Візуально-образна мова типографіки у дизайні поліграфічних видань періоду раннього модернізму

Ісмайлова, Марія Сергіївна

Візуально-образна мова типографіки у дизайні поліграфічних видань періоду раннього модернізму

Ісмайлова, Марія Сергіївна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2630

Date: 2019

Abstract:

Дисертація присвячена комплексному дослідженню візуально-образної мови типографіки у дизайні поліграфічної продукції раннього модернізму. У роботі визначено умови й напрями формування візуально-образної мови типографіки у дизайні друкованих видань першої третини ХХ століття; розглянуто шрифт як стилетворчий засіб у дизайні поліграфічних видань раннього модернізму; надано характеристику основних засад типографіки у дизайні поліграфічної продукції; наведено трактування терміну «типографіка» стосовно дизайну друкованих видань. На прикладі зразків поліграфічної продукції досліджуваного періоду (плакатів, обкладинок журналів, книжок тощо) визначені стильові ознаки графічного проектування й зокрема, типографіки; охарактеризовані її функціональні й естетичні аспекти; надано характеристику складових візуально-образної мови типографіки друкованих видань 1910-1935 років.

Description:

The academic novelty of the study includes the following first-ever made pursuits: the conditions of the formation of the visual and figurative language of typography in the design of printed products of the early modernism have been defined; the classification of trends of the formation of the visual and figurative language of typography in the design of printed issues of the first third of the 20th century has been made; the functional and aesthetic aspects of typography in the design of printed products of 1910-1935 have been characterized; the stylistic features of the visual and figurative language of printed issued of the early modernism have been outlined. This study aims to reveal the featuresof the visual and figurative language of typography in the design of printed issues of the early modernism. The thesis consists of three chapters. The first chapter «Theoretical evidence in the area of typography. Coverage of the issue and research methodology» contains the analysis of the used information sources and justification of the applied research methods. The theoretical basis of the thesis includes academic works of national and foreign art experts, graphic design theorists and practitioners, clustered in three groups of sources: - design of printed products, in particular, the aesthetic and functional aspects and the visual-graphic language of publicationsare covered in the works of P. Brilmayer and V. Eberhand, L. Bhaskaran, E. Hlinternyk, K. Lavrentieva, V. Rain and T. Konove, N. Sbitnieva, N. Serheeva, O. Yaremchuk, K. Frost and others; - typography as a means of visualization of text in the graphic design objectsis considered by F. Bulhakov, V. Volkova, S. Halkin, V. Holyzhenkov, Yu. Hordon, S. Hurevych, M. Dubyna, V. Yefimov, T. Ihoshina, A. Kapr, M. Carter, O. Kiselev, V. Krychevskyi, V. Krishtopaytis, O. Yaremchukand others; - the development of graphic design in the period of early modernism and the role of typography in the formation of artistic styles and trends of that timeare examined in many scholarly inquiries of the following authors: I. Azizian, O. Barkhatova and O. Shkliaruk, O. Boichuk, L. Bhaskaran, O. Vashchuk, M. Herman, V. Danylenko, E. Dempsey, D. Elher, V. Kamenskyi, N. Koveshnykova, Ye. Kovtun, V. Krychevskyi, O. Lavrentiev, K. Lavrentieva and others. The analyzed information sources related to the subject of the thesis showed that the main focus of research in the design of printed products is made on theoretical issues related to the functional, aesthetic and visual and figurative solutions of printed issued in general, while the functional and aesthetic aspects of typography in the design of printed products of the early modernism have not been studied in these accounts. This ensures the topicality of the subject of this thesis. The methodological principles of the study are based on the application of historical and systemic approaches. The second chapter «Stylistic features of the font in the typography of printed publications of the early modernism» considers the terminological issues of typography; the conditions which shaped the visual and figurative language of typography in the design of printed products of the early modernism are defined; the font as a stylistic means of design of printed publications of the specified period is examined. It has been established that typography is a way of storing and delivering information, a means of communication and visualization of the text content in the process of design and makeup of printed issues, and an important component and attribute of a particular artistic style. It has been stated that the early modernism was shaped amidst revolutionary sentiments in the society, social, historical and political crisis, and the downfall of spiritual values that were of great significance for the predecessors. In the course of the analysis of Futurism publications, it has been found that anarchism and rebelliousness of the futuristic movement, denial of cultural traditions, freedomfrom rules and norms were manifested in the choice of font typefaces. The Dada typographic means reflected the principles of this movement - the departure from traditions, the denial of any moral and cultural values, the transition of art beyond the seriousness limits - and were based on a combination of different typefaces from light antiqueto brutal grotesque.The choice of fonts in the printed issues of the «De Stijl» movement was underpinned by a moderateand rational approach and was limited to simple typefaces, devoid of any form nuances: serifs, rounded transitions and combinations. Font solutions of Constructivism were based on drawn and typeset rectangular letters, simplified in form and devoid of contrast of thin and thick strokes, as well as on emphasizing typographic elements: arrows, exclamation marks, bold rulers, and extra-large capital letters. The font characteristics of the Bauhaus school of printing reflected the drive for functionality, simplicity and universalism. Fonts in the design of Art Deco printed issues were distinguished by constructiveness, decorativeness and rationalism. The choice of fonts in the printing issues of the «New Typography» was based on the concept of functional expediency and was limited to the grotesque group as the most universal and readable font category. The third chapter «Features of typography in the design of printed issues of the early modernism» discusses that the visual and figurative language of typography of the early modernism was heterogeneous and consisted of the characteristic features inherent in particular styles and trends of the time (the choice of font, visual and compositional means and principles of makeup). The research revealed some typical features of the typography of printing issues of the early modernism whichcontributed to the visual and figurative text message solution: the principle of geometric compositionarrangement; schematization (simplification) of the image; the principle of asymmetric arrangement of elements of the composition; contrast variation of font size; dominance of grotesques.

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