utensils and vases. Research methods – ontological, axiological, hermeneutic, historical-chronological, historical-comparative, cultural, typological, art analysis. Their combination allows us to reveal the specifics of the creative method of Anhelina Zhdanova concerning the design of sculptures of small forms and design development of decors for fine ceramic ware and vases. Novelty comprises the analysis of the artist’s appeals to the Ukrainian in the decoration of the best examples of domestic porcelain sculpture of the third quarter of the 20th century. (first of all, according to the designs of V. and M. Trehubov’s forms) and the use of exquisite Petrykivka painting in the design of vases, dishes, tableware of the second half of the twentieth century, created at Korosten and Svitlovodsk porcelain factories. Conclusions. The milestones of the work of the outstanding Ukrainian artist-designer in the field of porcelain Anhelina Leonidivna Zhdanova are traced. The list of main works in sculpture, vases and utensils, decor projects which she created at Korosten and Svitlovodsk porcelain factories in the 1950s – 1990s is outlined. It is determined that A. Zhdanova is the author of the original painting of the famous sculptures ‘Ukrainian Dance’ and ‘Shoes’, the forms for which were developed by V. Trehubova in the mid – second half of the 1950s. Portraits of Soviet figures on plates and vases, such as party executives, astronauts, foreign ambassadors or the UN Secretary General, are important in the artist’s work. A separate segment of Korosten products by A. Zhdanova consists of paintings with skillfully executed floral ornaments for framing portraits. The paintings are made in a delicate brush technique ‘cat’, the type of Petrykivka paintings.
The purpose of the article is to highlight fashion trends in clothing using traditional Ukrainian embroidery in the 50s of the twentieth century. The methodological foundations of the study are based on historical, art and cultural observations and analysis. Scientific novelty. The article examines historical sources, artifact finds, indicating the presence of embroidered ornamental elements in the decoration of the clothes of the Ukrainians of the indicated period. The manufacture of clothing, including embroidery, on the territory of Ukraine is associated with artisanal and industrial production. The article analyzes the state of embroidery using modern fashion trends in clothing of the 50s of the twentieth century. Conclusions. As a result of the analysis of the art of making clothes of Ukrainian fashion of the 50s. XX century, we can state that the creation of compositionally complete collections of clothes, including those developed using national traditions, was possible due to the unification of the creative efforts of various industries of light industry. Mainly, in the fashion of the 50s, there were cardinal changes in silhouettes and shapes, in accordance with the change in the ideal of beauty. Skirts, straight and flared, came into fashion, pleated skirts, dress-coats, coats, suits made of shaped, overcoat fabrics, which were decorated with metal, leather, wooden buttons, were introduced, taking into account folk ornamental traditions. New styles of dresses were created on a fitted basis with the use of a variety of embroidered ornaments: «roosters», «flowers», embroidered with «nets», «satin stitch», with elements of sewing fabrics along the entire product, etc. The implementation of thematic, original artful designs directed and coordinated the activities of the textile, clothing, knitwear industries. Elements of national clothing with common motives of traditional Ukrainian embroidery attracted special attention in the fashion of that time.
The aim of the article is to consider the most efficient way to organize the learning process of the academic subject "Drawing" during the first year of study in the system of training designers. This process should fully meet the requirements of educational reform, where an academic drawing would be directly connected with creative activity and would contribute to the formation of knowledge and skills necessary for a designer. The methodology of the research is to find the most efficient way of organization of the learning process where classroom work, self-studying work and homework could be effectively combined with scientifically grounded educational-methodological system of professional art training. The scientific novelty lies in the balanced structuring of the tasks in the curriculum of the subject "Drawing" for both classroom work with an academic focus, and self-studying work with a creative focus which will enhance the effectiveness of teaching the subject in the face of limiting the number of academic hours. Conclusions. The subject "Drawing" still remains the basis of artistic education in the system of training of designers, but it requires some changes in the ways teaching and methodical process are organized, which are caused by the specific character of the subject closely related to the designer’s work.
Research aim is to find out the use peculiarities of motifs of fine and decorative arts in modern accessories design. The article examines the Ukrainian brands’ products with special attention to the creative experiment of designers. Research methods. Methods of analysis, synthesis, observation, comparison, analogy, and generalization were used to determine modern trends and the main areas of work of accessory designers. Iconographic, figurative, and stylistic methods were used while studying creative approaches in the accessory’s creation. Scientific novelty consists of the analysis of modern accessories with figurative content and artistic-aesthetic load. Using the example of creative experiments of Ukrainian brands OLIZ, Gunia Project, My Scarf, Sokolova, the connection of accessory design with artistic processes in the fields of fine and traditional folk art was revealed. Methods of reproduction, citation, and creation of new compositions based on the motives of one or another work, as well as the author’s compositions are considered. For the first time, the creative experiments of the mentioned Ukrainian brands were introduced into the scientific context of art-historical research. Conclusions. As a result of the research, we conclude that the trend of applying motifs of fine and decorative arts in the design of modern accessories is aimed at satisfying the aesthetic needs of the modern consumer. The target audience for manufacturers of such accessories is people of all ages – art fans and professionals who, when creating their external image, strive to go beyond the ordinary, to bring out the connection with Ukrainian or world art, both fine and decorative. In turn, in this way, plots, compositions, color combinations, and the quality of works with motifs and plots of art encourage acquaintance with the work of artists and give the creations a "second life".
ІНФОРМАЦІЙНИЙ The purpose of the article is to highlight the results of the half-year activity of the Department of Graphic Design of KNUKiM (KNUC&A) in the informational struggle against Russian aggression. The experience of creative resistance as a creative mission of students and teachers of the department in the period from February 24 to August 24, 2022, is analyzed from the standpoint of the concept of the “socially responsible initiative” of a graphic designer introduced by the author of the article. The purpose is also to compile pedagogical activities for the training of socially responsible graphic design professionals. Research methods. The empirical method, method of analysis, and synthesis were used. Numerous scholarly and journalistic materials on the social responsibility of the graphic designer were analysed. In addition, the methodological basis for the article was the review and systematisation of empirical material regarding the results of the activities carried out. Scientific novelty. Based on consideration of the “social responsibility” concepts from the management sphere and “initiative” from the pedagogy sphere in the context of a modern graphic designer activity, a new notion of “socially responsible initiative” is introduced. It is interpreted as one of the signifiers of professionalism. The author shows that the vectors of realization of the socially responsible initiative directly depend on the state of the society where the designer practices. On the example of the activities of the Graphic Design Department of KNUKiM, the manifestation of this professional characteristic in the conditions of full-scale Russian aggression in Ukraine is reflected. Coverage of collective creative activity of teachers and students is shown in the context of a pedagogical experiment that passed the self-organization stage and the organizational stage. Conclusions. Modern visual communication is an area of constant interaction between different social groups of society, which graphic designers provide with their projects. The Department of Graphic Design of KNUKiM once again showed its creativity and progressiveness in the process of training design professionals. The team, made up of teachers and students, has made and continues to make a powerful contribution to the information front in Ukraine during the active phase of Russia’s war in Ukraine: more than 200 exhibition posters have been designed, and participation in international projects has been accepted, around 30 exhibitions have been organised and held in Ukraine and abroad. At the level of professional design communities, we organise landmark exhibitions in which the created works not only present a sharp reaction to the present but also model the future with their verbal and non-verbal codes.
The purpose of the article is to substantiate and reveal the innovations of the pedagogical approach to teaching the course "Drawing and painting", which became a quick reaction to changes in social reality due to the invasion of the russian federation in Ukraine. To continue the educational process, the educational program was updated and adapted to the extreme conditions of wartime by the author of the article. The article examines the reasons for the updated teaching methodology and the results of innovations. The research methodology. The empirical method and the method of pedagogical experiment, as well as analysis and synthesis, are used in the process of working on the article. The results of the updated method of teaching drawing and painting based on the analysis of social reality and the generalization of psychological advice regarding the behavior and mental health of the civilian population are outlined. The scientific novelty of the study is to record the experience of implementing the program of the course "Drawing and Painting", adapted to the conditions of the martial law. The specific connections of psychological and practical problems, which are faced by teachers and students on a large scale today, are considered. The effectiveness of the new structuring of the educational program in the conditions of the fundamental transformation of classes to the online format has been established. Conclusions. Continuation of the educational process during periods of social cataclysms, even such as war, is the duty of both scientific and pedagogical workers and students of higher education. However, the stressful situation forces us to look for new forms of interaction between the teacher and the student. Accordingly, the educational program "Drawing and painting" was adjusted – full-scale academic productions were replaced by a set of more independent creative tasks that do not require constant contact of the student with the teacher in the classroom.The aim of the updated online course is to master various means of visual presentation of student’s ideas, to study all stages of work, from the concept of the work to the selection of the composition’s format and the creation of an original and expressive graphic image. The updated course is focused on developing the ability to move beyond stereotypical associations and work with a wide range of images. The conducted pedagogical experiment allows us to assert that the individualized process of performing creative tasks within sufficiently broad thematic boundaries contributes to the development of creative analytical thinking, activates the creative abilities of students and forms an intellectual approach to learning, motivation and professional values.
The purpose of the research is to reveal the specifics of the visual language of the artist and designer Vasyl Yermylov, in particular, through the study of his diptych «On the Beach» in interconnection with the artistic and theoretical achievements of Bauhaus artists-innovators. Research methodology. The method of deconstruction, structural, formal-stylistic and comparative analysis is applied in the article. Scientific novelty of the research. The results of the study revealed tendencies for Yermylov to create avant-garde compositions based on a subtle creative dialogue with the theoretical approaches of the Bauhaus representatives, which testifies not only to programmatic and ideological unity, but also to the identity of visual thinking. The method of deconstruction and structural analysis allowed to identify the elements of form as certain structures, deliberately introduced into the work by the master in order to rethink it, create another combination and, thus, the assertion of new content. This is the first time such analysis of Yermylov’s works has been conducted. Conclusions. The results of the analysis of Yermylov’s diptych «On the Beach» testify to the universality of the new visual language, Kwhich has developed in Ukraine despite the attempts to adapt it to the service of the totalitarian regime. Today it is important to testify that Ukrainian artists developed in harmony with their Western counterparts. Ermylov’s work, built on rethinking of different, sometimes opposite approaches to the development of form, which existed at different stages in the Bauhaus, is an example of exceptional design skill of the Kharkiv artist in composing virtuoso compositions from elements of art form. At the same time, the diptych with its laconic expression of the theoretical avant-garde heritage under the «mask» of Dadaism is a tribute to the New Art in the conditions of its prohibition and destruction.
Research aim is to study the content aspects of visual advertising images that have been spread by media advertising in Ukraine in recent years and were created before the full-scale invasion of the russian federation. The research methodology is based on an analytical and comparative aspect and combines general scientific and special methods that provide an opportunity to consider the ″visual image″ concept through the prism of advertising design. Scientific novelty. The article examines successful Ukrainian media advertising in recent years and reveals the commitment of Ukrainian advertisers to anthropocentrism in direct and indirect manifestations. The advertising visual image is constructed from design elements, which are mostly signs-indexes and signs-symbols of the active way of Ukrainians’ lives and the spectrum of their emotional states. Conclusions. Visual images are of particular importance because they are stored in the memory much longer compared to the read advertising text. Visual communication combines color, language, writing, and images, which together create a single message, aesthetically pleasing to the recipient’s eyes, and filled with understandable and necessary information. The desired effect is achieved due to the successful synthesis of concepts of presentation of visual material (the most popular: anthropocentrism, emotional marketing, the ″problem-solution″ method, and ″comparison limits″). Techniques and means of designing the visual image of advertising at its various levels play an increasingly significant role, as they allow effective influence on recipients not by increasing the number of advertising messages, but by creating internal connections between parts of the advertising text, image, commercial, and also between individual advertising messages. We see the prospects for further scientific research in the study of static and dynamic parameters of visuality in the space of modern media.
The purpose of the article is to establish the most probable determinants for the classification of interactive advertising and to identify and systematise, on their basis, the variable forms of implementation of advertising messages, as well as to establish the possibility of their interaction. Research methodology: the method of complex analysis was applied. The scientific novelty is the systematisation of scholars’ views on the typology of interactive advertising, its updating, and supplementation. It is established that the classifications of interactive advertising presented so far have already lost their relevance since they were limited by the platforms of placement of advertising messages or forms of broadcasting and did not take into account the conditions of the interaction of various technologies in the process of implementing interactive advertising messages. This study, based on a synthesis of such determinants as creation and distribution technologies, as well as forms of content and the nature of interaction with consumers, identifies the following types of interactive advertising: advertising via mobile communications and television; advertising on the Internet; environmental installations (with and without gadgets); events and activities. It is found that mobile communication technologies are currently a connecting link between most forms of interactive communications and remain effective both as a separate form of advertising and in combination with television and Internet advertising. It has also been established that innovative technologies of augmented reality (AR) and virtual reality (VR) can be classified as differentiated types of advertising messages, depending on the presence of programmed or spontaneous transformations under the influence of the interaction of advertising messages based on these technologies with consumers. Transformations absence allows them to be classified as environmental installations, while the presence of a variable plot and scenario leads to the classification of AR and VR as events and activities. Conclusions: interactive advertising design involves the deliberate use of variable forms of its implementation, the choice and justification of which should be facilitated by the typology presented by us. The possibility of differentiating between different types of interactive advertising and taking into account their features is confirmed by a thorough analysis of each type of interactive advertising. Thus, we get a holistic picture based on which we can build advertising strategies, and offer the most effective ways to communicate with consumers and use one or more of the above types of advertising messages.
The aim of the research is to analyze the formation of the artist’s image through the design of musical posters and records in the period of late socialism by borrowing the semantic component and formal techniques in foreign pop culture, including graphic design, which served as an important component. The research methodology is based on a logical-analytical tool of scientific knowledge. Scientific novelty. Previous research has been supplemented by the analysis of new empirical data, including the design of record covers, visual coincidences of primary sources and borrowings. The revealed facts will be useful for the further development of both modern Ukrainian design and the formation of the artist’s image in show business. Conclusions. As a result of the study we conclude that in the period 1970-1990 in the process of formation of pop culture in the USSR the problem of its visual representation was formed, as evidenced by numerous pieces borrowed from foreign pop design solutions for advertising products: posters, placards, album covers, accompanying products. At an early stage, this trend was manifested despite the existence of the “Iron Curtain”, ideological isolation and was episodic. In the period chronologically close to the collapse of the USSR, such processes of stylistic citation in design became more frequent in line with the growth of information coming from the developed West. Copying Western techniques and visual language can be seen as a desire to break away from the dogmatic patterns of culture instilled by socialist realism, regardless of the conscious or unconscious nature of imitation. Blind imitation was later replaced by a reasonable rethinking, so in the best examples of domestic design of the period under study there were attempts to give formal Western methods the character of the local national color, which requires further exploration.
The aim of the research is to investigate the connection of advertising image development with the socio-cultural situation in the Euro-American society, to reveal the features of its design as a visual communication. The methodology of the research consists in applying the empirical method, the analysis, the comparison and the generalization of European advertising products from the 1870's until the 2010's. This methodological approach allows us to comprehensively explore the advertising image on basis of which the advertising communications were modeled. Scientific novelty. On the basis of the analysis of the visual component of advertising products in relation with the socio-cultural state of the Euro-American society of the corresponding periods, it was found that in the modern information society and in the design of the advertising image there was a transition from the provocation of the typical initial emotional reactions of the addressee to the stimulation of a complex «game of signs» and personalization. Conclusions. Advertising images are considered to be one of the a components of visual communication, which today is interpreted as the basic means of information interaction in society. The designer involved in the development of these images must comprehend the factors that form it and realize the importance of their work for the socio-cultural state of society.
Мета статті – проаналізувати візуальні стереотипи в рекламі, перевагу до примітивності і знеособлення національного іміджу, окреслюючи можливі шляхи подолання псевдостилістики. Методи дослідження використано відповідно до обраних транссистемного і мультимодального підходів: системно-структурний, соціокультурний, історико-мистецтвознавчий, синергетичний та семіотичний. Наукова новизна. Теоретично узагальнено стилістичні аспекти та тенденції розвитку сучасної рекламної графіки. Увага акцентується на прийомах візуалізації, атрибутах етностилю та національній специфіці. Доводиться, що образотворення в рекламі є складним завданням щодо спрямованого психоемоційного та асоціативного впливу на споживачів різних регіонів з урахуванням етномистецьких традицій.
Висновки. Дослідження культурно-естетичних складових реклами дозволило систематизувати рекламні зображення та визначити їхню функціональну специфіку в комунікативному просторі. Зокрема, про ведений компаративний аналіз етнокультурних та міжкультурних тенденцій у рекламі виявив суперечності між комерційними завданнями та гармонізацією життєдіяльності соціуму, що мають переважно псевдонаціональні риси. Лише нечисленні торгові марки, відтворюючи національний колорит, відповідають вимогам як певного замовника, так і глядача. В результаті дослідження доходимо висновку, що використання етномотивів у засобах рекламного інформування можливе й необхідне для ідентифікації Української держави у світовому соціокультурному просторі, для підвищення національної самосвідомості та самоідентифікації.
The aim of the research is to show that after Independence that Ukrainian artist were rewarded for supporting Western values, not Ukrainian values. Ukrainian artists were left with three different paths, to either commit to the West, with the promise of attention and financial reward, or to support the Soviet idea of Moscow as a cultural capital or the difficult path of building a contemporary Ukrainian identity. The last option is the difficult path that not only has no rewards for the artist themselves but also acts in opposition to both the West and the East.
Research methodology. Methods of historical and art-study analysis are used. Scientific novelty. For the first time facts were introduced into scientific circulation about Eros in Ukrainian art in the period of Ukrainian Independence. Conclusions. The Contemporary Ukrainian Identity in the visual arts will be a merging of Western and Eastern concerns transformed through a Ukrainian point of view. Artists will seek both their own validation and self-worth through expressing themselves freely but also search for a community that appreciates their work. The Ukrainian beliefs in Eros, happiness, fun and mutual benefit is in contrast to the imperialistic beliefs of European countries and Russia. For a Ukrainian identity to be truly and honestly formed, it will have to forgo both financial and emotional rewards from foreign countries in order to support its own voice.
