The aim of the article was to identify the main trends in the development of graphic design in the modern information society. This article uses qualitative and quantitative methods of analysis of graphic design development. Based on statistical analysis, the graphic design markets of Italy, Germany, Hungary and Poland for 2018 were estimated according to the European Design report (2018). Based on the indicators of ICT sector development, the state of the information society for the formation of potential trends in the development of graphic design has been identified. Indicators of skills shortages and skills shortages in the ICT sectors of the countries were taken from the OECD database (2021). The results show differences in the development of the ICT sector of countries and design markets.
Today design is becoming a tool of war. Projecting a small section of life or information space, a designer himself is not actually fully realizing that he makes a global impact. He spreads the form, in which human consciousness consumes both industrial and informational product. The armed war launched by the Russian Federation against Ukraine has not yet begun and was prepared in a way that does not directly bring death and destruction. It was prepared by creating a "parallel reality" primarily in people’ consciousness through achievements in the field of design with a combination of high technologies including web design, virtual and augmented reality, collage and photomontage. Even those elementary visual formulas that were given by the Bauhaus or the avant-garde, minimalism and deconstructivism were used with the opposite effect and primarily for the manipulation of human consciousness.
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
The purpose of the article is to study the functioning of visual narratives of Russian propaganda in the conditions of Russia’s armed war against Ukraine and consider the phenomenon in the context of postmodern theories. The research methodology is based on the application of the postmodern method of deconstruction, systematically applied to the visual texts of Russian propaganda in order to reveal hidden meanings. The novelty of the research consists in revealing the peculiarities of the functioning of the visual narratives of Russian propaganda, which, in fact, made it possible to simulate the reasons for the large-scale armed invasion of the Russian Federation in Ukraine, as well as to create masking of the real reasons for the war, which are related to the crisis phenomena of power institutions with imperial determinants that are not appropriate for modern times. Among such mechanisms the repetition of the visual narrative in various modifications and contexts was found; hiding a detail or masking it; manipulation of images (mother and homeland, motives of the collapse and resurrection of the empire-Russia-USSR, etc.). One of the non-obvious techniques was the discovery of this type of visual constructions which enter the viewer’s field of vision unnoticed and begin to work automatically at the right moment, disguising themselves as structures of axiomatic knowledge. We called this technique “inversion of automatic writing”. Conclusions. As a result of the research, we come to the conclusion that the effectiveness of Russian propaganda is ensured not so much by the quality of visual information, but by its quantity and intrusiveness, commensurate with the displacement of any other informational “noise”, as well as by the aggressiveness, emotional colour and appeallessness of the presentation. However, technological means are present. Systematic repetition of the same figurative messages in different combinations and contexts allows to bind together ideologically different topics, ranging from political and geopolitical to elementary everyday issues (store windows, American jeans, American dollars, etc.). The article also traces the stages of formation of the “enemy” image by means of propaganda, namely through the use of techniques of dehumanization and desubjectivization of the image of Ukrainians, and further – militarization and glorification of war as the sacred mission of imperial Russia. Examining the phenomenon in the context of postmodern theories testifies to a deep crisis of the power institutions of the Russian Federation, which, in the language of postmodernism, reflects the stage of a simulacrum self-reproduction. The latter makes it possible to make encouraging predictions, since the specified stage is called by postmodern theorists the last in the functioning of the system, which precedes its inevitable disintegration.
The purpose of the research is to identify the functioning features of Ornek, a traditional Crimean Tatar ornament in modern culture, art and design. The research methodology is based on the application of art history, comparative and semiotic analysis. The novelty of the research is to identify the functioning of the Crimean Tatar ornament in modern times, to determine special symbolic and graphic structures in the visual system Ornek, which allow not only to develop in modern Crimean culture but also show the high communicative ability to establish a cross-cultural dialogue. Conclusions. The study of Crimean Tatar ornament in modern art and design testifies to its high ability to adapt to new conditions, which allows us to talk about the flexibility of its visual system. In modern art and design projects, it appears as a phenomenon that can abstract from archaic forms and organically combine not only with the latest materials and techniques but also to create unity with the phenomena of other national cultures.
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