Rebranding of Ukrainian Art Museums: Design as a Cultural Strategy

The purpose of the article is to identify the features of branding campaigns of Ukrainian art museums and their impact on increasing the popularity of museum institutions; and finding out the effectiveness of design approaches in such campaigns. Research methods are based on the application of comparative, formal-stylistic, iconological analysis and deconstruction method. The novelty of the research is to analyze the branding campaigns of art museums in order to learn from their experience and effective design solutions. The article also reveals the problem of integration of the viewer into the museum environment and the attempt through design to go beyond the imposed stereotypes, to overcome the attitude to art as a field alien to the average viewer. Conclusions. As a result of the analysis of branding campaigns of iconic Ukrainian art museums we come to the conclusion about their efficiency both for separate establishments, and for all culture in general. Comparative analysis of different approaches has shown the importance of identifying the uniqueness of institutions and attempts to reflect it in the design of identity. And although today we can talk about the belated transformation of the museum environment in Ukraine, which has been shedding boring socialist-realist cloaks almost three decades after the restoration of independence, it is important to note that this process coincides with the global trend of renewal of world museums. Design is becoming a cultural strategy that aims more than changing the image: it must turn the museum into a subjective player in the cultural field, able to think not in terms of power but in terms of culture. Therefore, the rebranding of the country’s iconic art museums can be called without exaggeration one of the most important cultural achievements since the restoration of independence. This process also demonstrated the current demand for design as a cultural strategy that can establish visual bridges between art professionals and potential viewers, as well as change cultural codes, set trends and thus influence the change of image of the city and country.

The Influence of Western Pop Culture on the Creation of the Image of the Performer Through the Design of Advertising Posters and Plates in the Period of Late Socialism

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.

Intellectual Systems and Technologies in the Coworking Space Organization

The purpose of the article is to identify the features of the coworking space design, in accordance with the possibilities of using intelligent systems and technologies in the organization of the main and secondary working space zones of the spatial-functional organization. The research methodology is based on the use of theoretical methods: scientometric method, analysis of domestic and foreign experience in the design and construction of the object, analysis of domestic and foreign standards and regulations on the research topic, and empirical methods: structural analysis method, experimental design method, structural method -functional modeling. The scientific novelty of the obtained results lies in the generalization and systematization of the basic techniques and features of the flexible coworking space design. For the first time, the application of intelligent systems and innovative technologies to functional areas of primary and secondary importance has been identified and systematized. Conclusions. As a result of the conducted research the basic regularities of formation of coworking spaces for creation of integral harmonious subject-technical space of the environment of human life were revealed. There are 3 groups of coworking users (owners, employees, residents), according to which the requirements for office space are justified. Functional zoning of coworking allowed to specify the possibilities of using intelligent systems and innovative technologies in each zone and to develop recommendations for their use. As a result of the study, the effectiveness of the use of office furniture and accessories to combine work formats during the day was systematized. The expediency of using intelligent systems to change the working mood to an atmosphere of rest and relaxation, as well as the use of equipment for physical activity in the sports rooms of the coworking space was substantiated. The installation of such intelligent systems and innovative technologies is becoming a clear indicator of the concern for the physical and mental health of residents, which is in line with the latest trends in the use of innovative technologies and intelligent systems.

Drawing and Painting for Future Graphic Designers in the Conditions of Distance Learning

Strict quarantine restrictions related to the Covid-19 pandemic have significantly changed the social reality. The pandemic has become a catalyst for a significant number of processes that have affected all areas of human activity, including education. The learning process in the extreme mode was transferred into a distance format, which, on the one hand, was a better solution than its termination. On the other hand, a sharp change in the format of education has particularly affected practice-oriented and creative disciplines. The advantages and disadvantages of this approach are considered in this article on the example of the discipline "Drawing and Painting", by observing the results of its teaching in the online format. The purpose of the study is to identify ways to adapt the methodology of teaching the discipline "Drawing and Painting" to the conditions of quarantine, to identify opportunities for new educational and communication online platforms in the art process, while not losing the classic tradition of mastering the basics of visual literacy. When students have direct contact with the teacher. Research methodology. The author, based on their own practical experience of a professional artist, analyzes the advantages and disadvantages of online learning and determines the direction of solving problems identified in the implementation of the discipline program “Drawing and Painting” in a distance format. The scientific novelty of research lies in the following aspects: expansion of ideas about the peculiarities of teaching art disciplines in the extreme mode of the pandemic, identifying the specifics of transferring traditional teaching methods to distance learning platforms, new structuring of the curriculum "Drawing and Painting". Conclusions. It is proved that distance technologies cannot replace all other methods and types of teaching in the discipline "Drawing and Painting" and should be considered only as an effective addition to traditional methods. We conclude that the main part of practical classes, where an important task is the formation of students’ motivation, professional values and independent non-stereotypical thinking, cannot be carried out without live communication between teacher and student.

Sustainable Fashion as a Research Object in Foreign Scientific Literature

The concept of sustainability in fashion, having been developed on the basis of ecodesign concepts, takes an important place in scientific research all over the world. The aim of study is to analize and summarise foreign scientific researches about sustainability in fashion. The results were achieved by using methods of sources analysis, which refer to different research fields, in the context of sustainable fashion and their further synthesis according to areas. The main directions of research in each area were identified and summarized in the conclusions. There were considered basic concept definitions – sustainable fashion and the principles of sustainable design, which are used in modern scientific works of foreign researchers. The analysis of foreign scientific sources in the context of sustainable fashion was provided in areas of: economics, marketing, management; sociology and psychology of consumer behavior; ecology; technologies based on the principles of sustainable design; design; aesthetics and art history; education; legislation; information technology. The scientific value of study. For the first time the systematization of foreign research in the context of sustainable fashion was carried out. The conclusions are given after the analysis of each area, underlining the main directions of foreign scientists` research. Conclusions. Researchers from all over the world pay attention to the issues of sustainable fashion and explore problems of the integration of sustainable fashion into everyday life. Sustainable fashion sets up new values that actualize the issues of aesthetics of sustainable fashion in the theory of art history and design practice. However, it should be noted that the analized scientific works concerning fashion design in the context of sustainable fashion, do not reveal aspects of design related to the creative process and aesthetic perception. Sustainable fashion needs changes of existing design tools in the context of sustainable design principles. Therefore, there is a need for their further study.

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

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.

Ways to Improve the Assimilating Efficiency of the Graphic Editors’ Functionality (On the Materials of the Training Course on the Discipline "Computer Technologies in Design")

The purpose of this research is to systematize and present the acquired in the process of personal teaching effective teaching methods and techniques, as well as meaningful conclusions in the context of the course “Computer Technology in Design” for its optimization. Research methodology. The research is based, first of all, on the author’s remarks and observations on the peculiarities of mastering by students of the speciality “Graphic Design and Advertising” of the Kyiv National University of Culture and Arts the functionality of graphic editors. That is, among the scientific methods in the preparation of the article were used methods of observation, experiment, comparison, classification, systematization, scientific analysis. Scientific novelty. The study has found that the current model of teaching computer science to designers focused on the study of graphic editors needs to be improved and updated in the context of current trends in computer design. Therefore, taking into account the existing shortcomings, it was proposed to optimize the training approach in four main positions: study of digital art terminology; working out of technical receptions; combination of basic artistic principles with program functionality; education of analytical qualities in students (graphic image analysis). Thus, all volume of the tasks directed on working off of technical receptions in combination with basic art bases is classified into three categories according to their maintenance: algorithmic tasks (the result is predicted); creative tasks (the result is variable, unpredictable); combined tasks (the result is variable). The practical block of tasks for studying graphic editors Adobe Photoshop and Adobe Illustrator for 1–2 years students, successfully tested during the educational process during 2018–2021, is reflected in the table, and the relevant analytical conclusions are presented in the form of infographics. Conclusions. As it was proved in the course of the research, it is the accumulated teaching experience in the context of theoretical substantiation that can experimentally help to determine a quality educational model. As a result, it was possible to systematize the effective teaching methods and techniques acquired during personal teaching, to present a successfully tested set of tasks, as well as to formulate theses on optimizing the educational model in the context of the “Computer Technology in Design” course.

Etymology and Historiography of the Ukrainian Headscarf as an Element of National Dress

The purpose of the article is to find out the peculiarities of headscarves functioning in the late 19th – early 20th centuries as an element of women’s national dress, to identify general and specific characteristics of their manufacturing and methods of tying, to find out the etymology of the word "headscarf", to trace its relationship with the concept of "ubrus" and others similar in meaning. Research methodology. Using a comparative-historical method, we have explored the etymology of concepts related to Ukrainian women’s headwear. Using a historical-typological method, a cultural and art analysis of the study has been conducted. Scientific novelty. The etymology of significant concepts of Ukrainian headwear, namely "ubrus", "headscarf" and others, is thoroughly studied. Their characteristic features in different regions of Ukraine are noted. The methods of tying headscarves from the 19th to the early 20th century are analysed and presented, the characteristics of their production and distribution in the counties of Poltava province are marked. It is proved that in Poltava province at the end of the 19th century, there were two main ways of tying headscarves simultaneously: in the counties of the north-western part of the province, the method of tying a headscarf with a knot on the top of the head was common, and in the eastern part – with a knot on the neck. Conclusions. Everyday women’s headscarves were intended to cover, insulate and decorate the heads of married women. Patterned woven headscarves were distinguished by the local originality of the artistic solution. Festive headdresses of Ukrainian women differed in variety and elegance. Strict completeness is inherent in the forms of this integral part of the national costume as those that have been refining over many generations. At the end of the 19th century. the wimples, on which a lot of material was spent, were almost destroyed. Headwear of new shapes was becoming more practical, cheaper and lighter. "Starovytsky headscarves" give way to manufactured goods. At the beginning of the 20th century, headscarves became the most common headdress both in the city and in the village.

Current Trends in the Use of Works of Fine Arts in the Interior of Premises

The purpose of the article is to identify current trends in the use of works of fine art in the interior of the premises, as well as to clarify the impact of works of art in the interi­or on the psychophysical state of a person. The research methodology contains general scientific theoretical methods of analysis, syn­thesis, abstraction and observation, as well as art analysis. The scientific novelty is to de­termine the features of the influence of works of modern art both on the appearance of the premises themselves and on the psychophys­ical state of a person. The paper attempts to identify the features of human interaction with works of contemporary art, in particular in the aspects of interactivity, relaxation and aesthetic pleasure. The article contains an explanation of the artistic techniques used to achieve such ef­fects. The analysis of works of modern painting by the artist O. Yasenev, placed in the interior of the premises, is used in the work. Conclusions. The study identified the benefits of applying contemporary art in the interior. The use of art, which is created on the border of figurative and abstract perception, is common today. In par­ticular, such art often has a surreal component, which encourages the viewer to interact with the imagination the most. This approach is rein­forced by the technique of work with a trace of deliberate imperfection, which also creates the ground for co-creation. Such work can divert the attention of the recipients, distract them from everyday worries and promote their relax­ation. The mentioned technique also contrib­utes to the visual expansion of the space of the room. In fact, such criteria should be followed by the designer when selecting works of art in the design of modern interiors.

Illustration Festivals and Book Fairs in the Development of Ukrainian Illustration as a Sector of Creative Industries

The purpose of the article is to clarify the meaning and functions of illustration festivals and book fairs from a socio-cultural perspective, as well as to determine and summarize the level of Ukrainian illustration’s representation in the international space through participation in such events. Research methodology. Empirical method, method of analysis and synthesis were applied. Journalistic materials on international events containing locations for the presentation of illustrative works and professional communication between illustrators were subject to analysis. Scientific novelty. The article considers the theoretical aspects’ importance of professional exhibitions of illustrators at international book fairs, competitions and festivals in the field of illustration for the development of this sector of creative industries. It is determined that these events are a powerful socio-cultural phenomenon and an effective platform for social communication between the main players in the sector. The events also perform a compensatory and motivating function for both professional environments and ordinary viewers of illustration, and their festivity and positive public response increase the illustration importance as a creative industries’ sector among the population. Also, for the first time, the article synthesizes factual data on the awards and prizes of Ukrainian illustrators, which exist in separate news publications, in the chronology of each event. It turned out that the most attractive for the participation of Ukrainian illustrators is The Illustrators Exhibition – Bologna Children’s Book Fair, as the chronology of achievements at this event is the longest and largest. The most successful illustrators in terms of international awards are Romana Romanyshyn and Andriy Lesiv («Agrafka»creative workshop). Conclusions. Over the last decade, Ukrainian illustration has been actively asserting itself internationally. The works created in 2010 correspond to world trends and attract the attention of foreign colleagues, publishers and critics. In recent years, the promotion and PR of illustrators have reached a much higher level, which increases the publicity of Ukraine’s achievements and strengthens the prestige of the sector in the public. The constant worldwide recognition of a narrow circle of Ukrainian illustrators in the presence of many talented authors raises the question of forming a culture of Ukrainian illustrators’ professional ambitions, when presenting themselves in international competitions and festivals, submitting their work should be understood as part of professional activity. The presentation of Ukrainian illustration in such events can be interpreted as a tool of cultural diplomacy of Ukraine in the international space.