The growing crisis of media trust and fatigue with a standardised digital aesthetic encourage audiences to seek out an authentic visual experience. Stop-motion animation meets this request because of its fundamental materiality – the ability to turn the physical presence of objects into an aesthetic argument for authenticity. In this context, materiality appears not only as a technical characteristic of time-lapse animation, but also as an independent aesthetic category that affects the development of trust and the reduction of social distance between the message and the viewer. The purpose of the study was to theoretically substantiate stop-motion animation as a factor in the development of audience trust and identify artistic mechanisms of its implementation, in particular, through narrative and cinematic means of organising the audio-visual series. The research material was an author’s social and educational project implemented within the framework of interdisciplinary cooperation between the Department of Visual Design and Art of the National University “Lviv Polytechnic” and the public sector. The methodology combined contextual, structural and system, and comparative analysis with practicebased research, which allowed integrating artistic design into the scientific plane and tracing the relationship between the material organisation of the image, the type of narrative, and the mechanisms of trust development. The results of the study showed that materiality in stop-motion animation functions as an aesthetic mechanism for reducing social distance and increasing the acceptance of media messages. The correlation between the textured organisation of the image, compositional chamber, and causally constructed narrative, implemented through cinematic techniques (editing, framing, rhythmic organisation), which form the effect of authenticity on the visual-plastic and emotional levels, was revealed. It was proved that the material aesthetics of stop-motion appears as an independent artistic factor of trust, expanding the idea of the functioning of this technique beyond its technological definition and actualising its potential in hyper-digital culture. The results obtained can be used by designers, teachers, and developers of social and communication media projects to create visual content aimed at increasing audience confidence in a hyper-digital environment.
This article is an attempt to look at the creativity of prominent sculptor Anton Popel through the prism of diversity of controversial performances in the works of artists of the XX – beginning of XXI century. The phenomena occurring in the arts today is analyzed. Urban painting is being characterized, while it is born where the City inspires the artist, which has considerable power potential. Article points the attention to the deep need of active popularization holistic picture of Ukrainian art and culture, comprehensive understanding of the processes that form nowadays professional knowledges of future architects and designers. Various generations of Lviv artists worked on the artistic image of these Popel's works. The iconography of the city of Lviv, which can tell about various changes in the architectural space with the help of a colourful palette, requires study, classification, and scientific analysis.
The relevance of the study lies in the need for an interdisciplinary and comparative interpretation of monuments to Adam Mickiewicz and Taras Shevchenko as a component of the European monumental discourse of the nineteenth-twentieth centuries. The aim was to analyse the transformation of ancient and Christian iconography in the depiction of the poet’s creative inspiration through the monuments to Adam Mickiewicz in Lviv (1904, A. Pöppel), Paris (1909-1929, A. Bourdelle) and Odesa (2004, O. Kniazyk). Iconographic, iconological, cultural-historical, semiotic, comparative and artistic-stylistic methods were applied. The connection of the image of the poet with the sacred iconography of apostles, saints, and geniuses in the art of the Renaissance, Baroque, Classicism, and Romanticism was examined. The influence of ancient and Christian traditions on the architectonics of the monuments was established, in particular the symbolism of the column as the Axis of the World and of the altar as the idea of sacrifice. In the Lviv monument Adam Mickiewicz was depicted as a mediator between the earthly and the heavenly; in Paris – as a prophet, drawing on the iconography of the Apotheosis of Rome and the allegory offreedom; in Odesa – as an image of inner inspiration referring to Greek kouroi. The compositions combined sacred and secular motifs, creating a synthetic image of the poet. A typological kinship was revealed with the monuments to Taras Shevchenko in Kharkiv (1935) and Lviv (1992-1996), which underlined the universality of the image of the poet as a spiritual leader. The results revealed the sculptors’ innovative approach to the synthesis of sacred and secular images, reflecting a link with European traditions. The study is useful for art historians, cultural studies scholars and researchers of the interrelationship between literature, sculpture and urban space.
Under the background of sustainable development, the sustainable design and transformation of household appliances are important contents. The aim of this study was to explore the actions and strategies of home appliance companies in sustainable product design. The home appliance products of Samsung Electronics were selected as the main research object, and used case study and strategy research to analyse information and summarised its expressed themes. In the sustainable design of products, a recycling ecosystem centred on home appliances was constructed by Samsung Electronics, and supporting products were developed as key entry point. The exploration of sustainable transformation with corporate characteristics was carried out under the influence of external policy environment, corporate social responsibility, and technological co-innovation. Three major elements of its sustainable design strategy were identified: a design ecology driven by both products and users, the reshaping and optimisation product life cycle management, and user-oriented inclusive design. These elements were shown to provide new insights into the direction of future research and practice. The global transition toward greener home appliance production highlighted the importance of cooperation among enterprises. Based on Samsung’s practical experience, it can provide designers and design companies with intuitive and feasible learning standards, and help enterprises explore diversified strategies for sustainable development based on their own situations. The practical significance of this study is that its results can serve as recommendations for designers and companies in the field of home appliances, demonstrating how sustainable design strategies can be effectively integrated into product development and user experience.
The article is devoted to a comprehensive study of the use and condition of decorative elements made of Roman cement in the architecture of Lviv from 1850 to 1914. The historical prerequisites for the widespread use of this material are examined. A review of key publications and studies is presented, highlighting the chemical and technological characteristics of Roman cement, problems in the synthesis of restoration binders, and techniques for removing molds from architectural ornamentation. The aim of the study is to classify types of decorative elements made of Roman cement, assess their state of preservation, and analyze the factors of deterioration with a view to substantiating preventive and restoration measures. Using the neo‑Baroque façade of the Landau Palace (1908–1909) as an example, a damage assessment system was developed that allows differentiation between surface defects and structural damage. The main degradation mechanisms were identified: high porosity and rapid setting of the material, significant shrinkage and the formation of microcracks, which increase vulnerability to atmospheric influences. The analysis showed that among external factors of deterioration, atmospheric effects and anthropogenic pollution stand out, as well as moisture entrapment caused by the use of inappropriate paints and repair mortars. The necessity of using vapor‑permeable restoration mortars with modulus of elasticity and porosity parameters compatible with historical Roman cement is substantiated. The ideal solution is the use of modern Roman cement produced specifically for restoration works. A set of preventive measures is proposed, including regular professional cleaning of façades from soot and biological growth, water‑repellent treatment of vulnerable elements, monitoring the condition of drainage systems, and systematic assessment of building condition for planning restorations.
Despite the emergence of advanced design and modelling technologies, graphic sketching remains one of the primary tools for solving numerous professional tasks in design. The study aimed to identify priorities and the scope of the application of sketching, particularly its digital counterpart, in modern design practices and to evaluate its efficiency and rationality in communication, creative, and presentation tasks. The research employed methods including the analysis of information sources in design theory, examination of the properties of tools for shaping objects in architectural, industrial, and environmental design, as well as structural-system analysis and the generalisation of research findings. It was found that, in design practice, sketching is an effective visualisation tool capable of conveying key design concepts and assumptions through a system of graphic symbols reflecting the author’s style. The speed of capturing an image, the freedom of modelling, and the naturalness of image creation inherent in sketching determine its rational use in creative processes and in the modelling of design forms. It was also found that digital sketching has expanded functionality: it simplifies geometric construction, supports the integration of 3D and CAD models, and provides extensive possibilities for colour and texture variation and for the transformation of graphic elements. Based on the analysis of sketching software, priorities have been identified regarding the use of digital sketches in representational visualisation tasks. Their arsenal of form-shaping resources and potential productivity has been outlined both at the stage of creative idea generation and at the stage of modelling morphological, colour-textural, constructive, and functional properties of designed objects. Prospects for synthesising digital technologies with hand-drawn graphics in the form-making process were considered. The practical significance of the results lies in the potential application of theoretical principles in artistic design practice, their integration into the educational process for art and design specialisations, and further studies in art history, cultural studies, architecture, and design.
The research relevance is determined by growing value of territorial and spatial identity in the context of globalisation, as well as the need to identify trends and opportunities for socially influential institution of graphic design regarding the issue issue. The study aimed to substantiate the functionality of graphic design as a representative of territorial and spatial identity and to analyse methodology for implementing identification markers in design projects. The research process involved use of visual description, stylistic analysis, semiotic analysis, content analysis, classification, and comparative analysis methods. An increase in design community’s interest in local contexts has been identified, which corresponds to socially balanced position of designers invectors of development of modern globalised society. As a result of analysis of graphic design projects for 2021-2024, recognised by international professional communities, leading approaches and techniques for reproducing the identity of macro- and micro-spaces were identified. The study established that markers of territorial and spatial identity are evident in three ways: a single sign or a group of signs representing a material object-marker of natural environment; a space created by humans; a combination of markers of both environments with attributes typical of social actions of people in territory. The study underlined that these means reflect the levels of generalisation of territorial identity – from a single iconic sign of natural or anthropogenic origin to a complex system of symbols of tangible and intangible sociocultural connections. Levels differ in intensity of sociocultural influence on addressee, and choice is determined by project goals. The practical value of the study is determined by the use of the results by graphic designers, educators in art and design specialisations, as well as scholars in the fields of design, cultural studies, and sociology.
The relevance of the study is conditioned by the growing interest of contemporary art history in the interdisciplinary analysis of visual images as carriers of cultural memory, identity and symbolic meanings, and the need to rethink the Ukrainian artistic experience in a European and global context. The image of Lesya Ukrainka as a key figure in national culture remains insufficiently understood in terms of portrait dramaturgy and intertextual interactions between visual art, literature, and philosophy. The purpose of the study was to interpret the portrait images of Lesya Ukrainka in the context of European visual practices considering their connections with baroque, romantic and neo-romantic traditions, and to understand their artistic and symbolic dimension in the development of cultural identity. A comprehensive methodological approach was applied, including hermeneutics, analytical psychology, iconography, iconology, comparative, historical and cultural, and semiotic methods. The study analysed the evolution of the female portrait image from normative and idealised representations to a psychologically indepth visual embodiment of the creative personality, within which symbolic structures and dramatic organisation of the composition acquire a defining meaning-creating significance. The study covered portraits created during the life of the poetess and posthumously in various types of art (painting, graphics, sculpture, photography). The comparison of Lesya Ukrainka’s portraits with European Works was conditioned by the need to contextualise her image within the broader artistic tradition. This made it possible to identify shared features in the techniques used to convey psychological depth and symbolism that are characteristic of romanticism, neo-romanticism, and modernism. The Ukrainian context, in particular the influence of “The Forest Song” (1911) and other works of the poetess, gave the portraits local specifics, which emphasised their uniqueness. The analysis showed the theatricality and psychologism of Lesya Ukrainka’s images, and their connection with the universal motives of love, death, and the spiritual verticality. The symbolic components of the compositions actualised the ritual function of the portrait as a mediator between the past, present, and future.
Ecologically designed urban agricultural landscapes present a critical, yet underutilised, strategy for mitigating biodiversity loss, enhancing climate resilience, and addressing social inequities within contemporary urban environments. The primary purpose of this study was to develop and operationalise a theoretical and practical framework that integrates ecological aesthetics into the design of urban agriculture, positioning aesthetic experience as a core component of multifunctional ecological performance. A mixed-methods approach was employed, combining a comprehensive literature review on ecological aesthetics with a detailed analysis of design examples from existing urban agricultural spaces. The investigation established a structured ecodesign framework with explicit criteria that synthesise aesthetics, ecological function, and resilience across diverse urban layers, including green roofs, greenways, and building facades. It was found that sensory qualities such as colour, texture, and rhythm, along with cultural meaning, can be deliberately orchestrated to amplify biodiversity support, enhance food production, and improve climate regulation without compromising ecological integrity. The framework further demonstrated how these aesthetic strategies can be systematically applied across vertical, horizontal, and transitional urban spaces to create coherent and engaging landscapes. The practical value of this research resides in its actionable design guidance and evaluation criteria, which can be utilised by urban planners, landscape architects, and policymakers to create adaptive, context-aware urban agricultural environments that harmonise beauty with robust ecological function and social relevance.
Digital health applications have become routine tools for older adults to register appointments, pay medical fees and purchase medicines, yet many interfaces still impose heavy cognitive and operational demands. This study aimed to identify information-processing barriers faced by older adults when using the Chinese mobile health app Chunyu Doctor and to propose stage-based interface improvement strategies. 16 adults aged 60-70 years with prior experience of health apps completed semi-structured, one-on-one interviews while performing consultation, medication purchase and insurance settlement tasks. Interview transcripts were coded thematically and mapped onto three stages of interaction: perception, cognition and execution. The analysis revealed that perception barriers arise from dense screens, weak text and icon legibility, ambiguous tappable areas and hardly noticeable audio prompts. Cognitive barriers involved technical terminology that exceeds immediate comprehension, icon metaphors that do not reliably signal function, and section structures that conflict with users’ task logic. Execution barriers centre on difficulty locating key functions, demanding gesture operations, lengthy branched flows and tight time limits in steps such as verification codes. On this basis, the study proposed stagespecific design strategies that reorganise navigation around medical tasks, rewrite critical text in plain language, adjust icon sets and grouping, and relax temporal and feedback constraints. The results offer a process-based reference for evaluating and improving age-friendly interaction in digital health services
The street gallery is a phenomenon that is increasingly popularity in contemporary cities, yet it still lacks a clear conceptual definition in academic literature. This article proposes a theoretical framework for understanding the street gallery as an independent form of public exhibition space, distinct from other manifestations of street art. It examines the process by which urban infrastructural surfaces (retaining walls, building end walls, and industrial facades) are transformed into exhibition carriers that become integral elements of the architectural environment. The study analyzes how spatial parameters shape the nature of viewer interaction with the exhibition space and contribute to the formation of cognitive maps of the city. Drawing on international case studies, the paper demonstrates how different architectural and spatial models of integrating street galleries into the urban environment influence their function and sustainability. Ukrainian examples are also considered, including Lviv Street Gallery, the “United by Victory” project in Lviv, the gallery on Zakhysnykiv Ukrainy Street in Lviv, and 4/8 Gallery in Lutsk, illustrating diverse approaches to the architectural adaptation of exhibition space within the existing urban fabric. The architectural adaptation of space and the practical potential of street galleries for urban cultural policy are examined. The study substantiates the potential of street galleries as a tool for rethinking depressed or functionally unattractive urban surfaces and for creating new points of attraction within the urban environment.
The relevance of this study is determined by the rapid development of the digital environment and the increasing demands placed on the quality of user interfaces, which require the effective use of contemporary graphic design tools in web design practices. The purpose of the study was to provide a comprehensive analysis of the role of the platforms Figma, Adobe XD, and Sketch in web interface development processes and their impact on task efficiency, design speed, the level of collaboration, and the development of design systems. This purpose was achieved through an integrated approach combining theoretical analysis, case studies, and an empirical experiment with a student learning group. Key characteristics of the tools were analysed, their effectiveness in performing typical project tasks was evaluated, and their impact on productivity and interface quality was assessed. The study established that contemporary graphic editors substantially transform professional User Interface design practice by ensuring scalability, consistency, and efficiency of digital products. Successful examples of tool application in e-commerce, healthcare services, educational platforms, and SaaS solutions were analysed. The advantages of cloud-based collaboration, integration with other software ecosystems, and support for accessibility standards were identified. Based on empirical data, recommendations were formulated regarding the selection of tools depending on project requirements, and potential risks of excessive design standardisation were outlined. The findings may be used by designers, front-end developers, managers, and educators to optimise User Interface processes, enhance team productivity, and improve the quality of web interfaces.
Character isomorphism is a prevalent form in Chinese character graphics design. Compared to other techniques, the arrangement of internal components plays a more prominent role in conveying meaning, making structural factors pivotal to design success. The aim was to explore the formal mechanisms of isomorphic character design in Chinese graphics and explain how positional layout based on the characteristics of Chinese characters can enrich visual expression. An interdisciplinary approach was used, integrating the morphology of Chinese characters, Gestalt psychology, and semiotic theory. Representative examples were systematically studied through literature review and formal analysis. Findings indicated that character form, arrangementsequence, and metaphor constitute the three primary dimensions influencing structural composition. Character form compatibility forms the foundation of isomorphy, determining the feasibility of component combinations; arrangement sequence directly impacts information reception accuracy via linear and non-linear spatial relationships, while metaphorical mechanisms effectively convey cultural connotations and abstract concepts through the projection of visual imagery. Based on the analysis of these three dimensions, recommendations and methodology for enhancing the graphic expressive efficacy and cultural recognisability of Chinese characters were summarised. These findings not only provide creative strategies and formal guidelines for Chinese character graphics design but also chart viable pathways for visual communication across cultural contexts, thereby facilitating the efficient transmission of thematic information.
The article analyzes the visual characteristics of Christmas greeting cards of the early 20th century from the personal archive of Prof. Andriy Rudnytskyi, in terms of the presence of visual markers of Ukrainian ethnocultural identity and artistic and compositional means of its representation. In general, there are a significant number of publications about historical postcards of the mentioned period, which are in the collections of museums, libraries, and private collections, both thematic albums and scientific articles of an art, ethnographic, and local history direction. This study does not concern a specially formed collection; these are postcards that have been accidentally preserved in the family and are also interesting from an ideological perspective. According to the content characteristics the existing postcards can be divided into three main groups: with secular subjects, religious subjects, and with folk attributes. The main part of the collection consists of postcards with religious Christmas motifs, as well as those that indirectly depict Christmas through Ukrainian ritual traditions. In addition to the main, directly communicative function, Ukrainian Christmas cards were a means of cultural and educational activity, popularization of Ukrainian cultural and artistic heritage, their creation was approached with all responsibility; the visual content was compactly arranged, informatively rich, aimed at preserving and forming Ukrainian ethno-cultural priorities in the absence of their own state. For famous Ukrainian artists, work on the design of Christmas cards was a very important task. The conclusions of the article may be useful in terms of modern challenges in the context of digital technologies, which enhance the importance of a responsible approach to the choice of visual markers of ethnocultural identity in terms of the impact of mass visual content on public consciousness.
The article examines the architectural and decorative arrangement of the interiors of the monastic building – part of the Bernardine complex in Lviv, one of the city’s most important historic monuments. While the construction history of the complex and the architecture and decoration of its Church of St Andrew are comparatively well documented, the interiors of the monastic cells and galleries have until recently remained largely unexplored. Beneath multiple layers of later plaster and limewash, however, substantial portions of the original decorative scheme have survived. Architectural investigation and conservation works carried out in the northern wing of the monastery have brought to light a significant group of authentic seventeenth- and eighteenth-century decorative elements, allowing a more precise understanding of the original interior articulation to be established. For the first time, the study offers a systematic analysis of limestone impost blocks, stucco rosettes and ribs of the cross vaults, profiled stone portals, historic door joinery from different phases, and the refectory fireplace portal. Particular attention is given to the identification of original polychromy on both stone and stucco elements, providing evidence for an integrated colour scheme within the gallery interiors. Investigations and stratigraphic sondages have also clarified the material character and execution techniques of selected vault elements (rosettes and ribs), previously assumed to be of stone. These findings are introduced into scholarly discussion here for the first time. They substantially refine current understanding of the decorative programme of the Bernardine monastic interiors and provide an important basis both for further historical and architectural research and for the reconstruction of the original decorative articulation of the monastery interiors within the broader context of the development of Lviv’s architecture from the seventeenth century onwards.
This article examines the problem of adapting a two-dimensional (2D) animated character design to a three-dimensional (3D) animation environment, which arises from the rapid development of digital technologies and the increasing prevalence of hybrid animation techniques. The relevance of the study lies in the need to preserve the artistic expressiveness and visual identity of a character when transitioning from a flat, stylized representation to a volumetric spatial model, a process that involves both technical and aesthetic challenges. The paper analyzes classical and contemporary research in animation theory and computer graphics, including the principles formulated by Thomas, Johnston, and Lasseter, as well as studies on modeling, deformation, and character stylization. It is established that classical animation principles remain fundamental for achieving believable motion in a 3D environment. The aim of the article is to identify the key principles and methods of adapting a 2D character into 3D animation while maintaining its stylistic integrity. The study systematizes core adaptation principles, including stylistic interpretation, morphological transformation, deformation stability, and animation expressiveness. Contemporary examples, including the video game Fortnite and the film “Spider-Man: Into the Spider-Verse,” are analyzed, demonstrating the effectiveness of non-photorealistic rendering and stylization techniques. The practical part confirms that character adaptation is a complex process requiring the integration of artistic and technical approaches. The study concludes that effective adaptation is achievable only through preserving the visual identity of the character while transforming it within a three-dimensional environment.
The relevance of this work lied in the absence of a thorough analysis of Viktor Bystryakov’s easel graphics, despite its significance for understanding the development of the Ukrainian school of drawing in the second half of the 20 th century. The aim of the study was to examine and analyse the legacy of Ukrainian artist and teacher Viktor Bystryakov in the field of drawing. Comparative and historical methods, methods of art analysis and empirical research were used. The article identified the distinctive features of drawing in the work of the Ukrainian artist, who used and continued the realistic traditions of the Kyiv school of drawing. The patterns of the master’s work were characterised, such as: generalisation of form, subordination of the secondary to the main, compositional balance, perfect mastery of line and spot, skilful use of the technical features of the graphic materials used and the base on which the drawing is applied. The study found that Viktor Bystryakov’s individual style of drawing was influenced by the methodological approaches of S. Podervianskyi, O. Kryvonos, and T. Yablonska. The article analysed Viktor Bystryakov’s pedagogical approaches, which have made a significant contribution to the development of Ukrainian artistic and educational practice. In the course of analysing scientific works devoted to the artist, it was established that his creative work is mainly covered in the context of exhibition activity and pedagogical practice. The main directions of the creative approach to the execution of easel drawings were identified on the basis of a newly discovered empirical research base, which consists of drawings found in the artist’s creative workshop and quotations from his archives, which are being published for the first time. The principles of easel drawing, confirmed by teaching practice, can be used in methodological materials in the educational process when training a wide range of specialists: designers, graphic artists, illustrators, motion designers and animation artists
Contemporary development of architecture and design is characterised by a growing demand for environments that consider not only functional and aesthetic aspects but also the psychological characteristics of users. The relevance of the study lies in the need to integrate individual psychological traits into design solutions to ensure comprehensive human comfort. The purpose of the study was to develop a methodological approach to create a personalised architectural environment based on the Big Five model, which allows correlating personality traits with specific spatial, colouristic, material, and lighting parameters. The study employed methods of scientific literature analysis, logical-semantic comparison, generalisation, case analysis, and visualisation of results. Eight leading personality theories were examined and subjected to comparative analysis in terms of their applicability to design practice. Tables were developed to demonstrate the correspondence between psychological characteristics and design solutions, particularly the influence of the Big Five traits on the choice of spatial layouts, colour palettes, materials, and lighting scenarios. Examples were created to illustrate the adaptation of interiors and public spaces to user profiles with varying levels of openness to experience, extraversion, agreeableness, conscientiousness, and neuroticism. The results confirmed that a personalised approach enhances emotional comfort, productivity, and psychological well-being, while also ensuring a balance between individual and collective needs. The practical value of the study lies in the development of a system of recommendations for architects and designers, aimed at shaping individually comfortable, flexible, and psychologically balanced environments in residential, office, and urban architecture
In the context of the rapid development of digital media and changes in visual culture, the creation of high-quality, aesthetically coherent, and psychologically grounded illustrative material becomes especially important, as it is capable of maintaining attention, fostering the development of imaginative thinking, and forming visual literacy in children of different age groups. The purpose of the work was to identify stylistic, compositional and technological features of the design of a children’s book, taking into account the age characteristics of the reader. To achieve this goal, visual-analytical, comparative-typological and system-analytical methods were used. The article investigated the main features of illustrating books for children of different ages. It was substantiated that illustrating books significantly affects the formation of the worldview of the future generation, since illustration is often the first visual experience of a child, and the perception of the surrounding world depends on its quality and content. Their influence on the content and placement of text for each age group has been determined. Special attention was paid to the peculiarities of cooperation between illustrators and editors to form a holistic image of a children’s book. The main stages of work on illustration, as well as the basic principles and significance of artistic design, were highlighted. The relevance of improving the illustrative accompaniment of children’s books as an important factor in the formation of aesthetic perception, creative thinking and reading culture in children of different ages has been investigated. Particular attention was paid to taking into account the psychological and cognitive features of children’s perception as a key task for illustrators, designers and editors working in the field of children’s book publishing. The practical value of the study lies in the development of methodological recommendations for illustrators, designers and publishers on optimising the graphic design of children’s publications in accordance with the age structure of the readership
The relevance of the study is conditioned by the growing influence of visual practices on the development of aesthetics, narrative and user experience in video games, which makes them one of the key factors in the development of the global gaming industry. The purpose of the study was to analyse the leading visualisation trends that determine the artistic and technological features of game worlds of the last decade. The study was based on a comparative, and system and analytical approach, and included content analysis of games, interpretation of their visual design, and review of scientific sources. In total, 23 game projects of various genres and styles were analysed, which allowed identifying patterns in the development of the visual component of the industry and tracing the relationship between aesthetic solutions, technological innovations and commercial success. The sample included both high-budget AAA projects and independent indie games, which provided a more comprehensive vision of contemporary approaches to design. The analysis showed that current practices cover stylised graphics, cel-shading, pixel art, sumi-e and the latest solutions based on artificial intelligence, including procedural art and generative stylisation. It was revealed that an important role is played by the design of the user interface and user experience, which determines the intuitiveness and convenience of interaction, and "environmental storytelling" as a form of wordless narrative that deepens the emotional connection of the user with the game world. Special attention was paid to the use of cinematic techniques and interactive directing, which provide a hybrid gaming experience and bring video games closer to other forms of audiovisual art. The results of the study can be used by game designers, artists, educators, and digital media researchers as an analytical base for developing visually holistic and commercially successful games, and in the field of educational design, cultural analytics, and creating an inclusive visual environment
