DSpace Собрание:
http://dspace.tnpu.edu.ua/handle/123456789/9695
2024-03-28T13:48:31ZТеоретичне підґрунтя загальних тенденцій розвитку образів літературних героїв в українській книжковій ілюстрації другої половини ХХ століття
http://dspace.tnpu.edu.ua/handle/123456789/9931
Название: Теоретичне підґрунтя загальних тенденцій розвитку образів літературних героїв в українській книжковій ілюстрації другої половини ХХ століття
Авторы: Токар, Марина
Краткий осмотр (реферат): У статті розглянуто вплив ілюстративної автономії та візуально-текстової спільності художнього твору на трансформацію образів літературних героїв в українській книжковій ілюстрації другої половини ХХ століття. Визначено, що літературоцентризм дитячої книжкової ілюстрації протягом цього періоду доповнюють новими прикладами виходу за межі літературного тексту. Підсумовано, що українська дитяча книга пронесла класичні образи через три великі трансформаційні періоди, залишаючись при цьому в просторі постійно актуального та достатньо успішного у маркетинговому сенсі сегмента “вічної” літератури.; В статье рассмотрено влияние иллюстративной автономии и визуально-текстовой общности художественного произведения на трансформацию образов литературных героев в украинской книжной иллюстрации второй половины ХХ в. Определено, что литературоцентризм детской книжной иллюстрации на протяжении этого периода дополняется новыми примерами выхода за пределы литературного текста. Подитожено, что украинская детская книга провела классические образы через три крупные трансформационные периоды, оставаясь при этом в пространстве постоянно актуального и достаточно успешного в маркетинговом смысле сегмента “вечной” литературы.; The Ukrainian literary classic is a work of a certain time period, which is still relevant today. The artistic status of classical works is quite honoured and obvious, since it is classical Ukrainian literature that for a long time represents national artistic creativity both in Ukraine itself and abroad.
The purpose of the article is the theoretical basis of general trends of literary heroes’ images in Ukrainian book illustration in the second half of the twentieth century.
The creations of I. Kotlyarevsky, Lesia Ukrainka, I. Franko and others world-famous authors form a repertoire of almost every publishing house, especially during the second half of the 20-th and the beginning of the 21-st century. The process of publishing and reprinting the works confirms the following trends in the nature of the construction of a visual series within the children’s literary classics:
– the advantage of the classical image; its visual rethinking; in many cases it is rather a positive feature, since it attests the value properties of literature as “eternal” art, which is modern in all circumstances;
– representation of the classic characters, which in turn has two subspecies: flexible under the influence of new interpretation of the content of the classical work; modification in the illustrative concept, its modernization, but without a dialogue with the literary qualities of the work;
– сommercial use of a literary brand for profit; creating a marketing design component that determines which visual techniques and artistic solutions are potentially commercially beneficial.
The problem of “deconstruction of the hero” is also of a great importance for understanding the general trends in the development of artistic images in illustrating the children’s book. Discussions about the primacy or secondaryness of visual and text narratives, in particular concerning the children’s book, continue to exist at all times.
The question of literary centricity of children’s book illustration and nature oriented character of art books for children becomes especially acute.
The visual representation of an artistic creation is, in our opinion, a complex phenomenon that is formed in the space of at least three fundamental socio-cultural systems:
– аrtistic and literary, which is responsible for the textual properties of the book;
– design and constructive, describing the material idea of the book in the language of ergonomics and organoleptics;
– аrtistic and graphic, which forms a visual narrative of literary works and books as a structure.
Thus, illustrative autonomy and text-and- visual unity of the work of art, in our opinion, considerably affect the transformation of the images of literary heroes in Ukrainian book illustrations of the second half of the twentieth century. Literature centering of children’s book illustration, typical for the 1950’s–1960’s, supplemented in the 1970’s–1980’s by new examples of going beyond the literary text, subsequently forms a very colorful and diverse atmosphere of final Soviet period called “perestroika”.
In the realm of native literature, the deconstruction of the hero has especially significant manifestations, as the Ukrainian children’s book carried classical images through at least three major transformation periods – the Soviet, post-Soviet and modern – while remaining in the space of a constantly relevant and successful in the marketing sense segment of “eternal” literature.2018-01-01T00:00:00ZКнига художника в персональних проектах українських художників на початку ХХІ століття
http://dspace.tnpu.edu.ua/handle/123456789/9926
Название: Книга художника в персональних проектах українських художників на початку ХХІ століття
Авторы: Грищенко, Олег
Краткий осмотр (реферат): У статті досліджено досвід використання книги художника як базового медіа в персональних проектах українських художників у ХХІ ст. Розглянуто художні можливості та місце таких проектів у сучасному мистецькому житті. Проаналізовано їх впровадження як послідовну та регулярну практику в культурних інституціях України. Висвітлено зв’язок між концепціями та експозиційним вирішенням виставок. Охарактеризовано завдання, які ставлять автори і куратори виставок книги художника для актуалізації даного виду мистецтва в Україні.; В статье исследован опыт использования книги художника как базового медиа в персональных проектах украинских художников в XXI в. Рассмотрены художественные возможности и место таких проектов в современной художественной жизни. Проанализированы их внедрения как последовательная и регулярная практика в культурных учреждениях Украины. Освещается связь между концепциями и экспозиционным решением выставок. Охарактеризованы задачи, которые ставят авторы и кураторы выставок книги художника для актуализации данного вида искусства в Украине.; The article describes the experience of the Artist’s book usage as main media mean in the personal projects of Ukrainian artist in 2007–2017.
The artistic opportunities, the place of such projects in the modern art life as well as of the introduction of them on the regularly basis in the practice of the art institutions of Ukraine are considered. The connection between conceptions and expositional decisions of the expositions, as well as between the role of the Artist’s book and their possibilities to be interpreted are highlighted. The tasks took by the authors and curators of the exhibitions of the Artist’s books for actualization of this kind of art in Ukraine are also analyzed.
To the contrary to the group exhibitions of book of artist in Ukraine where in the most cases the main task of organizers and curators is to acquaint a spectator with the phenomenon, its variety in interpretation of the book, her form, contents, materials that apply authors, personal exhibitions where an Artist’s book is a main conceptual thread distinguished by the slenderness of ideological and formal embodiment of project.
The personal projects of such Ukrainian artists as Pavlo Makov, Gamlet Zinkivskyi, Oleh Gryshenko are considered in details and a comparative description of exhibition and ideological facilities of expressiveness is given, the sources and influences of has been analysed on work of artist, their technical equipments in performance of the own Artist’s books and their presentation in the expositional space of the other personal projects combining with Artist’s books, sometimes by unforeseeable medias: video, installations, sculptural objects, Ukrainian naive painting and others like that.
Consequently, we may say that such perception of the reality through transferring abstract notions to an object given the similarity of its qualities is programmed in the human conscience. So the development of such a peculiar area of focus in art as an artist’s book in the meaning of the combination of the notion book and the object- an sign-based means of communication, and partly the refusal from the form of a classic book and its transformation into an exhibition object as a carrier of not simply information represented in consecutive order but a complete conception, originates from the natural ethnically motivated thinking of an artist.
Object writing differs from an artist’s book by the fact that a primitive man, having no established communication cypher, found new forms, while a modern artist, instead, rejects the established communication means and creates a unique content codification for every project.
An artist’s book as an exhibition art object also includes such a function of object writing as the absence of a language barrier. A painter engages, so to say, in a direct communication with a viewer. Because this way a painter conveys a general meaning, an idea, rather than an audio-phonetic message of an ordinary book. Such a way of communication of information is quite natural (even more so than an alphabet) for human perception as it stems from observation and comparison of qualities of different objects and logical considerations. While an audio-letter text is acquired and understood by us artificially as part of an education process.
The characteristic feature of an artist’s book is, of course, the concept which links it closely with the modern art. An image in an artist’s book is often more distinct and its incarnation is practically not limited by the material and technical and language resources.
This research makes it possible to continue studying an artist’s book in Ukraine based on the understanding of its place in the book culture and the world experience. It may be used to prepare lectures and elaborate the methodology of teaching students a special course Artist’s Book at art institutes and universities of Ukraine.2018-01-01T00:00:00ZХудожньо-образні особливості типографіки в дизайні поліграфічної продукції стилю Ар Деко
http://dspace.tnpu.edu.ua/handle/123456789/9925
Название: Художньо-образні особливості типографіки в дизайні поліграфічної продукції стилю Ар Деко
Авторы: Гомзяк, Анжела
Краткий осмотр (реферат): У статті на основі аналізу історико-мистецтвознавчих джерел із окресленої проблематики, візуального огляду та композиційного аналізу зразків поліграфічної продукції розглянуто характерні особливості акцидентних шрифтів стилю Ар Деко. Окремо простежено основні принципи формотворення та взаємозв’язки шрифтів з композицією. Встановлено роль типографіки в дизайні поліграфічної продукції стилю Ар Деко.; В статье на основе анализа историко-искусствоведческих источников с этой проблематики, визуального осмотра и композиционного анализа образцов полиграфической продукции, рассмотрены характерные особенности акцидентных шрифтов стиля Ар Деко. Отдельно прослежены основные принципы формообразования и взаимосвязи шрифтов с композицией. Установлена роль типографики в дизайне полиграфической продукции стиля Ар Деко.; The article analyzes the historical and artistic sources from the outlined issues, which allows us to find out the state of modern scientific knowledge of typography in the design of printing products of the Art Deco style. It is established that in the 20–30’s of the XX century in the font’s design in order to replace the smooth lines of secession came rigid and clear forms of Art Deco. On the one hand, such fonts were universal and simple in the drawings, on the other, they contained a rigid geometry of forms, and were decorative. Such a combination of the clarity and decoration of the Art Deco font style made them a powerful and important element of the visual environment filling and self-sufficient means of advertising. A visual inspection and composite analysis of samples of printing products was conducted, on the basis of which it was found out that the character of lines and forms of this direction depended on certain composite features of printing products. Thus, we have traced certain relationships of fonts with a composition in the design of printing products, where the unity of the form character was truly important. Also, according to the type of printing products, there were certain patterns of using fonts. For example, in the newspapers, it was impossible to use all the means used by the artists of the Art Deco period, and therefore the typography was not difficult in their drawings. Advertisements in newspapers were limited to simply chopped fonts, often in combination with handwritten ones. In posters, covers and packaging designers used the most diverse fonts and their combination. A variety of saturated, shaped and styled headsets, often decorated with the wave and zigzag lines, typical of the Art Deco style were used here. Such a variety of approaches to the use of fonts in the design of printing products provided graphic expressiveness of the Art Deco style in the design of printing products. Typography of Art Deco was characterized by a clear geometric font design. The number of elements that formed each letter was tried to be minimized. However, often this rigid geometry was decorated with different dashed, wave-like lines, geometric planes. After the analysis of samples of the Art Deco print products, it can be argued that they were a powerful means of advertising that time. Such products attracted customers attention due to the active use of fonts of various forms and saturation. The typography of this period was characterized by great stylistic diversity and freedom of interpretation of fonts, and informative and aesthetic typography functions existed in close interaction. However, despite the variety of font transformations, due to the use of successful compositional art techniques, the text has always been easy to read. There are three main tasks of Art Deco printing typography, namely: clear and understandable information message, an attraction of attention at the expense of simple and understandable forms, along with their different configurations, the unity of the text block and image. This research creates the preconditions for the formation of modern design solutions, with the help of tools and techniques of the Art Deco style typography, in the creation and duplication of printing products.2018-01-01T00:00:00ZCAD і BIM-технології в архітектурі та дизайні
http://dspace.tnpu.edu.ua/handle/123456789/9924
Название: CAD і BIM-технології в архітектурі та дизайні
Авторы: Вергунова, Наталія
Краткий осмотр (реферат): У статті досліджено значення і перспективи розвитку CAD і BIM-технологій у контексті архітектури та дизайну. Розглянуто сучасні методи проектування, засновані на алгоритмах цих технологій. Охарактеризовано один з напрямків розвитку CAD і BIM-технологій, що ґрунтується на створенні і вдосконаленні програмних конгломератів з метою забезпечення повністю завершеного процесу розроблення, виготовлення, експлуатації та утилізації будь-якого об’єкта.; В статье исследовано значение и перспективы развития CAD и BIM-технологий в контексте архитектуры и дизайна. Рассмотрены современные методы проектирования, основанные на алгоритмах этих технологий. Охарактеризовано одно из направлений развития CAD и BIM-технологий, которое основано на создании и совершенствовании программных конгломератов с целью обеспечения полностью завершенного процесса разработки, изготовления, эксплуатации и утилизации любого объекта.; One of lines of CAD development is based on creation and perfection of software conglomerate primary aimed at complete designing, manufacturing, running and recycling processes of any product. The completeness also includes objects structure designed and manufactured with special equipment as well as management of all technological processes, control of quality, packing, transportation and selling. Thus, CAD/CAM/CAE-systems become more and more universal in application to various design problems, and their computer toolset can be involved in architectural activity.
There is a considerable quantity of systems for architecture, interior design and building. All of them, to some extent, can solve the whole complex of questions connected with human environment: architecture, architectural constructions and architectural visualization; planning of cities, construction of roads; landscape design; building, including all engineering communications; design of interiors, in particular – public, decoration of premises, etc.
Building information modeling (BIM) is a process involving the generation and management of digital representations of physical and functional characteristics of places. BIM files can be extracted, exchanged or networked to support decision-making regarding a building or other built asset.
CAD and BIM-technologies are integrated with recent, but more and more popular direction of the 3D-printing generated by means of special printers. 3D-printers are developed with system of fast prototyping (Rapid prototyping, RP). The 3DP system creates spatial physical prototypes with layers of a friable powder hardened by means of liquid binding substance. This system is extremely universal and fast, allows receiving prototypes of difficult geometry in different application domains, and also from various materials. The technology of the 3D-printing gets the increasing popularity in architectural activity, putting at new level implementation and manufacturing of separate elements of architectural constructions as well as whole town-planning.
The most interesting development prospect of CAD and BIM-technologies, in an architecture context, is creation and perfection of the centers of a virtual reality for Product Lifecycle Management (PLM). Virtual reality technologies are used in design of complicated system products (aircraft, cars etc.); visualization of complex architectural solutions; planning of urban development (urban planning); that is where the concept development needed, coordination of components and even testing (up to reception of virtual operating experience) should be spent long before a stage of creation of a physical prototype.
CAD and BIM-technologies in combination with 3D-printing and virtual reality open new design possibilities of creation design ideas and their effective implementers in application to architectural activity and design practice. Given in the scientific article examples, supported with appropriate theoretical studies, illustrate the convergence of technologies and design achievements from various industrial sectors. The variety of professional software and its rapid development also must be mentioned, in some cases – the subsequent transformation into new innovations, in others – the disappearance from the scientific field, both temporary and final. Therefore, further clarification of these processes is necessary, as well as determination of their structural components and formulation of application algorithms in architectural and design practice, which requires theoretical comprehension, scientific analysis, reasoned conclusions and approbation in the design process.2018-01-01T00:00:00Z