Intersection Points Between Contemporary Art and Design

New tendencies in the design of cultural spaces have been used to visualize futuristic ideas in design through contemporary art. This research aims to identify the intersection points between contemporary art and design based on a survey of students and to carry out a SWOT analysis of the latest technology implementation process for the professional training of future specialists in the design and contemporary art to establish the benefits of using the latest technology. Results. We analyzed the elements of contemporary art and principles of art and design in modern art to identify points of intersection between contemporary art and design. As a result of the study, it was found that the use of the latest technology benefits both students and teachers; contributes to the development of practical skills of future professionals in the field of contemporary art and design based on the use of the latest technology; development of the ability to use the latest technology in contemporary art and design; development of algorithmic style and culture of thinking of students

characterization of local atomic structure in co zn based zifs by xafs

The local atomic structure in bimetallic Co/Zn zeolitic imidazolate frameworks (ZIFs) was studied using X-ray Absorption Fine Structure (XAFS) spectroscopy and theoretical calculations. The experimental Co K-edge and Zn K-edge XANES (X-ray Absorption Near Edge Structure) spectra of Zn1-xCoxC8H10N4 samples (x = 0.05, 0.25, 0.75) synthesized by microwave synthesis were compared with the data for the ZIF-67 (x=1) and ZIF-8 (x=0). Theoretical XANES spectra for the bimetallic ZIFs were calculated. It was shown that in bimetallic ZIFs the Co and Zn atoms have the similar local environment

Значення досвіду макетної майстерні Меллера для сучасної дизайн-освіти

Research aim. To analyze the activities of the model workshop of the Berezil Artistic Association under the leadership of V. Meller, to establish the influence on modern graphic design. Research methods. Historical-comparative, study of art analysis. Scientific novelty. For the first time, attention is focused on the activities of the model workshop in the field of design of printed products with the provision of relevant visual evidence. The analysis revealed features that relate the design activities of the workshop with the modern advertising paradigm. An attempt is made to determine the educational achievements of the formation and their agreement with other art schools of the time. Conclusions. Undeservedly little-studied activity of the model workshop in the field of printed products is one of the highest achievements of Ukrainian graphic design of the twentieth century and corresponds with similar experiments in other countries. The commonality of program principles, the identity of the applied artistic techniques and technical means with the cor rection towards the specifics of the theatrical process on the part of the model workshop and the branches of Bauhaus, De Stijl, Vkhutemas artistic practice are traced.Мета дослідження – проаналізувати діяльність макетної майстерні Мистецького об’єднання «Березіль» під керівництвом В. Меллера, встановити її вплив на сучасний графічний дизайн. Методи дослідження. Історично-порівняльний та мистецтвознавчий методи аналізу. Наукова новизна. Вперше зроблено акцент на діяльності макетної майстерні у сфері оформлення друкованої продукції із наведенням відповідних візуальних доказів. У процесі аналізу виявлено риси, що споріднюють дизайнерську діяльність майстерні із сучасною рекламною парадигмою. Зроблено спробу визначити освітянські здобутки формації та їхню суголосність з іншими мистецькими школами того часу. Висновки. Маловивчена діяльність макетної майстерні у царині друкованої продукції належить до одного з найвищих досягнень українського графічного дизайну початку ХХ ст. і гідно кореспондується із подібними експериментами в інших країнах. Відстежується спільність програмних засад, ідентичність вжитих художніх прийомів і технічних засобів макетної майстерні та осередків художньої практики Баугаузу, De Stijl, ВХУТЕМАСу. Водночас, специфіку макетної майстерні Меллера визначає її спрямованість у бік театрального процесу

Images of "Hero" and "Enemy" in Posters of War

Research aims. To analyze artistic techniques (metaphors, hyperbole, associations, etc.), used to reveal opposite themes – heroes and enemies. To establish the connection between these tasks and the tasks formulated in the curricula of the discipline "Design Projecting". Research methods. Сomparative and art analysis. Scientific novelty. Introduction into scientific sphere some previously unexplored visual data, invented by creative individuals in a critical situation, namely – the samples of poster activities by students and teachers of Kyiv National University of Culture and Arts and Kyiv University of Culture during the period of active military operations. The research was made on the base of the corpus of works, made in the group Creative resistance of Kyiv National University of Culture and Arts and Kyiv University of Culture. Conclusions. Modern times have defined new heroes and antiheroes, as well as certain rules of their visual interpretation. Heroic images are presented through the sacralization, monumentality of the image, revealing the features of their national identity and relationship with the "pillars of the nation", national ideals. Emphasis is placed on rootedness in historical tradition, such as the troops of Kievan Rus or the Ukrainian Cossacks, the rebel movement, and so on. Interpretation of antiheroes ranges from demonization or dehumanization to caricature, equating to certain animals, shown as comic characters. Personification of enemy forces in the image of the President of the Russian Federation continues to extend hierarchically to the occupying army, court propagandists, and later to all of Russia as a state and the Russian population itself, as the majority supported the so-called "special operation." The stylistics of poster works, borrowing some elements from the pair "anti-hero vs hero" in the Soviet poster, finds and uses modern techniques and means of graphic solutions, involving an arsenal of the latest technical means that allow the use of modern computer technology

Sign-symbol Systems in Artistic Practices of Ukrainian Artists of the 1960-1970s, Based on the Example of the Monumental and Decorative Panels by Oleg Yerzhykivsky

<p><strong>The purpose </strong>of the research is to analyze the parallels between the monumental art of Ukrainian artists of the 1960s and 1970s and world graphic design. <strong>Research methods </strong>consist in the application of formal and stylistic analysis of works of art, as well as general scientific methods of analysis and synthesis of new materials introduced into scientific circulation. <strong>Scientific novelty</strong>. For the first time, the stylistic performance of unstudied enough objects of monumental and decorative art was analyzed. Achievements in the creation of symbolic and design systems were compared. The main common conceptual approaches in creation, the similarity of thematic directions and stylistic approaches are identified, the differences of the visual language due to various performance techniques are diagnosed. The photos from a private family archive have been made public for the first time. <strong>Conclusions. </strong>Despite the general ideological engagement of the Soviet artistic environment in the 1960s and 1970s, there were works that were ahead of their time and used the material resources of the USSR-Ukrainian Soviet Socialist Republic to create works on universally important topics (culture, science, technology, history). Such are Oleg Yerzhykivsky’s panels for monumental structures created by him during his work in 1963-1969 at ZNDIEP (Kyiv Zonal Research Institute of Experimental Design of Residential and Public Buildings), which can be attributed to urban identity devoid of any propaganda communist color in the subject, but rather devoted to civilizational values. Using the achievements of the creation of sign and symbolic systems of previous historical periods, the master managed to create his own stylistic system, which exists outside of time and a specific state or social order. From a formative point of view, the analyzed panels gravitate towards the visual language of graphic design, predicting such genre sectors as identity, brand books, navigation systems for public spaces, mascots for brands, etc. The common features established by this study are: laconic image, condensation of graphic expression, development of a system of signs perceived at the level of conventional symbols, use of elementary modular grid for arrangement of visual elements and creation of patterns (prefabricated plate technology).</p><p><a href="http://demiurge.knukim.edu.ua/article/view/292169">http://demiurge.knukim.edu.ua/article/view/292169</a></p&gt