Academic literature on the topic 'Artistic and image thinking of a designer'
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Journal articles on the topic "Artistic and image thinking of a designer"
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Pedenko, Elena Ivanovna. "THE IMPORTANCE OF ARTISTIC THINKING FOR A WEB DESIGNER." Deutsche internationale Zeitschrift für zeitgenössische Wissenschaft 103 (May 9, 2025): 41–43. https://doi.org/10.5281/zenodo.15371128.
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Web design, as a field that requires a combination of technical skills and creativity, is becoming increasingly important in today's digital world. The article discusses the importance of artistic thinking for a web designer, emphasizing its leading role in creating effective and attractive user interfaces. Artistic thinking includes the ability to creatively solve problems, use visual elements to convey information, and create an emotional response in users. The article emphasizes that the need of a person (potential user) for artistic expressiveness and harmony should not remain in the background. It is emphasized that the integration of artistic thinking into the web design process not only improves the quality of the final product, but also contributes to the creation of more intuitive and memorable user experiences.
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Bozhko, Tetiana, and Yaroslav Hordiichuk. "Factors of Imaginative Thinking Formation of a Graphic Designer." Bulletin of KNUKiM. Series in Arts, no. 40 (June 5, 2019): 167–76. https://doi.org/10.31866/2410-1176.40.2019.172699.
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The purpose of the study is to identify a set of factors forming the imaginative thinking of a designer, necessary for generating a significant number of project proposals and argumentation of different options for the implementation of design objects; to find out the mechanisms of selection and application of images and symbols implemented in projects. Research methods. For an in – depth study of the factors forming the imaginative thinking of a designer the methods of analysis and synthesis, comparison and abstraction were applied, which made it possible to distinguish the essential components of all influence factors and identify the specific features of their interaction. Scientific novelty. The research for the first time established an objective and coherent picture of the conditions and requirements for the design activities of graphic design specialists, understanding the specifics of creating images in the designer’s minds in accordance with existing factors and found the presence of a synergistic effect of the interaction of various factors that affect the effectiveness and productivity of the designer’s work. Conclusions. Formation and development of artistic and imaginative thinking of designers is one of the most important tasks of a higher professional school, for the solution of which it is necessary to develop new pedagogical technologies, based on the most significant achievements of the complex of sciences: pedagogy, psychology, philosophy, modern information, printing and packaging technologies. For the effective formation, development of artistic and figurative thinking of a designer it is necessary to use the structural and integrated approach and ensure the integrated impact of all factors found in the study.
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Purik, E. E., M. L. Akhmadullin, M. G. Shakirova, and V. R. Shakirov. "THE METHODS OF DEVELOPING COMPOSITIONAL THINKING OF DESIGN STUDENTS." Bulletin USPTU Science education economy Series economy 4, no. 42 (2022): 168–78. http://dx.doi.org/10.17122/2541-8904-2022-4-42-168-178.
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The article deals the problems of professional artistic training of design students in the process of teaching composition. The composition studies the laws of the creation of an artistic form and the means of artistic expression, organization of image perception. Compositional activity has an artistic and plastic character; it relies on the use of the language of art and consists in creating a new, holistic, original artistic image. The authors identify compositional thinking as one of the most important professional qualities of an artist and designer and reveal the methodology of its formation among students. The process of teaching composition – creating a painting, drawing, sculpture or design object – cannot be built as a simple linear process of learning image methods, compositional rules and techniques. The author's methodology is based on the method of problem tasks, which involves the formulation of an educational and creative task, the creation of a problem situation; comprehension, acceptance and resolution of the problem, during which students master generalized methods of artistic and creative activity. At the same time, the creative process is considered as a series of successive stages associated with the work of productive or creative imagination, and requiring the provision of visual or other information in the process of work. The article presents the results of the ascertaining and formative stages of experimental work on the development of compositional thinking of art students in the process of mastering expressive means, such as line, spot, texture, color, as well as compositional techniques and rules (static, dynamics, dominant, rhythm, etc.). The authors have developed a series of creative exercises, described the methodology of their implementation and the criteria are proposed to determine the level of development of students' compositional thinking based on the evaluation of their creative works.
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Shpetnyі, Oleksandr. "Strategy for the formation of artistic and project competence in the practice of designer training." Bulletin of Luhansk Taras Shevchenko National University, no. 5 (364) (2024): 15–21. https://doi.org/10.12958/2227-2844-2024-5(364)-15-21.
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The article defines the relevance of the formation of artistic and project competence in higher educational institutions of design, which is due to a number of factors, namely: changes in modern society, the development of technologies, market requirements and the need to train specialists capable of creative thinking and practical application of their knowledge. It is noted that for the formation of artistic and project competence, design thinking is extremely important, which is focused on meeting the needs of users of design products. It is proved that the method of formation of artistic and project competence includes theoretical and practical components (theoretical concepts, professional disciplines and tools for practical work), focused on achieving a high level of skill in artistic and project activity. It is emphasized that artistic and project activity in the context of educational activity is a process that combines creative thinking and practical application of knowledge to create artistic or design projects. This type of activity is an important aspect of education, especially in designoriented universities, and is focused on developing the skills of planning, creative problem solving, analysis and presentation of their own ideas with education applicants. A number of abilities have been identified that testify to the formation of the artistic and project competence of the future design specialist. The strategy of formation of artistic and project competence is revealed, which contains the main elements, including: educational preparation, development of creative and critical thinking, reflection, ability to work in a team, etc. It is noted that in general, this competence is realized through creativity, the ability to analyze and interpret artistic images, understanding of aesthetic principles, as well as practical skills in the implementation of artistic ideas through various means, such as painting, graphics, design, multimedia and other forms of artistic activity. Aspects of the implementation of the strategic plan of the project and its presentation are characterized. A number of methods used in the practical activities of the teacher remain key to form artistic and project competence: project method, problem learning; master classes and workshops, etc.
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Xu, Yi-yan, and Jia-hao Ou. "The Research and Analysis of the Application of Artistic Design Thinking in Design." Scientific and Social Research 6, no. 9 (2024): 266–70. http://dx.doi.org/10.26689/ssr.v6i9.8268.
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The purpose is to study the application thinking of art design, with the unified expansion of conscious initiative as the core. Start with the essence and connotation of artistic design thinking. This paper discusses the nature, function, and application of artistic design thinking and the value of design. First of all, this paper analyzes “art design thinking”, which is divided into objective content and subjective mind fusion. It is a thinking mode applicable to the field of art, with a certain content of artistic thought and a consistent way of thinking, and emphasizes the principle of people-oriented, focusing on emotional experience and unique aesthetics. The paper explains that the characteristics of art design thinking are to understand things, to change things, and to associate things, and emphasizes that design should return to things eventually. Art design thinking is analyzed from the nature, function, and application of design thinking. Practical value, innovative value. In the design, the effective use of the thinking of art design can optimize the design. Then, it analyzes the original function and play of artistic design thinking in design. This involves the cognition, understanding, and comprehensive thinking of the original thing to combine image and rational thinking to extend and optimize creative ideas. Imagination and artistic thinking are transformed into new practical creativity, and art design thinking is used to optimize the design, so that the design has practical aesthetic value, to meet the needs of consumers. In terms of application analysis, it emphasizes the integration of cultural elements into artistic design thinking. This integration reflects that the designer and the spirit of creation cannot be separated, and the spirit of creation is fully reflected.
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Zhen, Dai. "THEORETICAL ANALYSIS OF THE ESSENCE OF PROFESSIONAL TRAINING OF FUTURE SPECIALISTS IN ANIMATION DESIGN." Bulletin of Alfred Nobel University Series "Pedagogy and Psychology" 2, no. 20 (2020): 294–301. https://doi.org/10.32342/2522-4115-2020-2-20-34.
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Understanding animation design as a new type of design and artistic activity poses new challenges for teachers of educational institutions and encourages them to find more effective ways of training. Today, China’s educational arts processes are aimed at updating and modernizing the teaching of design by combining innovative technologies from other countries that meet modern international requirements for professional training with national educational traditions and are regulated by a number of regulatory documents. Therefore, the problem of training future animation design specialists in accordance with the requirements of the European educational space is relevant today. It will optimize the training of future professionals at a high level, who will be able to perform creative activities in an intercultural professional environment. The art of animation borders on imagination, creativity, it is impossible to create any design work without these creative components. Authentic animation style is formed in the creative process, when the designer goes beyond the ordinary and limited social stereotypes. This style, in fact, is a professional abili- This style, in fact, is a professional abili- ty that contains unique psychological characteristics of the individual, meets the requirements of this pro- fession and is a condition for its successful implementation. It is proved that the professional abilities of an animation designer are formed on the basis of general abilities based on special, creative ones. The more complex the professional activity is, the more important it is to develop special professional skills, which consist of three important components: skills in modern IT technologies (knowledge of special computer programs), skills in project culture (ability to design, to perceive the spatial relationship of objects, drawing skills), skills in fine arts (drawing, painting, composition, art history, color perception, etc.). It should be noted that it is important to have their own developed artistic abilities for the animation designer, which are manifested in the form of established features of professional skill. These are first of all: creative imagination, sense of color, proportional unity, artistic and figurative thinking that generates brightness of images, emotional attitude to the visual phenomenon, ability to see the core of objects, sense of harmony, ability to concretize and generalize artistic image, create original compositions. etc. The essence of professional training in animation design for a future animation design specialist in- cludes the creative component of artistic activity, the ability to be creative in synthesis with other compo- nents (creative, humanistic, culturological, sociological-communicative, prognostic). Professional training of the future animation designer can be represented in the model, the core of which is the formation of the content of professional education, which reflects the specifics of master- ing the basics of animation, its artistic components. The aim of training future specialists in animation de- sign is to form students’ polyartistic and multicultural perception of images of the world; their readiness and ability to carry out artistic and creative activities with the inclusion of figurative thinking. The listed above ensures the effective formation of the animated thinking of the future designer; comprehensive mastering of special educational and professional knowledge, taking into account the psychological basis of perception and presentation of information; application of innovative technologies and integration techniques in animation design.
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Пархоменко, Наталья, та Константин Пархоменко. "Метод стилизации как способ формирования визуальной грамотности и образного мышления у художника, дизайнера". Univers Pedagogic, № 3(75) (жовтень 2022): 22–27. http://dx.doi.org/10.52387/1811-5470.2022.3.10.
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The article describes the method of artistic stylization. The issue of stylization as one of the methods of organizing an artistic image is considered. The essence of the styling method is defined. The importance and substantiation of the role of artistic stylization in the system of art education is revealed. The positive aspects of the stylization method are revealed. It is proved that the basis for the formation of the professional qualities of an artist, designer is drawing. Academic drawing is the main tool in solving creative problems. The relationship between drawing from nature and stylization is analyzed. The definitions of “Style” and “Stylization” are given. The necessity of searching for and introducing new, effective methods, techniques and techniques into the system of art education is described. The importance of systematic analyzing activity in the performance of tasks is revealed. The problem is considered and the importance of the development of figurative thinking among artists and designers is substantiated. Scientific works on style and style formation, methods and techniques of stylization, development of artistic and figurative thinking are analyzed. The essence of style was formulated by E. Gombrich. G. Wölfflin characterizes the style. The value of the integrity of the stylized composition is revealed by V. Shestakov. A statement about the essence of art by A. Bogomazov is presented. The concept of pictorial representation as a process of rethinking N. Kosenko is disclosed. E. Ignatiev reveals the essence of the usual “vision” and the artistic “vision” of an object. The stylization of G. Logvinenko is characterized. It is proved that stylization can be created on the basis of previously seen and stored information about the surrounding reality. It is described what is necessary to develop a decorative vision. The conclusion is made about the importance of the stylization method in the learning process and for the development of the professional qualities of an artist, designer.
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Ran, Yihan. "GAN and art: Facilitation of artistic production and expression based on artificial intelligence." Applied and Computational Engineering 16, no. 1 (2023): 185–90. http://dx.doi.org/10.54254/2755-2721/16/20230887.
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The advancement of Artificial Intelligence has resulted in the investigation of its applications in a variety of sectors. The creation and depiction of artistic images as a tool for demonstrating human creativity and intellect has been a significant focus of Artificial Intelligence (AI) content generation. This study discusses picture generation approaches and highlights image creation principles as well as numerous varieties of Generative Adversarial Network (GAN). GAN models for image creation can inspire designers and artists, generate images that assist people grasp historical elements by imitating old artistic styles and cultural forms, and generate images of humans. GAN models for image generation can help designers and artists inspire their creativity, produce images that help people understand historical features by mimicking classic artistic styles and cultural forms, and produce images of people that provide intuitive access to information for communication and learning purposes. The application of GAN models in the field of art production is becoming increasingly sophisticated, and many novel applications are yet to be described and popularised. The article summarises the applications of artworks generated by GAN models, for one it can be applied as a thinking aid in art design and the creation of stylised artworks, while GAN-generated images can also help people GAN-generated images can also help people understand history, culture and other related knowledge, making profound art forms more common and popular. The article also analyses the potential hazards of GAN model-generated art images that are related to the passion and creative rights of the creators.
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Shabalina, N. "KASLI ART CASTINGS IN THE IMAGE OF ENVIRONMENTAL ARCHITECTURAL OBJECT." Bulletin of South Ural State University series "Construction Engineering and Architecture" 16, no. 3 (2016): 12–17. http://dx.doi.org/10.14529/build160302.
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In the XX century architectural and artistic traditions casting continued to evolve and be enriched with new developments designs and models. The experience of the monumental decorative art in the urban environment fruitful and worthy of study and creative thinking. The author refers to the experience of architectural and construction activity in Chelyabinsk 70-80-ies of XX century – the objects of public civil buildings in which decorative components were important compositional and figurative meaning. Combinations of the various modules of artistic casting allowed designers to create images of the original decorative compositions architectural and environmental objects, as their distinctive markers.
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Johansson, Michael. "Conversation China." International Journal of Art, Culture and Design Technologies 4, no. 2 (2014): 17–31. http://dx.doi.org/10.4018/ijacdt.2014070102.
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This article will present and discuss the design thinking, methods, processes and some examples of work that demonstrates how, together with different co-creators, one sets up a work practice using digital 3d objects and images. That in different ways and formats helps us to explore how a database, a set of rules can be used in a dialogue with artistic work practice and how such a process can be used to create images and animation in a variety of design and art projects. The main example is a project called Conversation China that still is in its making, here one works with rather complex processes, involving several digital analogue techniques as the basis for creating the images for a 150 pieces porcelain dinner set. The author's interest in this work is how the intention of the artist or designer is transferred and later embedded in the procedural or algorithmic process and how this intent is organized and set up to secure an desired outcome, mixing the possibilities of the digital media object with manual editing and artistic craftsmanship. What this article tries to put forward is how we designed and set up environments for working with non linear and procedural media, their different expressions and forms by using explorable prototypes and design thinking?
Dissertations / Theses on the topic "Artistic and image thinking of a designer"
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Morris, Paul. "Establishing design thinking : accident, program frameworks and personal practices." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61051/1/Paul_Morris_Thesis.pdf.
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Distribution through electronic media provides an avenue for promotion, recognition and an outlet of display for graphic designers. The emergence of available media technologies have enabled graphic designers to extend these boundaries of their practice. In this context the designer is constantly striving for aesthetic success and is strongly influenced by the fashion and trends of contemporary design work. The designer is always in a state of inquiry, finding pathways of discovery that lead to innovation and originality that are highly valued criteria for self-evaluation. This research is based on an analysis of the designer perspective and the processes used within an active graphic design practice specializing entirely within a digital collage domain. Contemporary design methodologies were critically examined, compared and refined to reflect the self-practice of the researcher. The refined methodology may assist designers in maintaining systematic work practices, as well as promote the importance of exploration and experimentation processes. Research findings indicate some differences in the identified methodologies and the design practice of the researcher in the sense that many contemporary designers are not confined to a client-base but are self-generating design images influenced by contemporary practitioners. As well as confirming some aspects of more conventional design processes, the researcher found that accidental discoveries and the designer’s interaction with technology plays a significant part in the design process.
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Pan, Yee Lin. "The development of creative thinking in adolescents in Hong Kong : a sociocultural interpretation /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19508.pdf.
Full textBooks on the topic "Artistic and image thinking of a designer"
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Dieleman, Cock, Ricarda Franzen, Veronika Zangl, and Henk Danner. Dramaturgy. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724968.
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The image of the dramaturg resembling a stuffy librarian, as opposed to the largely intuitive process of theatre making, belongs to the past. Contemporary theatre performances not only tell a story, but constantly reflect on the world in which that story takes place and is shown. As a result, dramaturgy has become part of the artistic process. Thus everybody involved in a theatre production is concerned with dramaturgical thinking, i.e. how to relate to material, process, audience and society. The dramaturg crosses borders between theory and practice, between theatre makers, performance and audience. Dramaturgy. An Introduction provides a broad overview of the concept of dramaturgy and the profession of the dramaturg. It is intended for students and teachers of theatre and performance studies, but also for directors, scenographers, actors and for all lovers of theatre.
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Terranova, Charissa N. Organic Modernism. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350227569.
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When artists, scientists, and designers unite they create new ways of thinking and alternative paths to problem solving. The first book to trace the story of British "organic modernism", this ground-breaking open access study tells the story of a collective culture of artists, scientists, and designers in 20th century united by a holistic understanding of the organic world and devoted to collaboration, cooperation, and cross-pollination of the arts and biological sciences. Tracing how artists, scientists, and designers cooperated in various capacities from the Great Depression to postwar cybernetics, this book follows the evolution of philosophical organicism from the British Bauhaus, modern architecture, and surrealism; through to post-war socialism, the welfare state, epigenetics, biology-based art exhibitions; robotic art and design, cybernetics and ecology in art. Reacting against blunt reductionism, organic modernists implemented organicist and emergentist philosophies in scientific labs, design studios, and art ateliers, embracing complexity to solve problems in various scales and arenas, from cells to socialism. Their actions offer a template for finding meaningful agency and problem solving in today's world fraught by global climate disaster, ever-expanding economic inequalities, and backsliding democracy A sequel to Terranova'sArt as Organism: Biology and the Evolution of the Digital Image(2016),Organic Modernismreveals the biological roots of cybernetics in the British context. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by theEdith O'Donnell Institute of Art History.
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Aspelund, Karl. The Design Process. 4th ed. Bloomsbury Publishing Inc, 2022. http://dx.doi.org/10.5040/9781501355981.
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In The Design Process, Fourth Edition author Karl Aspelund takes readers on a guided tour through the seven stages of design: from the initial Inspiration to Identification, Conceptualization, Exploration/Refinement, Definition/Modeling, Communication, and all the way through Production. This book focuses on developing a solid foundation in design critical thinking, no matter the discipline. The author highlights the all important factors of sustainability, teamwork, and how to best communicate with client or manufacturer. Each chapter is followed by an exercise that allows you to work on one full cross-disciplinary project continuously from brainstorm to a physical product. The appendices provide key references to further readings, artist profiles, design elements and principles, trend analysis, and history of modern design (from the 1800s through to the 21st century). This is the perfect book to make your design dreams into design reality. New to This Edition: -Updated examples, exercises, bibliography, and timelines -Revised coverage of sustainability reflects the newest findings in the field -New and revised Perspectives offer real life examples from artists and designers across fashion, interior design, public arts projects, and industrial and consumer products Instructor Resources -Instructor's Guide provides suggestions for planning the course and using the text in the classroom, supplemental assignments, and lecture notes -Test Bank includes sample test questions for each chapter -PowerPoint® presentations include images from the book and provide a framework for lecture and discussion STUDIO Includes: -Study smarter with self-quizzes featuring scored results and personalized study tips -Review concepts with flashcards of essential vocabulary
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Bal, Mieke. Thinking in Film. Bloomsbury Publishing Plc, 2013. http://dx.doi.org/10.5040/9781350335080.
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What is a moving image, and how does it move us? In Thinking In Film, celebrated theorist Mieke Bal engages in an exploration - part dialogue, part voyage - with the video installations of Finnish artist Eija-Liisa Ahtila to understand movement as artistic practice and as affect. Through fifteen years of Ahtila's practice, including such seminal works as The Annunciation, Where Is Where? and The House, Bal searches for the places where theoretical and artistic practices intersect, to create radical spaces in which genuinely democratic acts are performed. Bringing together different understandings of 'figure' from form to character, Bal examines the syntax of the exhibition and its ability to bring together installations, the work itself, the physical and ontological thresholds of the installation space and the use of narrative and genre. The double meaning of 'movement', in Bal's unique thought, catalyses anunderstanding of video installation work as inherently plural, heterogenous and possessed of revolutionary political potential. The video image as an art form illuminates the question of what an image is, and the installation binds viewers to their own interactions with the space. In this context Bal argues that the intersection between movement and space creates an openness to difference and doubt. By 'thinking in' art, we find ideas not illustrated by but actualized in artworks. Bal practices this theory in action to demonstrate how the video installation can move us to think beyond ordinary boundaries and venture into new spaces. There is no act more radical than figuring a vision of the 'other' as film allows artto do. Thinking In Film is Mieke Bal ather incisive, innovative best as she opens up the miraculous political potential of the condensed art of the moving image.
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Kumao, Heidi. Heidi Kumao: Real and Imagined. Maize Books, 2022. http://dx.doi.org/10.3998/mpub.12465060.
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Heidi Kumao: Real and Imagined documents and contextualizes narrative fabric works and animations from Kumao’s 2020 solo exhibition at the University of Michigan’s Stamps Gallery. Using fabric cutouts and stitching of everyday objects, Kumao invents a tactile visual vocabulary that distills unspoken aspects of ordinary exchanges into accessible narrative images. Weaving in her experiences as an Asian American woman, artist, and educator, Kumao creates poetic and playful open-ended visual haikus, generating a range of associations to current events, gender roles, and institutional power structures. Captured midstream, interactions from intimate relationships, medical procedures, the workplace, and the political sphere are suspended in time within felt film stills. Real and Imagined presents the reader with an opportunity to experience this remarkable oeuvre of over thirty fabric works and video animations. For over thirty years, Kumao has developed an expanded art practice that includes animations, video installations, photographs, machine art, and fabric works that give physical form to the intangible parts of our lives: our emotions, psychological states, memories, thinking patterns. Her hybrid artworks have included electromechanical girl’s legs that “misbehave,” video installations about surviving confinement, surreal, experimental stop motion puppet animations, performative staged photographs, and hand crafted cinema machines. She has exhibited her award-winning artwork in solo and group exhibitions nationally and internationally including the Art Science Museum Singapore, Centre de Cultura Contemporània de Barcelona, the Museum of Image and Sound (São Paulo) and the Museum of Modern Art in Buenos Aires. Her work is in permanent and private collections including the Houston Museum of Fine Arts, Arizona State University Art Museum, the Philadelphia Museum of Art and the Exploratorium in San Francisco. She has received fellowships and grants from the Guggenheim Foundation, the Creative Capital Foundation, and the National Endowment for the Arts. She is a professor at the Stamps School of Art & Design at the University of Michigan, Ann Arbor. This exhibition catalogue marks the first significant publication on Kumao’s work and includes a selection of works from across her career. It includes written contributions by: Srimoyee Mitra, curator and Director of the Stamps Gallery and NYC-based art critic; Wendy Vogel; an interview between the artist and writer Lynn Love; and poems by the Ruth Lilly Poetry Prize Award winner Marilyn Chin.
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LoBrutto, Vincent. Ridley Scott. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.001.0001.
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This, the first biography of film director Ridley Scott, investigates the life and moving-image work of a major cinema artist. Ridley Scott is a supreme visualist who applies artistry to telling motion picture narratives. The influence of his early work in commercials, television projects, short films, and music videos is explored. The arc of his life experience is examined to provide a total picture of the man, with emphasis on the look and content of his films. Each Ridley Scott film is presented from a series of views: conception, production, postproduction, critical and social reactions, box office results, and impact on his long and continuing career. Scott’s ability to make and release feature films on a regular timetable and run a multifaceted production company at the same time reveals his stamina and work ethic. Thematic patterns in Ridley Scott’s filmography give further insight into his artistic personality; he repeatedly examines subjects such as war, the nature of the male of the species, and the strength of women. Scott deals with these themes through hands-on collaboration with screenwriters and film craft artists such as the director of photography, production designer, and editor. The book embraces the concept that Ridley Scott is a complex artist driven to apply his art in a constant flow of projects. This biography will fill in many gaps of the life and films of this British-born director, who is known and respected by audiences, film critics, and scholars all over the globe.
Book chapters on the topic "Artistic and image thinking of a designer"
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Johansson, Michael. "Serendipity on a Plate." In Digital Multimedia. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3822-6.ch023.
Full textAbstract:
This article will present and discuss the design thinking, methods, processes and some examples of work that demonstrates how, together with different co-creators, one sets up a work practice using digital 3d objects and images. That in different ways and formats helps us to explore how a database, a set of rules can be used in a dialogue with artistic work practice and how such a process can be used to create images and animation in a variety of design and art projects. The main example is a project called Conversation China that still is in its making, here one works with rather complex processes, involving several digital analogue techniques as the basis for creating the images for a 150 pieces porcelain dinner set. The author's interest in this work is how the intention of the artist or designer is transferred and later embedded in the procedural or algorithmic process and how this intent is organized and set up to secure an desired outcome, mixing the possibilities of the digital media object with manual editing and artistic craftsmanship. What this article tries to put forward is how we designed and set up environments for working with non linear and procedural media, their different expressions and forms by using explorable prototypes and design thinking?
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Lasc, Anca I. "Private home, artistic stage: the circulation and display of interior dreamscapes." In Interior decorating in nineteenth-century France. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526113382.003.0004.
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Pierre-Luc Cicéri, chief decorator at the Paris Opéra, also established a career as interior decorator and educator of students that treated interior spaces as three-dimensional images and artworks in their own right. Cicéri’s followers helped push the art of fantasy architecture to a new level, creating a new form of art and popular entertainment around the “ideal home.” Exhibited at the Salon and at a variety of universal and decorative arts exhibitions as well as published in expensive, luxury folios and reprinted in cheaper, popular editions, the “interior dreamscapes” by Cicéri’s followers disseminated the interior for interior’s sake. The domestic interior could be admired, collected, hidden inside cabinets, or reappropriated as an object of contemplation for private walls. The same images functioned as two-dimensional blueprints for the construction of three-dimensional settings and as advertising schemes for the artists that produced and popularized them, furthering interest in and creating a common language about the appearance of the modern, private home. The chapter ultimately argues that wishful thinking and vicarious identification with the - often missing - owners of the model interiors made available through these means and furtively perused in private homes helped create a professional niche that would soon be occupied by the interior designer.
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Bal, Mieke, and W. J. T. Mitchell. "Affect As An Artistic-Political Strategy." In Image-Thinking. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474494229.003.0009.
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Another special issue that gains relevance when we are confronted with cinematic image-thinking, is affect. The “affective turn”, as academic fashion-speak would call it, is one of the tendencies that come and go as being “in” or “hot” for a while. But this one is not so easily dismissed once we immerse ourselves in what we study. The case of the Flaubert-based project Madame B offers the opportunity to reconsider both the fashionable use and the facile dismissal of “affect” as an important tool for political thinking in cultural criticism. The concept of affect is examined in its conceptual meaning, but also in the way it helps or hinders detailed analysis of cultural texts. The affective charge will be especially explored in how the videos present the most political, as well as “pre-posterous” (anachronistic) bond between Flaubert's time and ours: “emotional capitalism” (a concept so named by Eva Illouz). Madame B foregrounds affect in its aesthetic. The role of “beauty” – in landscapes as well as figures – is made prominent in the cinematography, in order to raise the question of the affective charge of the combination with sadness, frustration, and despair.
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"9. Affect as an Artistic-Political Strategy." In Image-Thinking. Edinburgh University Press, 2021. http://dx.doi.org/10.1515/9781474494243-014.
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Bal, Mieke, and W. J. T. Mitchell. "Introduction: Making As Thinking, And VICE VERSA." In Image-Thinking. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474494229.003.0001.
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A discussion of Material Image-Thinking, through a theatricality-based instance, brings up the need to find a term more appropriate and less hierarchical than the now-usual “artistic research”. The intertwinement of image-thinking and its resulting thought-images facilitates the build-up of a threshold where thinking, imagining, and “imaging” can merge. The chapters ends on an overview of the remaining chapters of the book, which includes brief presentations of the case studies.
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Beinart, William, and Lotte Hughes. "Empire and the Visual Representation of Nature." In Environment and Empire. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199260317.003.0018.
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Science and technology helped to shape resource frontiers in the Empire and conquer environments. They also framed new understandings of environmental change and conservationist policies. In a different way, visual representations conjured the Empire for British people and permeated their view of it. They were an inescapable element in the imagining of imperial nature. The growing range of images, we will argue, similarly had potential for encouraging possession, exploitation, and conservation of natural resources. In 1926, an Empire Marketing Board was established in Britain to promote the consumption of food and products from the colonies and dominions. In its short life till 1933, it produced some of the most striking pictorial representations of empire in the shape of over 700 posters. These were carefully commissioned with explicit instructions to some of the leading designers and poster artists in the country. Many captured the central themes that we have tried to illustrate: they depicted commodities, such as South African fruit, Australian wool, Ghanaian cocoa, or Malaysian pineapples, against a background of vivid landscapes, and sometimes the people who worked to turn nature into commodities. They promoted a positive image of an interdependent empire, in which exotic and beautiful environments, partly tamed, gave forth their riches for the British consumer. In this chapter, we try to describe some of the images transmitted about the landscape and environment of empire, especially in the century from about 1850.While our major focus is on British-based representations, some reference is made to artistic work elsewhere that fed into the imperial visual store. Visual material such as Marketing Board posters familiarized British audiences with far-flung conquered zones, and naturalized their exploitation. However, these images were only one style of representation; there were many others and it is important to capture some of the complexity and variety of visual imaginations, developed in many different media. Images could transcend their intended purpose, and, as in the case of approaches to nature itself, there were conflicting and contending voices. Jostling alongside images that celebrated exploitation were others that championed nature or portrayed it sympathetically. Because of the power of visual media, it is arguable that these had a particular influence on environmental thinking.
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Appia, Adolphe. "Organic Unity (1921)." In Modern Theories of Drama. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0020.
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Abstract The life’s work of the Swiss stage designer and theorist Adolphe Appia (1862-1928) paralleled that of the other great theatrical innovator, Gordon Craig. Both Appia and Craig undermined the supremacy of the scenic theatre which had dominated Euro-pean staging methods since the Renaissance; their new thinking inevitably questioned conventional notions of drama as well. Like Craig, whom he knew but with whom he never collaborated, Appia called for the unifying artistic control of a director-designer. Like him, he felt that the illusionistic theatre-no matter whether romantic or naturalistic-had arrived at an artistic dead end. Like Craig, Appia sketched out a revolutionary approach to production but he, too-whether by reason of personality or unfavourable external circumstances-rarely had a chance to put his ideas into practice.
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Belova, Irina Leonidovna, and Ekaterina Nikolaevna Guriancheva. "Organizatsiia master-klassov po dizainu kak osnova proforientatsii shkol'nikov." In Modern Challenges of Education and Psychology of Personality Formation. Publishing house Sreda, 2023. http://dx.doi.org/10.31483/r-105799.
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The chapter highlights issues related to the justification of the need for professional orientation of schoolchildren, their first acquaintance with the profession of «designer» within the walls of the university, types of design as a creative design and artistic activity; methodological recommendations are given on the organization and conduct of master classes on the career guidance course «PRO-design», contributing to the disclosure of the creative potential of the individual, development aesthetic taste, visual and imaginative thinking, artistic and project culture of schoolchildren and applicants.
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"Thinking with Pictures." In Advances in Multimedia and Interactive Technologies. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4627-8.ch002.
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Projects described in this chapter are aimed at enhancing our thinking with pictures. “Thinking with Pictures” encourages the reader to use visual thinking as an instrument of acquiring knowledge, and introduces two projects aimed at developing visual literacy and applying various ways of visual expression. “Collage” introduces collage technique as a tool for visual communication. Two projects provided in this chapter are aimed at enhancing visual literacy and skills. “Sketching a shoe” is intended to amplify one’s confidence about one’s ability to depict things, and build a feeling of being prepared to make quick drawings on a board or on iPad. This project will encourage the reader to make sketches that strengthen one’s own argumentation, show what one wants to be seen, and help to convey one’s own solution in a visual way. “Creating a Composition with a Crowd” encourages the reader to draw a group of people and apply visual reasoning by showing background scenery that has an explanatory power. The next part of the chapter tells about collage because one may say without exaggeration that in the digital times most artists apply the form of a collage in their work. The Internet is flooded with ready images, clipart, art, and design samples, intriguing specimens. More importantly, ideas are not copyrighted. Before the advent of computers many artists applied techniques of cutting and pasting readymade material, thus making collages (two dimensional) and assemblages (three dimensional) of different forms.
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Kulichikhina, Marina A. "Images of Doll / Puppet / Android in Contemporary Fashion: Historic, Cultural and Literary Roots." In Artificial Body in the World Intellectual and Artistic Culture. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0719-9-532-556.
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The academic interest to fashion has grown during last twenty years that can be explained by the increased presence of fashion in cultural and social context due to booming of Internet mass-media. This article studies historical, cultural, and literary sources of body image of fashion model as a doll, its controversy and ways of playing with, interpreting and overcoming this image in fashion industry and in the art of fashion from 1998 till 2020. For analysis I choose the editorial photoshoot of Paralympic athlete, actress and model Aimee Mullins for Dazed & Confused, editorial photoshoot of Natalia Vodianova with the most influential designers at the turn of 20th–21st century as characters from “Alice in Wonderland”, fashion shows “Barbie” and “Paper Dolls” by Moschino, fashion shows “Cyborg” and “Commedia del arte” Gucci, and also iconic image of designer Karl Lagerfeld and collectible Barbie doll in his image. The research shows that literary motifs, especially those from Romanticism, make an important inspiration source for fashion; the images of doll / marionette / automaton / android is interpreted in different ways, ranging from child’s game till Hoffmann’s and Freudian uncanniness, while fashion is gaining not only its commercial, but also its cultural value, approaching and influencing important social problems such as inclusivity, body image and perception of beauty
Conference papers on the topic "Artistic and image thinking of a designer"
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Rocaciuc, Victoria. "Book graphics in the creation of the fine artist Stefan Sadovnikov." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.10.
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Since the 1980s, visual artist Stefan Sadovnikov has been involved in book graphics. In this field, the artist managed to approach various genres of literature: poetry, prose, scientific literature, etc. According to the illustrated topics, the graphic techniques approached by the graphic designer are: pencil, pen, gouache, including computer techniques. The strong part of his illustrations consists in appealing by the artist to the plastic principles related to the sign and symbol. Analyzing the book illustrations signed by the fine artist Stefan Sadovnikov, we notice a wide range of allegorical symbols and metaphors created by the artist based on various principles of agglutination, interference of shapes and plastic lines, specific especially to the thinking of sculpture artists. By plastically combining the human figure with the object, the artist personifies the ideas of home, city, music, poetry and love. The artistic image appears as a quintessence of the human character’s relations with the object. Thus, in several illustrations created by the fine artist Stefan Sadovnikov, inanimate objects came to life and features identical to human character and spirit.
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Zhang, Jinmeng, Rui Xu, and Ziqiong Yang. "Research and application of public welfare poster design under the background of perceptual design and digitalization." In 9th International Conference on Kansei Engineering and Emotion Research (KEER2022). Kansei Engineering and Emotion Research (KEER), 2022. http://dx.doi.org/10.5821/conference-9788419184849.61.
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Graphic language has become the information age of today's layout design concept and consciousness. The integration of design and digitization constructs the cultural ecological environment of diversified design, which makes the thinking, concept and aesthetic style of design permeate with unique cultural value. Based on the perceptual image elements under visual innovation and the communication effect of modern public welfare posters, combined with the update of media and the application and iteration of digital technology, emotional graphic elements are equipped in the design of public welfare posters. In this study, we investigated the relationship between new media literacy as an intermediary variable and the interest and confusion of aesthetic model, and the aesthetic experience of people participating in digital media art. The purpose of this study is to achieve the following research purposes: what kind of feeling can be brought about by the artistic creation of artificial intelligence, analyze whether the feeling is significantly different from that of human artists. And from the needs of the audience groups, we try to explore new ideas and design patterns of public service posters, try to break through the two-dimensional visual formal graphics, and accelerate the transformation and upgrading of traditional public welfare posters. The results show that it is particularly important to study the audience's psychological on the feeling and visual experience in the public service posters. At the same time, we should fully consider the perceptual elements, visual experience, and technological media.
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Ying, Liu, and Liyuan Bao. "Exploring the Cultivation of Artistic Archaeology Talents in the Context of "New Liberal Arts" in China: A Case Study of "3D Image Design" Course." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003434.
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The concept of "New Liberal Arts" encourages universities to promote interdisciplinary integration teaching and enhance the breadth and depth of application of professional course contents, so as to promote the application relationship between disciplines and cultivate application composite talents. At present, there is a growing demand for popularisation of science knowledge, and online museums, short science videos and other forms of virtual visualisation of science have been recognised by the market, so talents in this field need to be trained by universities to replenish the market. However, with the development of the times, limited by the speed of renewal of the art archaeology ontology - archaeological resources, how to maintain the rigour and innovation of art archaeology talents to progress together is a current issue that needs to be addressed. The aim of this study is to focus on the cultivation of innovative art archaeological talents, and to explore the teaching of the course "3D Image Design" from the perspective of interdisciplinary, comprehensive literacy, dialectical thinking training, and the social significance of the course, starting from the curriculum of digital media art. The course proposes a "3D creation-based art and archaeology learning method" and an "integrated software application model" that can optimize the traditional teaching methods of art and archaeology courses and cultivate complex talents with a sense of integration of art and science.
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Stoica, Ștefana-Roxana. "VISUAL COMMUNICATION TECHNIQUES IN THE AMBIENTAL DESIGN PROCESS STAGES." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.30.
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Knowledge about the design thinking process definition and visual communication techniques is a must have for any designer who is truly dedicated to developing and delivering designs that satisfy the needs and requirements of the clients. Basically, a design process consists of the following standard stages: identification, documentation, definition of the design options, selection of the best-fit option, and design implementation. Given the many different ways in which a design concept and a design solution can be developed, starting a new design project will always be a real challenge for any designer. Conditionality and freedom of choice are the two conflicting constraints that are inherent to any design project implementation, whose common denominator is the need for innovation and evolution.
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Mandea, Maria. "ONLINE EDUCATIONAL MODULES, A DO-IT-YOURSELF APPROACH BY DESIGN THINKING." In eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-055.
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Starting from the assumption that design thinking is a crucial meta-competency for an individual in today's (and tomorrow's) society, this paper aims to explore how it can be developed in non-design professionals and form an inclusive design practice through the pedagogy of craft-based design. Craft based design is an essential part of professional design practice and a growing activity among amateurs and art enthusiasts. As opposed to industrial design, in this type of design, the designer or the planner is also the maker. It is iterative in the sense that it is a repetitive practise that evolves with every new iteration, every new product. The paper follows the experience of creating an online course in toy design and discusses how this process can develop design-related skills in the participants. The case study is an e-learning solution through video content distributed online. It is addressed to teachers looking to assimilate practical, creative skills for their educational process and beginners in design looking to try out a new skill. The paper expands this experience to include the recent development in online courses in art and do-it-yourself areas by following the expansion of this type of art teaching through dedicated websites and platforms. It argues that these online creativity courses can be considered a new form of popular art schools that teach not only the precise topic they are created for but also a way of thinking characteristic to design. Artistic learning for non-professionals is developing meta-competencies that they can apply in other fields. Although guided through online classes, the students gain skills through an autonomous artistic practice. They assimilate concrete skills through a do-it-yourself education, this being the main focus of the present research.
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YANG, QIN. "AN EMPIRICAL STUDY ON THE USE OF FOUR IMAGERY THINKING ACTIVITIES IN NOVEL TRANSLATION." In 2021 INTERNATIONAL CONFERENCE ON ADVANCED EDUCATION AND INFORMATION MANAGEMENT (AEIM 2021). Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/aeim2021/35963.
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Abstract. Both literary translation and creation use language to shape artistic images, and artistic images are the crystallization of artistic thinking. Translation is not only cross-lingual transfer, but also conversion of thought. In novel translation, the translator's image thinking plays a vital role because of the characteristics of literary works. By the translation of Charles Frazier’s novel Nightwoods as an example, this paper illustrates how to make full use of four activities of imagery thinking (perception, association and imagination, emotion and harmony) during the translation process. By using of imagery thinking, the translation shows the charm and beauty of original works, and achieves images reproduction of novel character.
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Olexiuk, Oliga. "Metaphorization of the communicative process in the content of higher art education." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.07.
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The modern postnonclassical stage of scientific cognition development necessitates a new view of the educational and upbringing potential of art. The study of the transdisciplinarity phenomenon in the Western European and domestic scientific discourse shows the emergence of a new strategy for solving real practical problems, which correlates with the principles, styles of thinking, value of postnon-classical science. The research methodology is complex and is based on inter- and transdisciplinary approaches using theoretical and empirical methods. The metaphorization of the educational process is directly related to the mechanism of thinking: it is an integral part of it. Metaphor is seen as part of the cognitive processes, which provides the path from the artistic image perception to the concept formation. It is emphasized that the metaphor allows us to appreciate positively the organization of the educational process. Metaphorical thinking is seen as thinking based on moving from specific objects to understanding value ideas and their associative connections. In order to study in practice how to solve this problem, the storytelling “We both grieved with one grief and rejoiced with one happiness” based on the life and work of Borys Grinchenko is presented and analyzed. Pedagogical observations have shown that the form of storytelling created an open atmosphere for transdisciplinary transfer of pedagogical skills, which combined the intellectual and creative potential of the teachers and students of the Institute of Arts of the Borys Grinchenko Kyiv University and proved the expediency of reorientation.
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Hess Norris, Debra. "All you need is love." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.3.13.
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Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk world-wide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to speci c climates, geographies, needs and outcomes. paper highlights three forward-thinking e orts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries. Préservation du Patrimoine Photographique Africain (3PA) has connected and empowered talented African archivists, artists and collections care professionals. Training efforts by APOYO have sought to build a regional network to preserve collections in Latin America. By using problem-based learning, advocacy and community engagement, these programmes offer new paths for collaboration in an effort to protect a critical piece of our world heritage.
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Arruda, Amilton, Celso Hartkopf, and Rodrigo Balestra. "City branding: strategic planning and communication image in the management of contemporary cities." In Systems & Design: Beyond Processes and Thinking. Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3288.
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Over the past decade, one can observe a steady growth in the use of terms such as Place Branding, Nation Branding, Destination Branding and City Branding. Both in academic research and in the practical applications in large cities management and urban spaces, this new paradigm takes shape and, along with it, the need for definitions and concepts, methods and methodologies and the establishment of technical and theoretical standards. This approach was born in the Marketing field, specifically in what was called Place Marketing. In this context the Branding stood out as a development tool solutions to the need for differentiation, generation of solid images and the establishment of symbols and identity signs, in order to leverage economic benefits for countries, cities and regions. In a way, fulfilling, in the first instance, a similar role to the branding of products and services. But it was specifically in Branding corporations that were found the biggest matches to adapt this knowledge to management positions. Ashworth & Kavaratzis (2010) highlight the fact that both present multidisciplinary roots, a multiple number of strategic actors (stakeholders), high degree of intangibility and complexity of social responsibility, the multiplicity of identities and the long-term development needs are strong examples their similarities. The development and management of corporate identities, here expanded to the Branding corporations, it is a prolific field of Design. It great names of the area said their careers and built great legacy. The time of greater proficiency in the area were the 50s and 60s, dominated by modernist thought, and, coincidentally or not, exactly the time that focused efforts to assert the identity of the designer as a professional (STOLARSKI, 2006) . Nationally stand out names like Alexandre Wollner, Ruben Martins, the duo Carlos Cauduro and Ludovico Martino and Aloisio Magalhaes. In contrast, in the literature produced in the marketing field, often the role of design in this context is reduced to merely promotional measures, such as creating logos or advertising campaigns. In other words, defined as a work of low complexity and low social prägnanz. This approach comes at odds with contemporary theories of design, such as MetaDesign, Design Thinking and Design Collaborative, in which are presented motodológicos models of high relevance for the identification, analysis and solution of complex problems involving multiple elements and agents. The proposed article aims to survey the state of the art City Branding / Place Branding focused on publications produced in the disciplinary field of design. The literature review will grant that, before the above presented context, is analyzed as designers and researchers design face the contributions that the field can offer to the practice and theory of Branding places. Finally, Article yearns assess whether the pre-established hypothesis that there are possible and fruitful connections between contemporary theories of design and the City Branding, is being addressed in articles and publications area.DOI: http://dx.doi.org/10.4995/IFDP.2016.3288
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Stojković Minić, Miloš, Bogdan Knežević, Ljubica Arsić, et al. "The Artifice of Water – Art project H3O2 Vol. 3 – Aquatectorium: Habitats of The Future." In On Architecture — Shaping the City through Architecture. STRAND, 2024. https://doi.org/10.60152/6cgmugy6.
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The intention of The Art project H3O2 Vol. 3 is to conclude a three-year annual tradition of exhibiting artworks which are created in the process of post-production inspired by students′ works and projects created at The University of Belgrade – Faculty of Architecture, which were explored through the processes of artistic experimental practice that interprets the structure and elusive form of water. The research focuses on the dimensions and principles of water application in the process of structuralization of the (open) spaces and spatial installations. The very important part of that process was artistic (independent) thinking constructed on spatial structures and rules by which the emanation of architectural, philosophical and artistic concepts can exist today in the space. We rethink the spaces of the galleries, but at the same time the space of Augmented and Virtual reality (AR & VR) in art and architecture. In the final exhibition of this three-year project we one more time intertwine, expand and explore architectural, but also wider scientific disciplines of critical-artistic operationalization in space, from the perspective of researchers and practitioners in the field of art and architecture refreshed by new ideas of students and special guests at the final exhibition. The resulting works demonstrate how the role of water can be understood and incorporated into contemporary design. Just as water transcends borders, the element of water bridges the divide between art and architecture, emphasizing the necessity of multidisciplinary approaches. This paper discusses the results achieved during the three-year art project and its accompanying workshops, focusing on the structuralization of space (architecture and art) through water and exploring trends that contribute to new aesthetics and functionalities: globalization, innovative design approaches, material applications and advanced technologies essential for creating works of art and spatial installations envisioning Aquatectorium and Habitats of The Future. Special attention in this year's conference paper is given to an overview and description of the creative process behind the most successful works from the final exhibition, held at The Silosi (the re-creative cultural center on the Danube River) in Belgrade, in September 2023. The Silo No. 3 served as a space where water found its expression through spatial installations, acting as a testing ground for presented concepts of Aquatectorium and envisioning future habitats by young authors. New spatial images of water, new dimensions of Aquate-tecture, new ambiences of Aquatectorium, prototypes, more precise models, sculptures and structures of water have been developed through the culmination of this architecturally artistic project.
Reports on the topic "Artistic and image thinking of a designer"
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Nezhyva, Liudmyla L., Svitlana P. Palamar, and Oksana S. Lytvyn. Perspectives on the use of augmented reality within the linguistic and literary field of primary education. [б. в.], 2020. http://dx.doi.org/10.31812/123456789/4415.
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The article analyzes the scientific sources on the problem of augmented reality in the educational field. There is a fragmentary rationale for new technology in primary school, to a greater extent the experience of scientists and practitioners relate to the integrated course “I am exploring the world”. The peculiarities of Ukrainian and foreign writers’ works with AR applications, which are appropriate to use during the classes of literary reading, are analyzed. The authors substantiated the prospect of augmented reality technology for mastering the artistic image of the world of literary work, the relevance of use of AR to modern educational challenges, and also demonstrated the possibility of immersion into the space of artistic creation and activation of students’ imagination with the help of AR applications. The article demonstrates the possibilities of use AR-technology for the development of emotional intelligence and creative thinking, solving educational tasks by setting up an active dialogue with literary heroes. The basic stages of the application of AR technologies in the literary reading lessons in accordance with the opportunities of the electronic resource are described: involvement; interaction; listening, reading and audition; research; creative work; evaluation. It is confirmed that in the process of using augmented reality technology during the reading lessons, the qualitative changes in the process of formation of the reader’s culture of the students of experimental classes appears, as well as the increase of motivation, development of emotional intelligence and creative thinking.