The Poetics of the Ukrainian Font and Graphic Image of Hudprom: A 100-year Search

2021 ◽  
Vol 2021 (02) ◽  
pp. 254-262
Author(s):  
O. Chekal ◽  
Keyword(s):  
Graphic Design ◽  
Design Thinking ◽  
Visual Image ◽  
100Th Anniversary ◽  
Historical Background ◽  
Modern Design ◽  
Avant Garde ◽  
Graphic Image ◽  
Art School

The article deals with the search for a graphic style for the Kharkiv Art School for the 100th anniversary of Hudprom (the previous informal name of KSADA). Based on a study of Ukrainian font tradition, a visual image was found that links different generations of Kharkiv artists. The author of the article shows how the bridge between the Kubo-Futuristic finds of Kharkiv art-craftsmen Vasyl Yermilov, Borys Kosarev and modern design thinking was stretched in the development of inscriptions and signs. The features of working with typographic and aesthetic clusters to reveal the identity of time and place in graphic design are described. A variable font has been developed, combining both grotesque and avant-garde forms and more plastic historical graphemes based on cursive heritage. The flower of Kosarev, which has become a graphic image of the academy, simultaneously in different contexts and compositional solutions embodies the flourishing Ukrainian modernism (historical background), as well as represents the modern multimedia postmodernist pattern.

ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić
Keyword(s):  
20Th Century ◽  
Oral Tradition ◽  
Historical Background ◽  
Historical Records ◽  
Artistic Creation ◽  
Avant Garde ◽  
Modern Process ◽  
Artistic Vision ◽  
Dramatic Characters ◽  
The One

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.

Design thinking in printing graphic design approaches for animation films

2021 ◽  
Vol 26 ◽  
pp. 709-728
Keyword(s):  
Key Words ◽  
Design Process ◽  
Graphic Design ◽  
Scientific Theory ◽  
Design Thinking ◽  
Film Industry ◽  
Optical Illusion ◽  
Design Work ◽  
Aesthetic Awareness

Art of animation as an analysis of movement is based on the theory that the vision remains on the eye after the disappearance of the actual image, and this scientific theory is the same that the film industry was built upon. Recently, various techniques and ideas have entered the print design process as a means of expressing a phenomenon subject to the human will to change and elevate our aesthetic awareness and feelings, which rise in various forms of designs that reveal themselves in design work and are embodied in animation films. The design artwork falls within a group of intertwined elements fused with each other, reflecting the peculiarity of this work, as it is innovation and creating new and interesting things, so that the design is suitable for the desired purpose and beautifully. Perhaps the simplest type of optical illusion that can clarify to us the idea of the impression of the existence of an image that does not actually exist is represented in the decree paper. Key words: Design thinking, Typography, Animation films

scholarly journals Graphic design and scientific research: the INGV experience

2020 ◽  
Author(s):  
Daniela Riposati ◽  
Giuliana D'Addezio ◽  
Francesca Di Laura ◽  
Valeria Misiti ◽  
Patrizia Battelli
Keyword(s):  
Graphic Design ◽  
Collaborative Work ◽  
Scientific Research ◽  
Visual Image ◽  
Research Activity ◽  
Essential Point ◽  
Design Elements ◽  
Comprehensive Plan ◽  
Research Activities ◽  
Product Package

Abstract. Part of the INGV activity is focused on the production of resources concerning Educational and Outreach projects on Geophysics and natural hazard topics. The forefront results of research activity, in fact, are periodically transferred to the public through an intense and comprehensive plan of scientific dissemination. In the past 15 years, graphic and visual communication has become an essential point of reference supporting institutional and research activities. Positive experiences are the result of a strict relationship between graphic design and scientific research, in particular the process concerning the collaborative work between designers and researchers. In projects such as the realization of museum exhibition or the production of illustrative brochures, generally designed for broad-spectrum public, the goal is to make easier the understanding and to support the scientific message, making concepts enjoyable and fruitful through the emotional involvement that visual image can arouse. The graphics and editorial products, through composition of signs and images by using different tools (colors, form, lettering) on different media (print, video, web), link to create a strong identity INGV style, in order to make them easily recognizable in Educational and Outreach projects. A project product package might include a logo or other artwork, organized text and pure design elements such as shapes and color, which unify the piece. Color is used not only to help the logo stand out from the international overview, but in our case to have a unifying outcome across all the INGV sections. A recent and stimulating experience has been the collaboration between INGV project design and its reference scientific community in order to create edu-games, products specifically designed for scientific dissemination. The edu-games have been designed to be an efficient combination of educational content and playful communicative aspects, with the aim therefore to learn while having fun.

Yi Chung-sŏp (1916–1956)

2018 ◽  
Author(s):  
Jungsil Jenny Lee
Keyword(s):  
Korean War ◽  
Extreme Poverty ◽  
Avant Garde ◽  
The Korean War ◽  
Psychological Difficulties ◽  
Imperial Art ◽  
Art School

Yi Chung-sŏp was a modern Korean painter known for his expressionist style. Yi’s painting was strongly influenced by the brushwork of Korean painting and calligraphy but also by the bold black contours in the work of George Rouault (1871–1958), to the extent that Yi was called ‘‘Bunka’s Rouault.’’ In 1937, Yi went to Tokyo, where he entered the private Imperial Art School (now Musashino Art School) and then the Cultural School (Bunka Gakuin). At the latter, Yi studied with Tsuda Seishu (1907–1952), an avant-garde artist who helped Yi to realize the value of Korean traditional aesthetics and who encouraged him to integrate a Korean spirit into his art. With the advent of the Korean War in 1950, Yi fled south with his family. In the following years, despite Yi’s financial and psychological difficulties, he produced a large number of works in an expressionist style. In Japan, Yi was active in such avant-garde exhibitions as Dokuritsuten and Jiyuten from 1938 to 1943, winning recognition in the main art circles in Tokyo. In 1941, Yi joined several other Korean artists active in Tokyo to establish the strongly nationalistic Chosŏn New Artist Society [Chosŏn Shinmisulga Hyŏphŏe]. Once he returned to Korea, Yi suffered from extreme poverty as a result of the Korean War, to the extent that he could not support his family, who then went back to Japan. His first and last solo exhibition was held in Seoul in 1955.

Cultural Identity and Passport Designs

2017 ◽  
Vol 4 (11) ◽  
pp. 139-146
Author(s):  
Cumhur Coskun
Keyword(s):  
Qualitative Study ◽  
Cultural Identity ◽  
Cultural Values ◽  
Graphic Design ◽  
Design Concept ◽  
Modern Design ◽  
The Past ◽  
Visual Elements ◽  
Artistic Work ◽  
The Times

A passport is an identity given to an individual by his country, to travel to other countries. With globalisation, ‘passports’ that were papers stamped at the entrance and exit by customs during the past centuries have increasingly become critical documents. It is not only a personal document, but it also represents the country to which it belongs. The designs should reflect the cultural identity of a nation, in the form of visual elements, illustrations and photographs. Countries that are aware that their passports reflect their cultural values are able to combine their passport designs with the modern design concept of the times creatively and stylishly, as an artistic work. This qualitative study is aimed at evaluating passport designs in terms of being a representative of a cultural identity and examining passport designs that are re-examined with innovative and modern understanding cultural identity. Keywords: Passport design, cultural identity, graphic design.

Graphic Reconstructing and Application Research of Traditional Auspicious Pattern in the Customization for Haute Couture

2014 ◽  
Vol 1048 ◽  
pp. 341-344
Author(s):  
Xiao Mei Chen ◽  
Qing Dong ◽  
Xiao Yang Liu
Keyword(s):  
Design Thinking ◽  
Application Research ◽  
Modern Design ◽  
Haute Couture ◽  
Aesthetic Taste ◽  
Graphic Language ◽  
The Aesthetic ◽  
Traditional Pattern ◽  
Implied Meaning ◽  
Important Significance

Costume pattern carries massive traditional culture and national spirit. It has important significance on people’s life and records the historical process of a nation. The topic of the paper starts from Chinese traditional auspicious pattern, summarizes the combination, layout and implied meaning of pattern through the analysis on the special shape and formal beauty; analyzes and research the cultural spirit and plastic art of traditional auspicious pattern. It makes analysis on the graphic language of traditional pattern and formal language under modern design thinking, finds new graphic language in reconstruction and innovation, this new form may have no direct relation with traditional pattern, but it could invisibly convey traditional spirit, which could better reflect the aesthetic taste of modern design to make Chinese traditional essence possess times spirit and reach the internal spirit unity between people and costume.

scholarly journals WORK OF NIKOLAI TSIVCHINSKII: CONTRIBUTION OF THE BOYCHUK SCHOOL TO THE ART OF KAZAKH TAPESTRY

2021 ◽  
pp. 103-118
Author(s):  
Sergali Suraganov ◽  
Zubaida Suraganova
Keyword(s):  
Arts And Crafts ◽  
Methodological Innovation ◽  
Avant Garde ◽  
New Information ◽  
Biographical Approach ◽  
Significant Phenomenon ◽  
History Of ◽  
The Republic ◽  
Life Path ◽  
Art School

The purpose of the research is to introduce the creative achievements of N. Tsivchinskii into scientific use in the context of the formation of the art school of the Ukrainian avant-garde of Mykhailo Boychuk. The study’s objectives are to determine the origins of the formation of the muralist and arts and crafts master N. Tsivchinskii’s work, his contribution to the shape of the history of the Kazakh professional tapestry. His work reflects the penetration and deep insight into the significance of traditional cultural identity, the Boychuk school’s monumentalism inherent. One of the few surviving Boychukists who were scattered to the four corners of the earth by fate, N. Tsivchinskii developed the versatile skills, artistic language, and tradition of the Boychuk school also became one of the brightest figures in the Kazakh decorative and applied arts. The life path and work of N. Tsivchinskii reflect the most critical and tragic chapters of the country development thoroughly, which is no longer on the map. The research methods used are biographical, source-based, and historical. The methodological innovation of the research is the use of the biographical approach along with the historical one in the framework of the “new comparative history” as an effective tool for studying the artistic heritage of Kazakhstan and Ukraine in the Soviet era. The scientific novelty of the study is determined by the introduction of new information about the artist, whose work was only mentioned in the context of the Boychuk school scholars’ activities, a significant part of whose followers were destroyed during the years of the Red Terror. Conclusions. The work of N. Tsivchinskii is considered in the context of the activity of the art school of M. Boychuk, where he became an arts and crafts master. In the 1930s, in Kazakhstan, N. Tsivchinskii continued the traditions of the Boychukists, became the founder of the first carpet cooperative craft society, which became a truly significant phenomenon in the history of the formation of professional decorative and applied art in the republic.

scholarly journals Graphic design as a means of advertising transmission ideas in polygraphy

2021 ◽  
Author(s):  
Yuliia Bogoslovska ◽  
Tetyana Malik
Keyword(s):  
Graphic Design ◽  
Visual Image ◽  
Communication Process ◽  
Visual Images ◽  
Research Information ◽  
Traditional Use ◽  
Analytical Monitoring ◽  
Theoretical Approaches ◽  
Design Function ◽  
Nonverbal Information

The purpose of the article is a substantiation of the use of visual images in the form of graphic models in printing advertising, consideration of the basic categories of graphic design in advertising, generalization of theoretical approaches to understanding the essence and content of the visual design of the advertising product. Methodology: analysis, synthesis, generalization. The research methodology consists in the application of general and special methods of cognition, in particular, the author used comparative analysis, synthesis and generalization, terminological, chronological and other research methods, among which a special place is occupied by review-analytical monitoring of publications. The scientific novelty lies in the substantiation of the introduction of the visual image of the text in the layout of the advertising project as a necessary addition to the traditional use of graphics, taking into account the peculiarities of the advertising communication process. This provided an opportunity to generalize and specify the specifics of the development of advertising ideas in printing through graphic design. Conclusions: As a result of the study it was found that the basis of graphic design in advertising is the application in practice of interdisciplinary knowledge and skills, the specifics of figurative expression in the artistic sense of the word. It was also found that the use of means of visualization of verbal and nonverbal information in the creative advertising concept is a very important component when considering the design function as a means of transmitting advertising information in printing. Derivatives that underlie the disclosure of creative advertising ideas with the help of design tools have been identified. Key words: graphic design, visual communication, modeling, advertising, printing, information, visual, images, design, idea, research, information, technique, means, transfer, design, drawing, technique, environment, synthetic, landscape, style, direction, transformation.

scholarly journals 'Confessing out the soul to conform to the rhythm of thought': a reading of Allen Ginsberg’s Beat poetry

Literator ◽  
2007 ◽  
Vol 28 (1) ◽  
pp. 23-46
Author(s):  
H. Kruger
Keyword(s):  
Twentieth Century ◽  
Historical Background ◽  
Critical Writing ◽  
Avant Garde ◽  
Critical Tradition ◽  
Key Characteristics ◽  
Social Discourses ◽  
Beat Movement ◽  
The Usa ◽  
Beat Poetry

Much critical writing about the Beat Movement has focused on the strong interrelationship between the literary and social discourses within and around the movement. However, the study of Beat literature also necessitates an awareness of its position within the literary discourse of the twentieth century. Beat writing may be seen as standing in the unstable, shifting territory between two equally unstable, shifting literary movements: modernism and postmodernism. Beat poetry pits itself against high modernism and the New Critical tradition, draws upon some aspects of early avant-garde modernism, and simultaneously remoulds these aspects into what may be regarded as the beginnings of postmodernism in the USA. This article presents a reading of Allen Ginsberg’s Beat poetry against this literary-historical background. A brief general overview of some of the key characteristics of Beat poetry is given, followed by a discussion of a number of Beat poems, organised around some salient features of Ginsberg’s Beat poetry that may be linked to Beat poetry’s position in the transition from modernism to postmodernism.

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