The purpose of this article is to analyse modern approaches to image development in the form of modular options based on archetypes as universal prototypes manifested in myths, fairy tales, religion and art. Adapted to nowaday’s demands, archetypes give the image figurative meaning related to worldview and artistic achievements, as well as the psychological experience of ancient artistic culture. The research methodology is based on a combination of theoretical analysis of scientific sources and practical cases of the image creation based on archetypes from ancient mythology. Analytical, structural and comparative methods are applied, as well as a historical-systemic approach, which allows the effectiveness of decisions to be assessed according to objective criteria. A comprehensive research approach allows to identify main visual-iconographic, figurative and worldview-psychological features of archetypal models based on ancient models, as well as to analyse their specifics in detail, which makes it possible to determine possibilities of creative solutions by stylists-designers in order to use them when creating an image with specific content. The scientific novelty grounds on highlighting image creation as a personal style transformed in the system of traditions with the transition to the modern system. It shows how archetypes that emerged in ancient culture can be adapted for individual images, giving image solutions completeness, relevance and effectiveness. Conclusions. It is established that female archetypes crystallised in ancient mythology, art and culture, elevated to the level of classics, have become a source of research, study and interpretation in contemporary visual culture. In particular, in image creation, they demonstrate their suitability for adaptation on different platforms and in different contexts of visualisation – from images of show business representatives to images of public and political figures. While maintaining general recognisability, various versions of the image, interpreted according to the models of female characters from Greek Olympus – goddesses – carry cultural and historical formulas that decipher specific traits of human character, thereby facilitating the selection of stylisation tools for their embodiment and disclosure in order to create the desired image. The distribution and systematisation of the archetypes of Artemis, Athena, Aphrodite, Hestia, Hera, Demeter, and Persephone revealed their image-building potential in the context of modern political and cultural life. Image creation and individual style at the present stage should be viewed as a system that allows traditional ideas to be adapted into visual solutions that meet modern requirements. It is proven that image creation as a tool for planned transformation is determined not only by aesthetic qualities, but also by specific indicators of content effectiveness, i.e. the achievement of the goal of conveying specific visual and psychological information to the audience. The prospects for the development of individual style via image-image lie in the combination of strategic approaches and new technologies, including approaches to design as a tool for visualising ancient, in particular, antique archetypes based on their actualisation in modern conditions. This position requires the deepening of the professional training of image makers as the main producers of competitive design product samples with detailed cultural, artistic and psychological parameters.
The purpose of this article is to analyse free graphics as an artistic and expressive tool in modern graphic design, as well as to determine its role in shaping the visual language of design projects, to study specific features of the legal protection of the results of such creative activity in the context of copyright and intellectual property law. The research methodology grounds on the comprehensive combination of general scientific methods and specialized art historical and design approaches. This study employs methods of analysis and synthesis to interpret theoretical perspectives on the study of free graphics, the historical and art historical method to trace the evolution of graphic techniques and their application in graphic design, as well as formal and stylistic analysis to identify expressive means and visual characteristics of graphic solutions. In addition, systemic and interdisciplinary approaches are applied, enabling the consideration of free graphics within the context of contemporary design practices and legal mechanisms for the protection of creative outputs. The scientific novelty bases on the comprehensive interpretation of free graphics as a means of artistic expression in modern graphic design, with simultaneous consideration of the legal aspects of its use and protection. For the first time, the expressive possibilities of free graphics, particularly monotype, are systematised within the context of modern design practices and the digital environment, and the specific features of authorship identification and copyright protection of the results of such creative activity are outlined. This study expands theoretical understandings of the interaction between artistic and legal factors in graphic design and forms a basis for the further development of methodological and law-enforcement approaches in the field of visual culture. Conclusions. Free graphics is an important means of artistic expression in modern graphic design, contributing to the formation of an individual authorial language, the enhancement of aesthetic value, and the communicative effectiveness of design projects. Its active use in both traditional and digital formats leads to the expansion of the boundaries of graphic design and its integration with interdisciplinary artistic practices. At the same time, a number of issues related to the legal protection of free graphics works are identified, including difficulties in establishing authorship, the specifics of reproduction and distribution in the digital environment, and the insufficient adaptation of existing intellectual property mechanisms to the particularities of design practice. Perspectives for further research are associated with a more in-depth analysis of legal instruments for the protection of free graphics under conditions of digitalisation, the development of methodological guidelines for designers regarding copyright registration, as well as the study of new forms of interaction between free graphics and digital technologies, particularly in the fields of multimedia, interactive and virtual design.
The purpose of this article is to establish the genesis of the first Arabic metal typefaces for Christian literature, as well as to analyse the activities of the educator and publisher, Metropolitan Athanasius Dabbous; to identify the artistic heritage and influence on the printing industry of the Middle East of such font designers as Anfim Iversky and Abdullah Zaher; to study the transformation of letter forms, ligatures, punctuation and typographical decoration of Arabic liturgical books. The research methodology includes the collection and analysis of printed Christian publications from the Middle East, the comparison of different Arabic fonts based on geometric and proportional measurements, the systematisation of scientific sources, the design research into the construction of letters, and the generalisation of the results obtained. Methods of comparative analysis are used, as well as the creation of sketches of two types of Arabic fonts (Bucharest, 1701 and Aleppo, 1706); the systematisation of the results of the comparison based on alphabet tables and the superimposition of letter contours. Scientific novelty. In spite of the fact that the topic of the similarity of Arabic fonts of the printing houses of Wallachia and the Middle East has been addressed by European, Arab and domestic researchers, this article is the first to conduct a qualitative design and typographic analysis of the typefaces of liturgical books; a comprehensive study of individual letters developed by Anfim Iversky and Abdullah Zaher has been carried out. Conclusions. Based on the analysis of bibliographic sources, collected data, images of graphemes and individual words, an idea is formed about the different origins of Arabic fonts from the printing houses of Snagov/Bucharest and Aleppo/Beirut. The features of simplification and schematisation of letter forms and the interconnection of skills in the Arabic calligraphic tradition with the creation of metal punches, which influenced the formation of the typographic image of Arabic publications and the development of Eastern Christian visual culture, are revealed. A comparative method proves that the previous theory of the similarity of typefaces from Christian publications in Wallachia and Syria has certain flaws and needs to be revised and requires more professional design research of all forms of metal letters and the peculiarities of typesetting.
The purpose of this article is to study jewellery featuring insect motifs, which are positioned as the quintessence of ideas about beauty and ugliness across different periods, and to examine the transformation of aesthetic ideas about these categories over time. The emphasis is on the modern era as a particularly fruitful period for the use of insect motifs in jewellery art, characterised by changes in consumer attitudes towards such products and the imagery that embodies the categories of ‘ugly’ and ‘beautiful’. The research methodology involves the use of a comprehensive approach to characterise jewellery as a segment of a person’s image, style and image; historical and chronological methods are used to present the material organically in a specific sequence of events; biographical methods are used to emphasise the place of jewellery art in the creative biography of individual artists; iconographic methods – for art historical analysis of the artistic characteristics of specific jewellery items; comparative methods were used to compare examples from different historical periods in order to identify the transformation of the interpretation of the insect motif over time. The scientific novelty of the research lies in the systematisation of data, comprehensive analysis of the use of insect motifs in foreign jewellery art of the modern era, and an attempt to compile an anthology of insect motifs in the jewellery world at the turn of the 19th and 20th centuries as an embodiment of the ideas of beauty and ugliness. Jewellery pieces featuring insect motifs are positioned as indicators of taste; i.e., the interpretation of jewellery as an example of decorative and applied art has been expanded into the broader realm of general aesthetics. Conclusions. Analysis of the most characteristic examples of Western European jewellery art at the turn of the 19th and 20th centuries (primarily in France and, to some extent, in Great Britain) found that the insect motif became one of the most popular among modernist artists, allowing them to embody new ideas about beauty and its antagonist, ugliness. A brief excursion into earlier eras was undertaken to trace changes in attitudes towards insect imagery over time and in the demand for their use. The popularity and reasons for it are noted for scarab beetle motifs in Ancient Egypt, bees during the time of Napoleon Bonaparte in France, jewel beetles from the late 19th century to the present day, and especially butterflies and dragonflies in the modern era. Each example is considered in terms of design, with particular attention to the complex semantics of the chosen element. The analysis is based on examples of works by A. Weber, F. Wolfer, L. Gayard, R. Lalic, J. Fouquet, and supplemented with English examples from the Victorian era, including works by the jewellery house of J. Brogden.
The purpose of this article is to ground generative design as a qualitatively new stage in the historical development of design and technical graphics by determining its theoretical foundations, structural characteristics and epistemological consequences. This study aims to determine how algorithmic and parametric systems transform the logic of graphic representation, rethink the role of a designer and change the visual language of design-oriented modelling within the framework of modern digital culture. Research methodology. A cultural-historical method is used to trace the evolution of design and technical graphics from traditional representative practices to algorithmic and generative systems. A comparative analysis allows to compare conventional design technologies with parametric and AI-oriented approaches. A discursive analysis is applied to identify conceptual changes in the interpretation of the role of the designer under conditions of the “second digital turn”. An interpretative approach makes it possible to outline the epistemological and value shifts associated with the introduction of generative design and artificial intelligence into design practice. The scientific novelty lies in the conceptualisation of generative design as a qualitatively new stage in the development of design and technical graphics, which is interpreted not simply as technological progress, but as a structural transformation of its representative and epistemological foundations. Conclusions. The conducted study confirms that generative design represents a qualitative transformation in the development of design and technical graphics, but not just a technological update. Design and technical graphics have evolved from a stable and deterministic visual instruction to a dynamic computational process. In generative environments, drawings are replaced by systems of rules, constraints and evaluation criteria. Representation is transformed into generation, and the project exists as a field of possible iterations, rather than as a final form. The professional identity of the designer is undergoing a significant restructuring.
The purpose of this article is to study the typographic works of V. Krychevskyi, to identify the artist’s methods and techniques that shape his authorial design style, and to formulate recommendations for the development of typographic elements in the style of V. Krychevskyi. Research methodology. Methods of comparative analysis, historical and cultural analysis, art-historical study of V. Krychevskyi’s typographic and lettering projects, and methods of synthesis and generalisation for the formation of design recommendations were applied. The scientific novelty of the article lies in the interpretation of V. Krychevskyi’s typographic heritage in the context of contemporary Ukrainian graphic design and the systematisation of his design method by identifying key techniques relevant to the formation of modern designs with Ukrainian identity. Conclusions. V. Krychevskyi’s synthesis of Ukrainian decorativeness and constructivism formed a visual code that allows Ukrainian authenticity and modernity to be combined. The artist’s legacy shows that identity can be expressed not only through ethnographic motifs but also through the profound logic of form creation. The understanding and implementation of the project methodology in contemporary graphic design by one of its founders, who developed a methodology for representing Ukrainian identity in graphics and design, ensures the continuity of the artistic tradition and enhances the effectiveness of contemporary design. An analysis of the artist’s typographic and lettering works allows us to identify key design techniques: reduction or complete avoidance of interline spacing and tracking; use of the structural features of letters for their harmonious combination in ornamental typographic and decorative compositions; varying the size of letters within a single word and manipulating the space within and between letters; using ligatures; inscribing into geometric shapes; creating a rhythmic internal dynamic within the composition. These techniques can be recommended for study and practical application by contemporary Ukrainian graphic designers to form an authorial style that represents Ukrainian identity.
The purpose of this article is to develop an integrated theoretical and methodological framework for organising the interior environment of rehabilitation centres for victims of military conflicts by synthesising modern scientific approaches and identifying principles and design mechanisms that ensure scenario-based spatial control, psychological safety, sensory comfort, inclusiveness and support for user autonomy throughout the recovery process. Research methodology. The study employs system-structural and structural-functional analysis (the interior as a system of functions, flows and regimes), comparative analysis of scientific concepts and design practices, morphological analysis of interior solutions, graphic-analytical modeling (scenario-based zoning, routes of patient/staff/family, transition nodes, privacy gradients, sensory regimes), and content analysis of the source base. Scientific novelty. This research offers an original interpretation of organising the interior environment of rehabilitation centres for victims of military conflicts as a scenario-managed, human-centered system, in which principles are implemented through specific design methods and means, namely: scenario zoning; functional separation of flows of patients, staff and visitors/family; creation of buffer spaces between zones with different operational modes; introduction of controllable sensory regimes; application of adaptive furniture and equipment; formation of a non-institutional character of the interior (colour, light, materials, furnishing, navigation and information tools), which reduces associations with a hospital, enhances psychological safety, as well as supports the user dignity solutions suitable for methodological application in Ukrainian design practice. Conclusions. It is shown that the effectiveness of the interior environment of rehabilitation centres for victims of military conflicts is determined not by a sum of isolated decisions, but by a coordinated system of interacting spatial-organisation principles. It is established that spatial scenarios support the user’s recovery trajectory and provide controlled transitions between modes of stay. It is grounded that a controllable light-colour and acoustic regime, legible navigation and privacy gradients reduce sensory overload and the risks of retraumatization. It is demonstrated that inclusive accessibility should be implemented as a practice of everyday user autonomy rather than merely compliance with minimum accessibility parameters. It is proven that the “aesthetics of dignity” forms an ethical and professional standard of rehabilitation space and strengthens motivation and readiness to engage with the rehabilitation process. It is determined that the offered principles can be applied as a methodological framework for adapting existing spaces, taking into account injury profiles and resource constraints in Ukraine’s wartime and post-war conditions.
Purpose of this article. The purpose of the article is to identify and systematise motion design means and artistic–stylistic features of explainatory videos for IT brands, as well as to clarify how these solutions enhance recognition, message clarity and trust within brand communication strategies. The research methodology. This study applies a qualitative approach that combines a case study method and a multimodal content analysis. A sample of commercial videos by Ukrainian and international IT companies (2020–2024) is analysed. The coding covers graphics, colour, typography, animation techniques, sound design and storytelling, as well as indicators of their consistency with brand identity. The theoretical and methodological base for interpreting communication effectiveness is provided by Habermas’s theory of communicative action. Scientific novelty. This research systematises the specific features of using motion design in explainatory videos and identifies key stylistic approaches (minimalism, futuristic aesthetics, isometry) that help reduce cognitive load. It grounds the importance of aligning the multimedia components of explainers (typography, colour, animation, sound design, storytelling) with the brand identity of IT companies. Conclusions. The effectiveness of explainatory videos depends on the careful selection of stylistic solutions, a clear message structure, and the coherence of all components with the brand’s identity. It is proved that explainers function not only as a means of informing but also as a communicative act that builds trust and reinforces brand positioning through a consistent visual language. The practical experience confirms its usefulness for explaining complex technological concepts and maintaining an audience loyalty.
The purpose of this article is to reveal the influence of the “Decorative Painting” discipline on the formation of the future designer’s project-based figurative thinking. Research methodology. The methodological basis for the formation of the future designer’s project-based figurative thinking and painting skills grounds on the works of scientists in the field of philosophy, art history, pedagogy, psychophysiology of visual perception, as well as theory and methodology of painting education. Scientific novelty. This article states that the formation of design-oriented figurative thinking is a complex psycho-pedagogical process, in which decorative painting acts as a “bridge” between art rigorous design. One of the key conditions for forming design-imaginative thinking of future designers in painting classes is decorativeness. It serves as a synthesising technique aimed at creating a holistic composition with given design parameters. It is manifested in the internal coordination, proportionality and ordering of all its elements and forms. Ornamentality is a form of expressing content and artistic imagery, in which the object form gradually transforms into a symbol. This symbol acquires characteristics of a decorative motif. Conclusions. Key aspects of the influence of decorative painting on the formation of future designers’ project-based figurative thinking: 1) development of colouristic thinking: students master laws of colour harmony, contrasts and emotional influence of colour which is critical for creating visual concepts; 2) stylisation and transformation of forms (unlike academic painting, decorative painting teaches students to discard secondary details in favour of silhouette expressiveness and rhythm); 3) compositional literacy (students develop the ability to work with plane, symmetry and rhythm, which lays the foundation for further design of interiors, textiles or graphic design); 4) artistic and figurative thinking (performing decorative still lifes develops creative imagination and ability to generate innovative ideas); 5) integration of traditions (working with decorative techniques allows for the creative reinterpretation of the national cultural heritage within modern design projects). Decorative painting liberates the future designer from the “blank page syndrome” as the artist’s version of the writer’s block by providing a clear algorithm “analysis – stylisation – project”.
The purpose of this article. This article is a review and aims to examine the state of research on the issue of visual noise and its impact on design practices. The research methodology is based on bibliographic analysis and systematisation, comparison of historical and contemporary perspectives, interpretation of interdisciplinary sources. Scientific novelty. The Ukrainian design discourse examines the concept of “visual noise” with a distinction from “visual pollution” and “visual clutter”, describing the operational consequences for design, and summarizing the tools for measuring visual noise. The conclusions of the article confirm that visual noise is a complex, multi-level phenomenon that arises at the intersection of urban studies, design, and the cognitive sciences. Within the perceptual framework of the study, it is demonstrated how an excess of signals and signal conflicts in urban space systematically reduce its legibility, complicate the identification of objects, and significantly increase the user’s cognitive load. The authors demonstrate that visual noise can not only be described but also effectively managed using specific design tools: conducting audits of key streets and intersections, establishing minimum thresholds for contrast and scale, and constructing a clear hierarchy of information carriers. This paper highlights two current trends in addressing this issue in contemporary design: a strategy of radical reduction through the organisation and regulation of the environment, and a strategy of embracing complexity, where noise becomes a resource for emotional expressiveness and a reflection of the multi-layered urban experience. The results obtained demonstrate the need for systematic fundamental research into this phenomenon specifically within the context of graphic design to create a legible, safe, and human-centered urban space. This will enable the development of effective design tools not only for the city but also for other environments where graphic design is applied.
The purpose of this article is to identify design peculiarities of the ship environment and factors that influence its formation, as well as to compare concepts of exterior and interior design for different types of ships. This study takes into account a comprehensive approach, an importance of combining ergonomic and functional aspects, and an aesthetic component. Research methodology. The main part uses a comparative analysis of theoretical material and supporting illustrations, as well as an analysis of the design features of vessel interiors. Modern scientific sources in this field of design are analysed. The information is systematised and generalised, on the basis of which conclusions are made about tendencies in the ship environment design. The scientific novelty bases on determining the directions of ship environment design, substantiating the influence of modern technologies on ship design, defining the basic concepts of designing various types of ship compartments, and systematising this information. Conclusions. This study focuses on the peculiarities of designing the exterior and interior of ships in the context of the structural features of this spatial environment. It identifies the tasks that arise at different stages of ship interior design, as well as techniques and solutions. Conceptually different approaches to the design of ship premises depending on the type of ship, size, sailing area and purpose of the premises are highlighted. With the help of illustrative material, the organisation of space on the ship and the use of certain furniture and equipment are clearly demonstrated. As a practical part of the study, the qualification projects of students studying on the educational programme “Environmental Design” are presented. Existing and future tendencies and perspectives for the development of vessel environment design are outlined. Based on the analysis of the application of modern technologies in the industry, the directions for the further development of ship architecture and design are predicted.
The purpose of this article is to identify theoretical foundations and practical directions for the use of the historical and cultural heritage of the Cherkasy region as a conceptual base for educational programmes in graphic design and fashion design at Cherkasy State Technological University, as well as to ground the role of regional cultural identity in shaping the visual culture of future designers. Research methodology. This study employs a complex of general scientific and specialised methods that ensure a holistic analysis of the problem of integrating cultural heritage into the methodology of design education. The scientific novelty of this study grounds on conceptualising the regional cultural heritage as an innovative resource for modern design education. The integration of cultural, competency-based and project-oriented approaches is offered, which enables the use of folk culture as a means of developing design thinking, creativity and professional identity of student designers. Conclusions. The results of this research demonstrate that the historical and cultural heritage of the Cherkasy region is an important resource for the development of modern design education, contributing to the integration of professional training of future designers with the formation of their cultural and civic identity. The incorporation of the regional cultural context into the educational programmes of Cherkas State Technological University ensures the development of a holistic model of specialist training in which technical skills are combined with the ability to work with cultural meanings and visual codes. The outcomes of implementing culturally oriented educational methodologies confirm their positive influence on the students’ engagement, the quality of project work and the level of development of professional and sociocultural skills. The experience of Cherkasy State Technological University may be considered a promising model for integrating historical and cultural heritage into the system of designer training and can be adapted by other higher education institutions of Ukraine.
The purpose of this article is to provide a comprehensive analysis of modern scientific literature dedicated to the implementation of innovative technologies in the design of rehabilitation centres for victims of military actions, as well as to systematise their influence on the formation of architectural and spatial environments. Special attention is paid to identifying relationship between today’s rehabilitation methods, technological equipment and principles of interior space organisation, taking into account the physical, psycho-emotional and social needs of patients. Research methodology. The study employs an analytical method for reviewing scientific sources and regulatory frameworks; a system-structural method for determining interrelations between functional zones of rehabilitation centres; a comparative method for contrasting domestic and international experience; inductive and deductive methods for forming generalisations and theoretical conclusions. Additionally, a project-analytical approach is used to assess the impact of innovative solutions on the spatial organisation, and a functional-ergonomic approach is applied to justify environmental parameters that comply with accessibility, inclusivity and barrier-free principles. Scientific novelty. The article presents a comprehensive analysis of current scientific sources. For the first time, it systematises innovative rehabilitation technologies (including robotic systems for motor function recovery, VR and AR technologies, sensory rooms, tele-rehabilitation platforms, adaptive engineering systems) from the perspective of their influence on the design of interiors of rehabilitation centres for victims of military actions. It is argued that the integration of such technologies drives the transformation of spatial solutions and requires flexible zoning, modularity and technical adaptability of the environment. Conclusions. It is established that integrating innovative technologies into the design of rehabilitation centres contributes to enhancing patient recovery efficiency, creating an inclusive, safe and ergonomic environment, adapting spaces to modern rehabilitation needs. It is shown that architectural and design solutions should be considered an integral part of the therapeutic process, as properly organised environments positively influence psycho-emotional well-being, motivation for recovery and social integration of affected individuals.
The purpose of this article is to define patterns of influence of modular structural systems with different levels of factory readiness on the formation of residential interior design. The research methodology grounds on the application of methods of theoretical analysis of scientific sources, comparative analysis of modular housing systems with different levels of factory readiness, and generalisation of the obtained results. Modular housing is viewed as an integrated production and design system, within which structural, engineering and interior solutions are formed in interrelation. The scientific novelty lies in considering the interior of modular housing as a component of the production and design process rather than a final decorative stage. This study establishes the dependence of the nature of interior space formation on the degree of factory readiness of the structural system, which is manifested in the shift in the timing of interior design decisions and the level of their integration. The research results demonstrate that in systems with full factory readiness, the interior space is formed at early design stages and implemented in the manufacturing environment as part of a unified modular structure. In systems with partial factory readiness, a significant part of the decisions is transferred to the construction stage, which ensures greater variability, but still, it reduces the level of prior coordination. The article develops a structural and logical scheme of interior formation that reflects the sequence of stages and demonstrates the shift in decision-making depending on the level of factory readiness, as well as an analytical matrix that systematises interior components according to the stages of their formation. In addition, the proposed model can be used in design practice to justify the selection of a modular system according to the requirements of the residential environment and to predict the level of integration of interior solutions. Its application makes it possible to determine at early stages the degree of fixation of spatial, engineering and furnishing components within the production process and the construction stage. The conclusions confirm that the level of industrialisation of modular construction determines the morphology of the residential environment and influences spatial organisation and the logic of interior design decision-making.
The aim of this article is to conceptualise the design of music albums from the late 1960s–1970s as an autonomous object of visual culture and to identify the mechanisms of constructing the image of the universal through plastic and typographic strategies. The objectives of the study include examining music album design of the specified period as an independent phenomenon of visual culture; identifying the mechanisms of constructing the image of the universal through plastic and typographic means; theoretically interpreting the album cover as a complex semiotic field; systematizing strategies of the universal through an analysis of the interaction of different modes of visual imagery within its structure; and conducting an interdisciplinary analysis of compositional and plastic mechanisms that enable a synesthetic interaction between musical and visual elements. The research methodology is based on the historical and cultural analysis of the socio-cultural context of the era, formal-stylistic and compositional analysis of design solutions, as well as elements of the semiotic approach to interpret the interaction between text and pictorial elements within the structure of music album design. The scientific novelty grounds on the conceptualization of music album design as an autonomous tool within the system of graphic communication and in clarifying its role in constructing the «image of the universal» as a worldview model of the era. For the first time, emphasis is placed on the interconnectedness of abstract imagery, interdisciplinary artistic synthesis, and typographic approaches as a cohesive project strategy. Conclusions. The study confirms that the music album design of the specified period reflects the fundamental worldview transformations of the second half of the 20th century. Based on the results of the analysis, the following patterns were identified: the status of an autonomous visual statement (album design of this period ceased to be a purely illustrative supplement to music. It transformed into a complex semiotic field where visual structures – through radical abstraction, iconographic figurativeness, or archetypal symbolism – form a space of transcendental experience that complements the metaphysical quality of the sonic space); mechanisms of forming the «image of the universal» (it was found that the «image of the universal» is constructed through the synthesis of interdisciplinary artistic practices: from collage techniques and photographic experimentalism to optical effects and intellectualized typography. This synthetic semantic model allows for the integration of disparate cultural codes (historical, mythological, futuristic) into a unified worldview concept); archetypization as a communication tool (the application of a Jungian perspective proved that the actualization of archetypal images (for example, through references to the Tarot deck or the use of universal signs and symbols) allows album design to appeal to the deep layers of the collective unconscious. This makes the cover understandable on an intuitive, universal human level, transforming it into a timeless object free from local marketing contexts); integrity of the project strategy (it is proved that successful design solutions of the late modernism era are based on the interaction between musical content and artistic form. The removal of verbal markers (band or album names) in favor of abstract signs or metaphorical objects becomes a strategy for the hermetisation of meanings, emphasising the conceptual independence and sacredness of the musical artifact). Thus, music album design of the 1960s–1970s not only reflected the worldview shifts of the second half of the 20th century but also formed a new graphic language which, through the integration of artistic practices, created a unique model of the «universal» that continues to influence contemporary strategies of visual communication.
The purpose of this article is to determine the state of research on Ukrainian postage stamp design by systematising and analysing the historiography and source base, as well as identifying under-researched aspects for further academic inquiry. Research methodology. This study employs methods of systematisation and classification to categorise the source base into thematic groups; the comparative method to contrast the approaches of historians, philatelists, art historians; the method of theoretical generalisation is used to determine the current state of research on the problem. The scientific novelty lies in the first comprehensive review of the state of research on Ukrainian postage stamp design, with a specific emphasis on its artistic component. Key gaps in the historiography of Ukrainian postage stamp design are identified. In particular, attention is drawn for the first time to the fact that the most dynamic stage of Ukrainian stamp development (2014–2024) remains outside the scope of systematic analysis. The research substantiates the necessity of studying the artistic transformation of the postage miniature under the influence of wartime challenges and digital technologies. The role of the postage stamp as a relevant means of visual communication is outlined. Conclusions. It is established that despite a significant number of works on the history of philately and the availability of thorough catalogs, there is a lack of research in modern art history that considers the stamp as an object of graphic design. Most existing studies are fragmentary and focus on the period before 2010. The necessity in a comprehensive study of the development of the visual language of Ukrainian postage stamps in the context of contemporary tendencies in design, typography, and semiotics is proven. The results of the analysis emphasise that today the Ukrainian stamp has gone beyond being a purely financial document, becoming a complex communicative act that requires further professional study as a phenomenon of visual culture.
The purpose of this article is to determine how digital technologies for three-dimensional modelling, prototyping and visualisation enable the transition from a collectible design object to its integration into an interior environment, and what factors constrain the efficiency of this process in professional practice. Research methodology. An interdisciplinary approach at the intersection of design research, digital fabrication and visualisation are applied. This study uses structural–functional and comparative analysis, publication content analysis, thematic synthesis, and case analysis of “collectible object–interior environment” integration examples. Scientific novelty. The paper provides an integrative review of three-dimensional modelling, prototyping and visualisation technologies that support the transition from a collectible design object to its contextual placement in an interior. The novelty of the study lies in combining collectible and interior design within a single analytical framework and identifying the end-to-end digital cycle “model–prototype–visualisation” as a practically meaningful configuration. A comparative characterisation of technologies is offered across accuracy, iteration speed, communication and resource influence. The study clarifies the difference between technologies that substantially change the design approach and those that primarily refine existing procedures, as well as identifies key barriers, namely cross-platform compatibility and a gap between digital representation and physical realisation. Conclusions. Digital technologies for integrating collectible design objects into interiors are synthesised, showing the convergence of modeling, prototyping and visualisation into an end-to-end process. Parametric and generative three-dimensional modelling increases solution variability; converting scan data into an information model improves alignment with actual conditions; three-dimensional printing and numerically controlled machining support ergonomic and functional verification. Photorealistic rendering, real-time visualisation engines and extended reality technologies improve mutual understanding among project participants and enable earlier decision alignment, reducing late-stage revisions. Technologies are compared by accuracy level, iteration pace, communication effectiveness and resource demands. Key constraints are insufficient platform compatibility, mismatches between digital representation and physical realisation, as well as a necessity in specialised team competencies.
The purpose of this article is to summarise approaches to inclusive design of rehabilitation centre interiors based on the analysis of Ukrainian and international practices. The research methodology grounds on a combination of analytical, descriptive and structural-functional approaches, which makes it possible to comprehensively assess the principles of organising an accessible environment and their influence on comfort and spatial functionality. An analytical method is applied to study the principles of inclusivity in the context of current social challenges; a descriptive method is used to identify the features of environment organisation; a structural-functional approach is employed to characterise the components of accessibility; generalisation methods are used to determine development tendencies; a visual-analytical approach is applied to interpret architectural and spatial solutions. Scientific novelty. The article generalises scientific approaches to environmental accessibility through identifying physical, sensory and psychological aspects as interrelated components of the rehabilitation space. Formulated by R. Mace and further developed by E. Steinfeld and J. Maisel, the principles of universal design are viewed in the context of their application, taking into account functional and psycho-emotional factors. Based on the analysis of Ukrainian and international practices, approaches to creating an accessible and therapeutically oriented environment are identified, including the combination of barrier-free solutions, adaptive zoning, clear navigation and modern technologies. It is established that the effectiveness of space depends on the integration of accessibility aspects and the coherence of functional elements. Conclusions. Inclusive design is a key factor in creating an effective rehabilitation environment that combines barrier-free access, functionality and consideration of certain needs of patients and visitors, requiring further development with regard to international experience.
It has been proven that modern cities need solutions that simultaneously ensure the safety of people and the continuity of public services, therefore shelters should not be separate and inaccessible objects, but organic elements of transport infrastructure, educational institutions, healthcare facilities, administrative buildings. The purpose of this article is to scientifically substantiate the formation of approaches to the integration of shelters into civil infrastructure based on an in-depth analysis of international practices, taking into account engineering, legal, social and economic requirements. The research methodology includes the use of a number of interrelated scientific methods, in particular: the method of induction and deduction – to analyze the essence and content of the process of integrating shelters into civil infrastructure. The article summarizes and systematizes approaches to integrating shelters into civil infrastructure based on an in-depth analysis of international practices in Northern Europe and Asia, where underground spaces, transport hubs, schools, parking lots, sports and public facilities perform dual functions in normal mode and in protection mode. The scientific novelty of the article lies in the comprehensive approach to understanding the integration of shelters into civil infrastructure, where shelters are considered as multifunctional elements of urban space, capable of promptly and unhindered transitioning from everyday mode to protection mode while maintaining continuity of services. Conclusions. The article establishes that the integration of shelters into civil infrastructure is a key priority of security policy as a strategy for urban resilience, as it combines spatial rationality and safety standards with the everyday functionality of facilities, ensuring rapid access of the population to protection without disrupting the usual rhythm of life.
Мета дослідження. Визначити, як цифрові технології тривимірного моделювання, прототипування та візуалізації забезпечують перехід від колекційного дизайн-об’єкта до його інтеграції в інтер’єрне середовище, і які чинники стримують ефективність цього процесу в професійній практиці. Методи дослідження. Застосовано інтердисциплінарний підхід на перетині дизайн-досліджень, цифрової фабрикації та візуалізації. Використано структурно-функціональний і порівняльний аналіз, контент-аналіз публікацій, тематичну систематизацію та кейс-аналіз прикладів інтеграції «колекційний об’єкт – інтер’єрне середовище». Наукова новизна. У статті виконано інтегративний огляд технологій тривимірного моделювання, прототипування та візуалізації, що забезпечують перехід від колекційного дизайн-об’єкта до його контекстного розміщення в інтер’єрі. Новизна полягає в поєднанні колекційного й інтер’єрного дизайну в єдиному аналітичному контурі та виокремленні наскрізного цифрового циклу «модель–прототип–візуалізація» як практично значущої конфігурації. Запропоновано порівняльну характеристику технологій за точністю, швидкістю ітерацій, комунікацією та ресурсним впливом. Уточнено різницю між технологіями, що змінюють підхід до проєктування, і тими, що лише покращують наявні процедури, а також визначено ключові бар’єри, а саме міжплатформну сумісність і розрив між цифровою та фізичною реалізацією. Висновки. Узагальнено цифрові технології інтеграції колекційного дизайн-об’єкта в інтер’єр та показано зближення моделювання, прототипування й візуалізації в наскрізний процес. Параметричне та генеративне тривимірне моделювання підсилює варіативність рішень, перетворення даних сканування в інформаційну модель уточнює прив’язку до фактичних умов, а тривимірний друк і обробка на верстатах із числовим програмним керуванням забезпечують перевірку ергономіки та функціональності. Фотореалістичний рендеринг, рушії візуалізації в реальному часі та технології розширеної реальності покращують взаєморозуміння між учасниками проєкту й дають змогу раніше узгоджувати рішення, зменшуючи потребу в корекціях на завершальних етапах. Технології зіставлено за рівнем точності, темпом ітерацій, комунікаційною ефективністю та ресурсними витратами. Виявлено основні чинники, що стримують упровадження, а саме недостатню сумісність між платформами, невідповідність між цифровим поданням і фізичною реалізацією та потребу у фахових компетентностях команди.
