GRAPHIC FEATURES OF THE ADVERTISING POSTERS OF UKRAINIAN FOLK AND POP MUSIC OF THE SECOND HALF OF THE XX CENTURY

The purposeof this work is to identify the characteristics of the visual language of posters of Ukrainian folk and pop music, the search for relevant graphic solutions for further use in modern design. Methodology.The research method is to observe and compare design objects.The study was based on posters of musical events and folk and pop music groups of Ukraine, developed in different stylistic, figurative and design variants and genres.The chronological boundaries of the study are determined by the period of poster art of Soviet Ukraine in the second half of the XX century and the post-Soviet period of the XX century (1960 – 1999). Results.Features of the development of the visual component of music and song posters of the second half of the XX century was divided into several genre trends in the specified time frame.The analysis of the composition, colors, plot, decorative elements and fonts of posters of folk and pop music of Soviet and post-Soviet Ukraine, in order to identify relevant and outdated graphic solutions. Scientific novelty.The analysis of stylistic features of music and song Ukrainian-Soviet posters according to certain features, elements of visual symbols and graphic components is carried out in the work.Relevant and outdated image-design solutions in the design of posters of the second half of the XX century are revealed. Practical significance.The proposed research and the results presented in the articles can be used in scientific works used with further study of the design elements of Ukrainian posters;in the educational process for the study of case studies.

Ecoposter as a Form of Socio-cultural Communications

The article reveals the role of the poster, which at the beginning of XXI century doesn’t lose the position of the main advertising medium for outdoor (especially in city lights), in interiors for various purposes, even as an element of the decor instead of paintings, in virtual competitions of various themes, and can be transformed into online ads banners. Purpose of the study is environmental social advertising, an empirical analysis of visual language and stylistic trends in the poster was conducted. The research methodology is based on rethinking the results of the International Project “ECO-Culture”, whose objectives were the development of eco-thinking, popularization of eco-trends, the formation of poster art a new lifestyle in an urban environment, promoting the concept of clean cities and consumer culture. In this way, the role of education, art and design and the responsibility of each of us in the systemic changes for the environment is proved. To achieve this goal, scientific methods were used: system-structural, socio-cultural, axiological, comparative, method of theoretical generalization. Scientific novelty. Ecoposter has been actualized as a form of socio-cultural communication, strategically aimed at preserving the environment and creating comfortable conditions for human life and activity, changing consumer attitudes, strengthening social responsibility and positive values. Conclusions. The current state of ecoposter, in particular in Ukraine, motivates further initiatives and interdisciplinary approach to the development of ecoculture in society by means of Poster Art. In the arsenal of techniques to increase the efficiency and aesthetic level of ecoposters, the authors highlighted the use of creative advertising technologies – visual metaphors, hyperbole, associations, allegories and metonymy, focusing on the experience of famous poster artists and participants in international exhibitions and competitions.

HYBRID REFLECTIONS IN POST-MODERN GRAPHIC DESIGN POSTERS

Hybrid works in art have many examples from past to present. Hybridization in poster art has been in question since the first years when posters started to appear. Hybridization in designs can occur in terms of both method and technique. In present study, it is mentioned how graphic design has removed the boundaries between itself and many disciplines since the use of technology in the field of art and how it allows hybrid studies. As it is known, the main purpose of graphic design is to convey an existing idea to the other party in the simplest way. For this reason, graphic design, which updates itself over time, has added motion and sound to its work area and shows itself with effective designs. While technically designs consist of two-dimensional studies for years, they can also be designed in three-dimensional or even four-dimensional forms with hybrid methods. While poster designs are prepared as flat and static, they update themselves with kinetic typography and motion images. Moreover, with hybrid presentations such as augmented reality and virtual reality in current works, designs interact more with people. It is seen that the artists who can think from a hybrid point of view attract more attention and interaction with the hybridity reflected in their designs, and they also reach the intended result in a catchy manner.

THE INFLUENCE OF UKRAINIAN FILM POSTERS OF THE 1920s AND 1930s ON CONTEMPORARY GRAPHIC DESIGN

The purpose of the article is to analyse the influence of the system of compositional techniques and graphics of the All-Ukrainian Photo Cinema Administration Film Poster School and Ukrainafilm on domestic graphic design. Research methodology. The author has applied historical, art history, and comparative analysis. Scientific novelty. Through the similarity matching in the world and Ukrainian design and the study of the use of design schemes, techniques and tools that are permanently used in graphic design, we reason the influence of the Ukrainian Poster School of the 1920s and 1930s on contemporary graphic design practice. Conclusions. Despite a long break for ideological grounds in the functioning and study of Ukrainian graphic design in the middle of the twentieth century, we record a noticeable influence of the means and techniques of Ukrainian poster art on modern trends. These are general compositional techniques: placing a formatted face or figure as a dominant on the entire plane of the image, designing a composition on the principle of a “playing card”, deliberately replacing grounds on the inverted perspective. There are local techniques: concentric circles as a compositional dominant, filling the main character’s glasses with visual elements or font content, and rhythmically repeating visual elements or font groups. The identified similarities can be valuable in the young designers training, taking into account the general development of Ukrainian graphics’ history and its single branch graphic design. It is also possible to use these schemes, techniques and tools in contemporary design education as a methodological basis for teaching poster design, designing, composition, layout and modelling.

КИЇВСЬКА ШКОЛА ПЛАКАТУ ЧАСІВ ПЕРЕБУДОВИ: ВІЗУАЛЬНА МОВА І ЗМІСТОВНЕ НАПОВНЕННЯ

Purpose: to analyze the specifics of the Kyiv poster school of the Perestroika period. Methodology. Historical-comparative and art-scientific methods of analysis were used for the research. Results. The Perestroika period saw the final transformation of Ukrainian poster techniques and tools: from dogmatic system of Soviet school of visual arts to polystylistics of social, political, ecological and cultural posters at the time of fundamental social changes. Each of the major regional schools of the Ukrainian poster genre met the turning point of the era in accordance with its deeply rooted tradition or unconscious inertia. Appeal to the previously forbidden themes, repositioning of the theme of Ukrainianism in the poster, unexpected technical and artistic solutions, gravitating towards the smooth concepts of European poster movements – all this was presented and interpreted in terms of regional specificity. The attention of this study was focused on the Kyiv school. External and internal influences on the work of the Kyiv masters were analyzed. It was determined which themes were most often reflected in the posters and what were the stylistic changes. Scientific novelty. For the first time was covered the specifics of the Kyiv poster school and how it interacted with other poster schools in Ukraine. Practical significance. The study allows us to expand our knowledge about the activities and artistic features of the Kyiv school of posters during Perestroika. The findings can be used in further research of Ukrainian poster art.

The Spanish Republic’s Diplomatic Mission to Moscow during Civil War. Part 1

The Spanish Civil War played a unique role in the Soviet Union’s geo-political strategies in the second half of the 1930s. The conflict marked the first occasion that Moscow had participated in a foreign war beyond its traditional spheres of influence. But Soviet involvement in the Spanish war went far beyond the sale of armor and aviation to the beleaguered Spanish Republic. While Moscow organized and supported the creation of the International Brigades, on the cultural front, the Soviets sought to roll out a broad program of propaganda, employing film, poster art and music to link the destinies of the Slavic and Hispanic peoples. If scholars have succeeded in recent years to rewrite the history of many components of Soviet participation in the Spanish Civil War, diplomatic relations between the Republic and Moscow remain an unexplored theme. This is the first instalment of a two-part article, unpublished official documents, as well as memoirs, newsreels, private letters and the press, to offer the first narrative history of the Republican embassy in Moscow. The diplomatic rapprochement between the USSR and Spain in 1933 is explored as a prelude to the exchange of ambassadors following the outbreak of the Civil War in summer 1936. The appointment of the young Spanish doctor Marcelino Pascua to a newly recreated Moscow embassy is examined in detail, up to autumn 1937. This article allows the reader hitherto unavailable access to the daily trials, disappointments and occasional breakthroughs experienced by the Spanish Republican ambassador in Stalin’s Soviet Union.