scholarly journals Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period

2021 ◽  
Vol 4 (2) ◽  
pp. 291-298
Author(s):  
Olga Shkolna ◽  
Olga Sosik ◽  
Alla Buigasheva
Keyword(s):  
Graphic Design ◽  
Industrial Design ◽  
Fine Arts ◽  
Environmental Design ◽  
High Tech ◽  
Graphic Art ◽  
Art Deco ◽  
Avant Garde ◽  
The Past ◽  
Design Activities

The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced. Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades. If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.

scholarly journals ART DECO STYLE’S FEATURES IN THE TEXTILE WORKS OF DESIGNERS SONIA DELAUNAY AND PAUL POIRET

2018 ◽  
Vol 4 ◽  
pp. 530
Author(s):  
Liene Zarembo
Keyword(s):  
20Th Century ◽  
Interior Design ◽  
21St Century ◽  
Industrial Design ◽  
Fine Arts ◽  
Art Deco ◽  
Theoretical Literature ◽  
Internet Resources ◽  
Design Style ◽  
Applied Arts

Art Deco is an artistic term that stands for an elegant eclectic design style dating back to the 1920s. Style has affected virtually all industries, including architecture, fine arts, applied arts, interior design, industrial design, fashion and jewellery, as well as painting, graphics and cinema. Art Deco architecture and arts expanded on other movements - Constructivism, Cubism, Modernism, Bauhaus, and Futurism. Principles of Constructivism and Cubism are also used in contemporary textile patchwork and quilt. The aim of the paper: exploration of the features of Art Deco style in the textile works of 20th century designers - Sonia Delaunay and Paul Poiret. The methods of the research: exploration of theoretical literature and Internet resources, the experience of reflection.The research emphasizes Sonja Delaunay’s particular importance of textile works in the development of contemporary quilt in the 21st century.

An analysis of ‘typographic self-portrait projects’ by the 2nd grade students of Baskent University, Faculty of Fine Arts, Design and Architecture, Department of Visual Arts and Design

2018 ◽  
Vol 8 (2) ◽  
pp. 61-67
Author(s):  
Halime Turkkan
Keyword(s):  
Visual Culture ◽  
Visual Arts ◽  
Graphic Design ◽  
Fine Arts ◽  
The Self ◽  
University Faculty ◽  
Cultural Backgrounds ◽  
Design Elements ◽  
Design Activities ◽  
Points Of View

The self-portrait solutions were designed to be transferred into typographical design elements by the 2nd grade students of Baskent University, Faculty of Fine Arts, Design and Architecture, Department of Visual Arts and Design, during fall semester 2017–2018, within the scope of the course ‘Typography Design’ under the leadership of Halime Turkkan. The concept of ‘self’ was converted into typographic self-portraits. The main objective of the project was to express the concept only by words through different perspectives of students. This study is focused on analysing the different points of view on creating conceptual typographic designs and the effects of visual culture on students during the design process for exhibitions and other design activities. The graphic solutions which were exhibited in Gallery Baskent and Artankara 4th International ModernArts Fair will be examined in terms of visual and cultural backgrounds of Turkish graphic design students.Keywords: Typographic design, self, visual culture, Turkey.

scholarly journals STYLISTIC ANALYSIS OF ARCHITECTURE OF MODERN INTERIORS OF FOOD FACILITIES

2021 ◽  
pp. 42-56
Author(s):  
Adriana Hromnyuk
Keyword(s):  
Scientific Basis ◽  
Space Environment ◽  
Stylistic Analysis ◽  
High Tech ◽  
Environmental Friendliness ◽  
Art Deco ◽  
The Past ◽  
Modern Style ◽  
Spatial Environment ◽  
The Subject

The research analyzes a large number of food facilities in Kyiv, Lviv, and Odesa. They are famous for special colorit, attractiveness, and innovation in stylistic and thematic solutions of their spaces. The stylistic analysis of the architecture of their interiors showed that there is mostly no trace of a single stylistic solution but a fusion of several styles or trends.  The main stylistic tendencies in the organization of food enterprises' object and spatial environment are defined: eclectic, fusion, a single modern style/direction, and auteur design without reference to any particular style. At the same time, within eclecticism, we distinguish the following vectors of its stylistic solution: displaying the atmosphere of different eras, the relevant historical styles of specific countries and places, and reproducing the interiors of food establishments from different periods and countries. Within the framework of fusion trends, we distinguish the following vectors: a combination of components of modern styles/trends with retro/vintage/antique interior items, with an authentic restored architectural, artistic details; use of contemporary style in combination with elements of historical styles: Art Deco, Classicism, Secession, etc.; the use of several modern styles/stylistic trends, a special mixture of components of many heterogeneous styles of the past and the present, has grotesque character and sometimes bordering on kitsch, also take place. Using a single dominant modern style or trend is the third tendency of style solutions for food enterprises' object and spatial environment. The fourth tendency is interiors, which do not have a clear manifestation of a particular style. The main styles and trends used today in the architecture of the interiors of catering facilities are identified, their definitions are clarified, and the scientific basis is developed. Modern stylistic trends, such as fusion, loft, industrial or industrial, shabby-chic, futuristic, steampunk, Provence, modern classics, and the Mediterranean, are reflected in the object-space environment of restaurants, bars and cafes. Eclecticism, minimalism, and high-tech are the most common styles in these spaces. Performed analysis allowed to determine the main approaches to interior architecture design of food establishments in the context of their conceptual and stylistic solution: conceptualism, eclecticism, environmental friendliness, symbolism, innovation, culturology and traditionalism, cohesion, harmonization, expressiveness, interactivity. Themes of artistic and figurative solution of the subject-spatial environment of food establishments were established.

scholarly journals Graphic Design as a University Discipline in Argentina, 1958–1985

Design Issues ◽  
2016 ◽  
Vol 32 (3) ◽  
pp. 67-77
Author(s):  
Verónica Devalle
Keyword(s):  
Graphic Design ◽  
Design Education ◽  
Industrial Design ◽  
Buenos Aires ◽  
Public Institutions ◽  
Postwar Period ◽  
American School ◽  
Avant Garde ◽  
National University ◽  
Pan American

The article aims to reconstruct the emergence and consolidation of graphic design as a university discipline in Argentina. It is a process that started in the late 1950s and has intersected with various important historical moments—for instance, the early dialogue between Max Bill and Argentinean avant-garde artists, such as Alfredo Hlito and Tomás Maldonado in the immediate postwar period. Also instrumental in the process were the networks between Brazilian modernism—especially from Rio de Janeiro and São Paulo—and avant-garde artists from Montevideo and Buenos Aires, as well as the gradual arrival of what is known as the Modern Movement in the practice of architecture and in its teaching in universities. It reviews the institutions that were pioneers of design education in Argentina. The cases addressed are the National University of Cuyo (UNCu), National University of La Plata (UNLP), the Centre for Research in Industrial Design (CIDI), the Centre of Arts and Communication (CAYC), the Pan American School of Art (EPA), and the National University of Buenos Aires (UBA). While the national universities and CIDI are public institutions, the CAYC and EPA were private initiatives.

National Graphic Design of the 1960s in the Context of World Achievements in this Field

2021 ◽  
Vol 2021 (02) ◽  
pp. 162-174
Author(s):  
N. Sbitnieva ◽  
Keyword(s):  
Graphic Design ◽  
Evaluation Criteria ◽  
The United States ◽  
Graphic Art ◽  
Art And Design ◽  
Technological Gap ◽  
Design Activities ◽  
The 1960S ◽  
The One ◽  
Professional History

Peculiarities of national graphic design formation in the 60s of the 20th century in comparison with achievements of the leaders of the world design movement are considered in the article. The aim of the article is to identify peculiarities of Soviet graphic design formation in the 1960s in the context of world achievements in this field. The research methodology combines the methods of comparative, figurative and stylistic analysis, which are based on historical and systematic approaches. The materials of the article proved that in the 1960s professional development of national design took place in conditions of significant economic and technological gap with the leading countries of Europe and the United States. At the same time, due to the tendency to stylistic inertia and imitation of forms and means of graphic art, including aesthetic evaluation criteria, there also was a stylistic gap with progressive trends represented by the Swiss Printing School, the Polish Poster School and American commercial design. The author concludes that the development of Soviet graphic design in the 1960s was in line with opposite trends. On the one hand an impact of world design achievements was obvious, along with significant progress in certain fields of science and technology, the creation of design universities; on the other hand, there were traditions of applied graphics and aesthetic criteria; ideologization of society and state control over all spheres of creative activity. These factors hindered the perception of graphic design as an independent and specific field of art and design activities. Nevertheless, the period of the 1960s was an important stage in the development of design profession in the USSR. The first design educational institutions were established, including the Kharkiv Institute of Arts and Industrial Design; the All-Union Research Scientific Institute of Technical Aesthetics appeared; the publication of the journal “Technical Aesthetics” began. All these changes were of great importance for the development of graphic design, as they marked the beginning of its professional history, formation of the basis, awareness of a fundamentally new type of activity with its own tools and professional tasks.

Policy Making Introduction

2019 ◽  
Vol 1 (1) ◽  
Author(s):  
Nina TERREY ◽  
Sabine JUNGINGER
Keyword(s):  
Policy Implementation ◽  
Policy Making ◽  
Creative Industries ◽  
Design Management ◽  
Support Design ◽  
The Past ◽  
Academic Researchers ◽  
Design Activities ◽  
The Relationship ◽  
Professional Impact

The relationship that exists between design, policies and governance is quite complex and presents academic researchers continuously with new opportunities to engage and explore aspects relevant to design management. Over the past years, we have witnessed how the earlier focus on developing policies for design has shifted to an interest in understanding the ways in which design contributes to policy-making and policy implementation. Research into policies for design has produced insights into how policy-making decisions can advance professional impact and opportunities for designers and the creative industries. This research looked into how design researchers and design practitioners themselves can benefit from specific policies that support design activities and create the space for emerging design processes.

EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"

2020 ◽  
pp. 138-150
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  
Keyword(s):  
Visual Art ◽  
Spatial Organization ◽  
Fine Arts ◽  
Environmental Design ◽  
Exhibition Design ◽  
Fine Art ◽  
Museum Of Fine Arts ◽  
Artistic Images ◽  
Fashion Designers

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

FEATURES OF THE ORGANIZATION OF ARTISTIC AND DESIGN ACTIVITY OF JUNIOR SCHOOLCHILDREN

2020 ◽  
pp. 62-70
Author(s):  
Olesia Makoviichuk ◽  
Alona Shulha
Keyword(s):  
High School Students ◽  
Primary School ◽  
Junior High School ◽  
Fine Arts ◽  
Design Activity ◽  
School Students ◽  
Art And Design ◽  
Artistic Activity ◽  
Labor Training ◽  
Design Activities

The article analyzes the theoretical aspects of art and design activities, considers the features of the integrative organization of art and design activities of students in the lessons of fine arts and technology in primary school. Artistic and project activities of junior schoolchildren are realized through the disciplines of fine arts and labor education (technology) in primary school. The concept of "artistic and design activity" is analyzed through the prism of the concepts of "activity", "artistic activity". The following are considered: interconnected structural components of artistic design, types of activity and types of tasks aimed at the implementation of artistic design activities of junior schoolchildren. The article emphasized the potential of an integrated combination in primary school of fine arts and labor training (technology) for art and design activities of junior high school students.

Performing States-Of-In-Between: Dogs, Parrots, and Other Humans in Recent Austrian Performances

2017 ◽  
Vol 40 (3) ◽  
pp. 295-310
Author(s):  
Sabine Wilke
Keyword(s):  
Fine Arts ◽  
Specific Form ◽  
Cultural Critique ◽  
Contemporary Society ◽  
Dramatic Effect ◽  
The Past ◽  
Violent Content ◽  
The World ◽  
The Sixties ◽  
Recent Developments

Every late spring since 1951, the Wiener Festwochen bring performers from around the world to Vienna for an opportunity to share recent developments in performance styles and present them to a Viennese public that seems to be increasingly open to experimentation. These festival weeks solidify a specific form of Viennese self-understanding and self-representation as a culture that is rooted in performance. This essay seeks to link two recent Austrian performances—one of them was part of the Wiener Festwochen in 2016, the other was staged in downtown Linz during the past few years—to this Austrian and specifically Viennese culture of performance by reading them as contemporary articulations of a tradition of radical performance art that can be traced back to the Viennese Actionism of the sixties and later feminist articulations in the seventies and eighties. They play on the dramatic effect of these actions, specifically their joy in cruelty, chaos, and orgiastic intoxication, by staging regressions and thus making visible what has been dammed up and repressed in contemporary society.1 Just as their historical models, these two performances merge the performing and the fine arts and they highlight provocative, controversial, and, at times, violent content. But they do it in an interspecies context that adds an entire layer of complexity to the project of societal and cultural critique.

The Information Content of Royalty Income

2004 ◽  
Vol 18 (1) ◽  
pp. 1-12 ◽  
Author(s):  
Feng Gu ◽  
Baruch Lev
Keyword(s):  
Information Content ◽  
Intangible Assets ◽  
High Tech ◽  
Patent Licensing ◽  
Financial Reports ◽  
Quarter Century ◽  
Steep Increase ◽  
The Past ◽  
Corporate Growth

The rise of intangible assets in size and contribution to corporate growth over the past quarter century was accompanied by a steep increase in the rate and scope of patenting. Consequently, many patent-rich companies, particularly in the science-based and high-tech industries, are extensively engaged in the licensing and sale of patents. We examine various valuation and disclosure aspects of the outcome of patent licensing—royalty income. Our findings indicate the following: (1) royalty income is highly relevant to securities valuation, (2) the intensity of royalty income provides investors with an important signal about the quality and prospects of firms' R&D expenditures, and (3) a substantial number of companies engaged in patent licensing do not disclose royalty income in financial reports.

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