What does not apply to works of applied graphics. Abstract of applied graphics and its originality. Stages of working on a postcard

Applied call the graphics that we encounter in everyday life. These are posters, advertisements, bright packaging of household items, business cards, greeting cards.

Each holiday is accompanied by traditional wishes for health, happiness, and prosperity. A small part of any holiday is a greeting card with good wishes from our friends, family, and parents.

A greeting card is a small “illustration” of a holiday, its symbolic image. Therefore, the most characteristic symbols for each holiday predominate on the cards: a Christmas tree and Santa Claus for the New Year, Easter and Easter eggs for Easter, flowers for a birthday, etc. A greeting card is usually small in size. Therefore, do not try to depict absolutely everything you want on it. You need to be able to choose from the many possible images the most characteristic of the holiday and those that suit each other.

Greeting Cards

The color scheme is very important for the decorative integrity of the postcard.

Font plays an important role in a postcard. A font composition that is placed haphazardly, without due attention to the writing of letters, will spoil even the best work. There are postcards where, apart from a calligraphically written congratulation, there is nothing else at all, and they, nevertheless, have a very attractive appearance. So, a greeting card should have a few elements (including font), but nothing random. Everything should be harmoniously combined in a balanced composition.

Font composition for a greeting card

Volumetric greeting cards

Greeting card made from cereals

1. What is applied graphics?
2. Where in everyday life do you come across applied graphics?
3. What fonts would you use to design a poster for a school party?

Create a greeting card for the holiday using different techniques: monotype, applique from colored paper, applique from fabric and natural materials (the choice of technique is limitless).

Tools and materials: colored pencils, felt-tip pens, paints.

• the card should be concise;
• the images must symbolize something;
• the card should create a festive mood;
• The card must contain a greeting or a wish in font and content (by the way, a greeting with wishes can be placed on the back of the card).

Components of a three-dimensional greeting card made from cardboard “Clown”

Volumetric cardboard greeting card “Clown”

Stages of working on a postcard

1. In order to create a greeting card, you need, as for any other work, to start by finding a compositional solution - a sketch.
2. Then, guided by your plan, continue to work from the largest elements to the smallest, gradually adding details.
3. At the end of the work, you need to create a font composition. To do this, it is better to first practice drawing calligraphy on a separate sheet of paper. If you are satisfied with the result, try transferring it with a pencil onto the original of your postcard and using a thin brush to repeat the finished font composition.

Stages of working on a postcard

Stages of working on a three-dimensional postcard

1. Draw the outline of a Christmas tree on cardboard.
2. Using small scissors or a craft knife, carefully cut these outlines, leaving paper bridges.
3. Fold the paper so that the tree comes to the fore.
4. Color it green.
5. Color the background any other color, even red.
6. Draw gifts under the tree.
7. Decorate the background depending on your design: snowflakes, garlands, fireworks, etc.

Stages of working on a three-dimensional postcard

Finished work

Engraver Ilya(XVII century). Little information has been preserved about this talented Ukrainian graphic artist. Engraver Ilya was a monk of the Onufrievsky Monastery in Lvov, and in 1636, at the invitation of Metropolitan Peter Mogila, he came to Kyiv. He created his works for the printing house of the Kiev Pechersk Lavra. The master completed cycles of illustrations for the Bible and the Kiev-Pechersk Patericon (a collection of tales about the glorious monks of the Kiev-Pechersk Lavra). Ilya worked in wood engraving technique.

Engraver Ilya. King David. Illustration for the Bible

Bazilevich Anatoly Dmitrievich(1926-2005) - famous Ukrainian graphic artist. Worked in Kharkov and Kyiv. At first Bazilevich wanted to be a painter, but then he became interested in graphics and became a wonderful book illustrator. The artist’s bright, expressive, humorous drawings are made in ink and watercolor. His most famous illustrations were created for the novels “The Adventures of the Good Soldier Schweik” by J. Hasek and “Pan Khalyavsky” by G. Kvitka-Osnovyanenko, and the burlesque poem “Aeneid” by I. Kotlyarevsky. Bazilevich also willingly and brilliantly illustrated Ukrainian folk tales.

A. Bazilevich. Illustration for the fairy tale "Tsar Plaksy and Loskoton V. Simonenko"

Repin Ilya Efimovich(1844-1930) - Russian artist. He was born in the Kharkov region and received his first painting skills from local icon painters - artists who created icons. Studied at the St. Petersburg Academy of Arts. Member of the Association of Traveling Art Exhibitions. Repin’s most famous works: “Barge Haulers on the Volga”, “Cossacks Write a Letter to the Turkish Sultan”, “Religious Procession in the Kursk Province”, “They Didn’t Expect”, “Ivan the Terrible and His Son Ivan”. Repin is an excellent portrait painter (“Protodeacon”, “Portrait of L.N. Tolstoy”, “Portrait of M.P. Mussorgsky”, etc.).

I. Repin. Peasant's head

Giotto di Bondone(1266 or 1267-1337) - an outstanding Italian artist. His main work is the frescoes in the Cappella del Arena in Padua. The artist depicts the life story of the Virgin Mary and Christ. It boldly conveys volume and space. His characters are filled with real feelings - simple, but very strong. Giotto solves the problem of conveying the eternal struggle between good and evil not with the help of symbols, as was the case in medieval art, but using the example of the lives of real people. Giotto is also the author of the frescoes in the Peruzzi and Bardi chapels of the Florentine church of Santa Croce.

Giotto di Bondone. Madonna on the throne

Applied graphics bring an artistic element into a person's everyday life. Its tools and methods are used in the development of corporate identity, logos, the creation of emblems, brand marks, advertising design, decorative design of printed materials, etc.

Currently, many organizations are striving to develop their own corporate style, that is, to find a unified solution for artistic and graphic elements related to their activities. Corporate identity is a system for identifying an institution or enterprise; it must embody the essence of the organization’s activities. The carrier of the corporate identity can be all types of printed materials and advertising. Its development represents the most difficult task in graphic design.

Graphic standards that can express corporate style include brand names, or, as they are often called, logos. A brand name is a designation placed on a document, advertisement, product or its packaging, which allows one to identify a particular organization, enterprise, or company at a glance. Often a brand name becomes an indispensable attribute of all business documentation. Sometimes it itself can perform an advertising function, replacing lengthy information messages.

These symbols, understandable to all viewers, are imperceptibly built into the structure of the sign. The use of modern decorative techniques and the integration of this logo into the world graphic tradition creates, when getting acquainted with the company’s advertising and business materials, a feeling of dynamism, new approaches to doing business, which was initially “one of the tasks when developing the corporate style of this organization.

A brand logo is perhaps one of the most complex objects in graphic design.

According to the shape of the image they distinguish verbal (logograms), figurative And combined signs (Fig. 2.4).

A logogram is a word, letter, number, several words, letters, numbers, or a combination of them (Fig. 2.4a). Verbal marks are very visual, due to which they play a significant role in the development of a corporate identity, and the fact that when registering logograms, not only the font solution of the inscription, but also the word itself is protected, further contributes to their spread. So, for example, at the dawn of the market economy, almost all logos of LLC, AOZT, IChP and other cooperatives were either abbreviations consisting of the last name, first name and patronymic of their owners, or mysterious oriental words for the Russian language or words drawn from ancient history, sometimes even written with errors - 8ШШ&, АИа, etc. Many companies at that time acquired word marks that were not pleasing to the eye with their shape. Such logos would benefit greatly if their text had a distinctly individual character and seemed to “grow” into the graphic form, forming a single whole with it. An invaluable quality of such decorative logograms would be a special deliberately careless “handicraft”, bearing the imprint of not only the personality of their owner, but also testifying to the skill of the designer. This feature is especially pronounced in comparison with those logograms that use the impersonal form of a standard typographic font.

A figurative sign is one that is a drawing, ornament or other graphic solution that is not accompanied by text (Fig. 2.46c). They have been used since ancient times and in some cases turn out to be more expressive than text. Fine signs create a unique and long-remembered image of the organization, which can forever be “imprinted” in the consumer’s mind.

However, the arsenal of simple geometric shapes used as figurative logos is not endless. Therefore, today combined signs (Fig. 2.4d), which represent various combinations of visual and verbal elements, have become widespread. An example of such a mark was the “Quality Mark” of the former Soviet Union. For many decades this simple mark has successfully demonstrated the quality of the products to which it was awarded. Now the time and the products themselves have changed, but the need to highlight the best domestic products from the general mass remains. At the turn of the millennium, a worthy replacement for the previous pentahedron appeared in Russia - “Quality Mark XXI century." It is a circle, inside of which there is a crosshair of three Roman numerals X, symbolizing the third millennium, as well as the emblem of the State Standard.

Rice. 2.4 Types of brand marks (a - verbal; b, c - figurative; d - combined):

a) project of a logo for the SINTEL agency (IMA-Design studio);

c) sign of the Center for Environmental Policy of Russia (Surik-Design studio);

d) logo of the customs terminal (IMA-Design studio)

The sign has four degrees - Bronze, Silver, Gold, Platinum. Only those products that undergo strict selection and authoritative examination at the All-Russian Exhibition Center in Moscow receive it.

We can say that today a peculiar stereotype of placing text in combined brand marks has already developed. For example, text is often placed below a graphic element and is like a signature that attracts attention only after familiarization with the image. Often text is placed to the side of the image. Of these options, the second one is now more popular, emphatically asymmetrical, more contrasting and dynamic. However, there are alternative solutions: symmetrical placement of text on top or bottom of the graphic element, or around it in a circle. The latter method looks very balanced, most often it is used in logos of conferences and events, the names of which are long enough that the text can be rolled into a ring. In addition, the abbreviated name of the event and the date of its holding are often placed in the center of the emblems.

Logos must meet certain artistic requirements. The shape of the sign must emphasize its content and main idea, as well as suppress unwanted associations. In this regard, let us cite the humorous and somewhat sad memories of designer Yu. Gordon about those times when the question of whether to approve the logo or not was decided by the artistic council consisting of the director, party organizer and other similar “specialists”: “Specialists (I’m talking about ours, locals) looked at the sign mainly for ideological purity (i.e., so as not to miss the swastika or the Star of David), and also strictly identified the presence of unwanted body parts (signs

in the form of the letter B - do not offer).” The logo must be harmonious, compact, recognizable, original, expressive, have integrity of form and, moreover, easily fit into any document.

Countless logos are characterized by an abstract form, which is a kind of tribute to the fashion of the late 20th century.

The artistic and expressive form of a sign presupposes a complete relationship between content and artistic embodiment. An important condition for its creation is the artistry of the composition. The composition of a brand name must take into account the specific conditions of its use, since it is applied to a variety of media: documentation, advertising, containers, packaging, souvenirs, etc.

In Fig. Figure 2.5 shows a scattering of brand names, illustrating the inexhaustible imagination of their authors.

Bookplates were created by such famous Russian graphic masters as V. A. Favorsky, A. I. Kravchenko, N. N. Kupreyanov, N. I. Piskarev and others. Bookplates by artists E. N. Golyakhovsky, N. I. Kalita are widely known , G. A. Kravtsova, N. I. Lapshina, V. I. Frolov, E. Okas, P. Upitas and other graphic artists. Traditionally, bookplates were created in various graphic techniques: woodcut, linocut, lithography, etching, etc., however, recently bookplates created using computers have appeared, which allow one to simulate the artistic effects of various graphic techniques and, in addition, put them in the hands of a graphic designer new means of expression.

The best examples of bookplates, created by design masters using computer technology, are considered real works of graphic art in terms of artistic performance.

In Fig. Figure 2.6 shows bookplates created using the woodcut technique by the famous engraving master A.I. Kalashnikov.

Rice. 2.6 Bookplates of A. I. Kalashnikov

Germany is considered the birthplace of the bookplate, where it arose almost immediately after the invention of printing. The first bookplates were heraldic in nature, but sometimes they included portraits of library owners, Images landscapes, houses, castles, monasteries, various emblems, etc. It is generally accepted that in Russia he appeared at Peter I, however, on some In the handwritten books of the library of the Solovetsky Monastery, hand-drawn bookplates dating back to the end of the 15th century were discovered.

Today, the role of the bookplate is expanding, and its representational role is increasing. So-called universal bookplates, suitable for decorating a book, letter, envelope, personal folder, etc.

Monogram(Fig. 2.7) represents the initial letters of the owner’s name and surname, calligraphically executed and woven in the form of a monogram. In general, a monogram is a symbol replacing a signature in the form of an ornamental composition, a decorative image of a flower, animal, bird, etc.

Rice. 2.7 Monograms

Monograms, as a graphic standard, can be included as a component in signs, logos, bookplates, design of personal notebooks, diaries and must fit harmoniously into them.

In the practice of graphic design, much attention is paid to the development of logos.

Emblem- a conditional explanation of an abstract concept using a graphic image that has international or at least national recognition. An emblem is a kind of drawn idea, expressed through the image of an object or figure, in which its conventional, traditional meaning is encrypted. Often the emblem is considered as a type of allegory. In a narrow sense, this is a symbol equipped with a short motto and more detailed text, which often serves as a frame.

According to the design of the emblem there are stamp, reproducing the coat of arms of the owner; monogram, representing his ornately designed initials; plot, which are images of landscapes, architectural or other motifs, symbolically telling about the tastes, passions and profession of their owners. Traditionally, artistic emblems were engraved on copper, wood or linoleum, less often they were made using zincography or lithography. Recently, original layouts of emblems began to be made using computer technology.

In Fig. Figure 2.8 shows an example of a story emblem that was a symbol of the 1998 World Youth Games. It is characterized by an abstract and allegorical image of young athletes, painted in the Olympic colors of five continents - Europe, Asia, Africa, America and Australia. Emblem accompanied by text that reveals the content of the symbol, indicates the location of the event and its date.

Some idea of ​​the history of Russian emblems is given in Fig. 2.9. It shows the emblems of Russian amateur motorist societies. By 1917, there were almost two dozen automobile clubs in Russia, and each of them had its own emblem.

Recently, due to the increased interest in heraldry, designers have to deal with the development of coats of arms. A coat of arms is an emblematic image that serves as a symbol of tribal, social, family-related, administrative-territorial or corporate continuity. The coat of arms is a set of graphic elements that make up a symbolic image and are arranged in a certain order, which is determined by the traditional system of heraldic rules.

The main element of the coat of arms is the image of a shield. Symbols, emblems and figures are applied to this image, designed to characterize the coat of arms in one way or another. All types of shields are based on simple geometric shapes: triangle, square, circle, ellipse, rhombus. The coats of arms use images of Varangian, early and late Gothic, Spanish, French, Italian, Eastern and German shields, the shape of which differs significantly from each other.

Rice. 2.9 Emblems of Russian automobile clubs

The composition of the coat of arms largely depends on the location of the coat of arms, both on the field of the shield itself and outside it. Armorial figures are divided into heraldic, which have a geometric shape, and non-heraldic, which are images of various objects and creatures. In addition, images of a helmet, crown, crest and allegorical figures supporting a shield are often placed on the field of the coat of arms. A motto is usually placed under the image of the shield. Heraldry distinguishes between clan (mainly noble families), land (coats of arms of cities, regions and other territories that are part of the state), corporate (which are a symbol of medieval guilds) and state coats of arms.

In Fig. Figure 2.10 shows a selection of coats of arms of some Russian cities and towns. They reflect an attempt to continuously develop the traditions of Russian heraldic symbolism, in which settlements with rich historical traditions were awarded coats of arms.

Rice. 2.10 Coats of arms of Russian cities and towns

Today, domestic heraldry is experiencing its heyday. The authors of new coats of arms strive to adhere to the classical rules for choosing symbols, colors, arrangement of figures, etc. For example in Fig. Figure 2.11 shows the newly created coat of arms of the Moscow Dorogomilovo district.

Rice. 2.11 Coat of arms of the Moscow district Dorogomilovo

The composition of this coat of arms is an image of a shield cut in two, the left half of which is golden with three diamond (black) bands, and the right half is scarlet (red). The golden field symbolizes strength, loyalty, wealth, and the diamond baldrics are reminiscent of wisdom, the memory of the people and are associated with an outpost, a milepost, and a sentry box. The red color indicates that here, at the Moscow outpost, battles with the enemy took place many times, and testifies to the courage of its defenders. On the right half of the shield there are two guns, folded into an oblique cross with the bayonets upward. Above them is a shako with a silver plume.

1

Social and ecological processes occurring in the Altai Territory are becoming increasingly important in the regionalization of education. The aggravation of the relationship between man and the environment is due not only to the negative consequences of man-made and natural factors; the issue of revising consumer attitudes towards nature is becoming increasingly relevant for society. The basis of the relationship between man and nature should be harmony. Therefore, it is important to form knowledge in the field of environmental protection and the fundamentals of rational environmental management in people's minds. Geographic local history plays an important role in the educational process in this regard. Applied graphics, in particular drawing, is the most accessible and easiest way to obtain reliable information about the state of the human environment. Through drawing, you can visually reproduce many properties of nature, which is necessary for the preservation and development of health, physical strength, mental capabilities and human performance.

Altai region

relationship between man and nature

geographical local history

applied graphics

educational process

1. Cheremisin A.A., Vazhov S.V., Fefelova A.Yu., Vazhov V.M. Lakes Kolyvanskoye, Manzherokskoye and Aya: recreation and environmental problems // Modern problems of science and education. – 2017. – No. 2; URL: https://science-education.ru/ru/article/view?id=26293 (access date: 05/05/2017).

2. Shemanaev V.A. Preparing a future geography teacher for the implementation of the local history approach in school geographical education: Abstract... diss. Ph.D. ped. Sci. – Nizhny Novgorod, 2004. – 19 p.

3. Masters of art about art. – M., 1996. – T. 2. – P. 197.

4. Vazhova E.V. Landscape in genre works of the Altai folk artist G.F. Borunova // Modern problems of science and education. – 2009. – No. 3. – P. 134–137.

5. Dirin D.A. Landscape and aesthetic resources of mountain areas: assessment, rational use and protection (on the example of the Ust-Koksinsky district of the Altai Republic). – Barnaul: Publishing house “Azbuka”, 2005. – 260 p.

6. Vazhova E.V. Genre motifs in landscape painting by V.P. Chukueva // World of science, culture, education. – 2009. – No. 7. – P. 75–76.

7. Rusanov G.G., Vazhov S.V., Bakhtin R.F. Kolyvan Lake: origin, geomorphology, ecology: monograph. – Biysk, 2016. – 168 p.

8. Baklanova S.L. Drawing in teaching geography // Advances in modern science. – 2014. – No. 9. – P. 162.

9. Baklanova S.L. The role of pedagogical drawing in enhancing the cognitive activity of schoolchildren // Psychodidactics of higher and secondary education: materials of the V All-Russian scientific-practical. conf. – Barnaul: BSPU, 2004. – pp. 155–157.

10. Rusanov G.G., Vazhov S.V. Unsolved problems of lakes Manzherokskoe and Aya: monograph. Biysk, 2017. – 168 p.

Social, economic and environmental processes characteristic of the Altai Territory are becoming increasingly important in the regionalization of education. It provides for the historical and geographical aspects of the transformation of society, the national and cultural traditions of the peoples inhabiting Altai, the unique nature of the region and its changes in connection with the significant expansion of the tourism sector, etc. The aggravation of the relationship between human economic activity and the environment is due not only to the negative consequences of man-made and natural factors, the transformation of consumer environmental management based on the harmony of relationships between the resource user and the natural environment is becoming increasingly relevant for society. The Constitution of the Russian Federation and other legislative acts guarantee the citizens of the country the rights to an environment favorable to health, in addition, the person himself must understand his role in protecting nature.

The most important condition for sustainable human existence is knowledge of the patterns of functioning of all components of nature and careful use of resources. Therefore, from an early age it is necessary for the population to develop knowledge of the basics of rational environmental management. Geographic local history plays an important role in this.

Purpose of the study

Due to the deepening anthropogenic load, as well as natural anomalies, the growing importance of the environmental approach in the school educational process, focus on the student’s personality, his consciousness in the real socio-cultural space make new demands on the training of the future geography teacher. A special role in the educational environment of the university educational process is played by the local history approach, the basis of which is geographical specificity, imaginative thinking, and the life experience of students. Improving geographical education provides the future teacher with involvement in the history, culture, geography of his native land, instills in him the need to carry out specific practical work, and expands his active citizenship position. In this regard, the purpose of the research was to study the significance of applied graphics in geographical local history and to justify the need to find ways to improve the educational process.

Materials and research methods

In the process of carrying out the work, system-structural, geographical, statistical methods were used, as well as some of the author’s developments obtained as a result of field and experimental research.

Research results and discussion

Applied graphics, in particular, drawing, is a fairly accessible and easily implementable method of obtaining multifaceted information about a specific state of nature, habitat and human activity. Drawing underlies many types of knowledge for students; drawing makes the acquired knowledge more compact, rich and durable. Drawing is an important means of illustrating the surrounding reality. With its help, you can show real phenomena and processes occurring in nature and society, reproduce in color from life on paper the regional features of natural and man-made landscapes, satisfy the student’s need for artistic knowledge of the world around him, etc.

In addition to the drawing, the poster, in the form of a large-format image of the nature-transforming activities of society, expands the information about nature perceived by a person by including text accompaniment and pursues educational purposes, in addition to informational, etc.

Currently, in cities and large rural settlements, there is a predominance of the evolutionary form of a poster - a banner, mainly serving the function of advertising, however, in rare cases there are banners calling for caring for the current generation of people through the preservation of their health and natural resources. Increasingly, such banners are located along highways near cities on both sides of the road.

Currently, the sphere of recreation and tourism is intensively developing in Altai, since the natural beauty of the region is unique and is an important motive that attracts recreationists, tourists and travelers. This gives the Altai nature, which is still only partially subject to urbanization, not only aesthetic, but also real socio-economic indicators.

The attractiveness and uniqueness of natural and other landscapes of Altai plays a significant role in people’s lives and implies the development of a creative and active life position. In the region, many unique picturesque corners of nature are recognized as national treasures and are protected, and especially important objects of the Altai Republic are included in the UNESCO World Natural Heritage List.

A feature of the study of geographical disciplines is the formation of spatial images, therefore, when studying geography, it is important to use visual teaching aids. Since many students love to draw, drawing is one of the recognized methodological techniques for teaching geography. Drawing in the lesson is used when it is necessary to show geographical phenomena in dynamics, when there is no visual aid, or when a visual aid is available, but it is required to supplement it or detail it with a specific image on paper.

According to their purpose, drawings in the study of geography can be both explanatory, illustrative, and control. In this case, drawing as creativity has didactic advantages over demonstrating a finished image, such as a slide or a painting. The student makes the drawing independently and in the process of drawing has the opportunity to identify from some of the features of the object the most necessary, essential, characteristic of his area where he lives. It is advisable to use a sketch, a schematic drawing using contour lines, strokes, light spots. The value of a drawing when demonstrated by a teacher on the board is that it is created in stages and at the same time recorded by students in a workbook.

Geographical drawings can be perspective, made based on the results of research activities and without reflecting the perspective. Statement of factual data or formulation of hypotheses in geography involves the use of a large amount of cartographic material, including those made by a teacher or student. The most popular cartographic work of an applied nature is a map; it does not contain strict design requirements and allows for a creative approach to implementation. The freedom of choice for students to graphically display geographical objects and phenomena is often demonstrated when carrying out pilot projects, primarily within the framework of geographical local history.

In lessons, when students draw, a logical sequence of thinking, imagination, and observation skills develop, interest in the material being studied increases, and students’ cognitive activity is activated. They develop skills of environmentally literate behavior and an emotional and value-based attitude towards nature.

In our opinion, due attention is not always paid to applied graphics that would call for the protection of nature. City streets are filled with advertising products that have clouded the public's attention. People think that the main thing in their lives is achievements in the world of science, technology and fashion, but they often forget about the living nature that ensures their existence on the planet. A modern city dweller constantly sees advertisements of new products, services, etc. on the streets, but he does not often see an image of the living, breathing energy of life and nature.

The caricature in the drawing can most clearly, in a grotesque form, express environmental problems and the disproportion of human demands on nature. For some reason, very little attention is paid to caricature these days. But in Soviet times it was she who widely reflected the interests of society and helped solve many problems. Newspapers and magazines with cartoon drawings were the most read, therefore, the caricature attracted attention and was in demand. The educational and educational value of caricature is that it is easy to understand, it clearly conveys and ridicules the vices of society. Caricature helps open people's eyes to themselves.

Perhaps, if the media now paid enough attention to the cartoon, it would help society see its shortcomings and think about whether people are doing the right thing by drawing on limited supplies of irreplaceable natural resources, consumeristly, without any care, treating nature. When a person takes something from nature without giving it anything in return, the centuries-old natural balance is disrupted, which cannot be ignored. Its violation leads to environmental, social and many other problems in society. Nature is a fragile and living organism, the source of life; while taking care of us, nature requires attention to itself.

The existing worldview in traditional environmental management in Altai does not allow changing the current stereotype of thinking. Reliable facts of environmental problems in the natural environment make it difficult to understand the essence of modern environmental problems. The economic interests of natural resource users today are higher than environmental ones, which has no prospects for harmonizing relations between man and nature. Applied graphics in geographical local history play an important role in the training and education of students through the visual perception of information as an objective characterization of the multifaceted connections between man and nature. In our opinion, applied graphics can visually reproduce many, primarily the landscape and aesthetic properties of nature, which is necessary for education, cultural education, preservation and development of health, physical strength, mental capabilities and human performance. Visual reproduction of the results of human interaction with the natural environment will help turn society’s gaze to the true values ​​of life.

The data presented in the article were obtained during the implementation of the research topic: “Implementation of the local history approach in geographical education through research activities,” state registration number No. AAAA-A17-117011000005-0.

Bibliographic link

Vazhova E.V., Cheremisin A.A., Vazhov V.M. APPLIED GRAPHICS AS A MEANS OF STUDYING REGIONAL STUDIES // International Journal of Applied and Fundamental Research. – 2017. – No. 6-2. – pp. 278-280;
URL: https://applied-research.ru/ru/article/view?id=11668 (access date: 07/14/2019). We bring to your attention magazines published by the publishing house "Academy of Natural Sciences"

In the article “Engraving” we examined the main types of graphic techniques that, as a rule, serve to create works of unique easel graphics. And yet, most often, an artist working in the field of applied graphics creates his works in the form of drawings, which are then reproduced in books, magazines, posters, packaging, etc. in printing houses using special devices and machines.

The work of the artist in the book is of particular importance. The basis of book art is illustration. The illustrator becomes, as it were, a co-author of the book, interpreting the literary work, expanding and supplementing the text with visual images, helping readers understand the thoughts of the author, and more deeply feel the era and the material (objective) world accompanying the literary story. Illustrations in books for children are especially important. After all, it is with a book that a child’s acquaintance with art and the objective world begins, since an image is much easier to perceive and assimilate than a fleeting, quickly occurring phenomenon.

It is impossible to imagine a modern technical, scientific, art book or photo album without illustrations. These are diagrams, drawings, and especially photographs (both color and black and white). The rapid development of photographic technology led to the creation of new types of books, where photography firmly took a leading place as an illustrative material and became an equal field of book graphics.

Naturally, the graphic artist takes part in the book not only as an illustrator. He also creates the ornamental font design of the binding, title page and all other elements of the book’s decoration.

But illustrations and book design, although they are the basis of book art, cannot exist on their own, without text, which is conveyed by the letters of a certain design - by font. The font is the very intermediary between the author and the reader, thanks to which the ideas, thoughts of the author, and all the information contained in a book, magazine, newspaper reach us. Thus, type is a large and very important area of ​​graphic art. The convenience and ease of reading, and therefore the perception of the text, depend on the design of each individual letter that makes up a word, line, page, its beauty, clarity, and constructive accuracy. That is why the greatest artists of the past and present (Leonardo da Vinci, A. Dürer and many others) paid so much attention to the development of font designs.

Of course, the font does not belong only to books or other printed materials. It is also on the poster; without it, a poster, advertisement, or sign is not possible. Each area of ​​application of a font places its own special requirements on it, which the artist must take into account in his work on it.

Applied graphics include graphic works designed for practical use in everyday life. The task of applied graphics includes the artistic design of everyday objects. Sometimes this type of graphics is called small-form graphics, artistic production graphics, or (not entirely accurately) industrial graphics. Almost all forms of applied graphics are designed for printing and are closely related to text. The works of applied graphics are so numerous that it is difficult to compile even a simple list of them.

The artistic design of packaging and the creation of labels for various products occupy a prominent place. This includes labels for perfumes, wines and drinks, the design of boxes for confectionery, tobacco and cigarettes, for shoes and hats, the creation of wrappers for sweets, envelopes for gramophone records and much more. The essential requirements for this type of applied graphics are simplicity and elegance, compliance of the decoration with the shape of the packaging and the purpose of the goods, and the use of modern materials. Not least important are the simplicity and low cost of production. From the artistic design of goods it is necessary to resolutely banish the absurd pomp inherited from the past, abundant gilding, and the use of color photographs and pictures instead of a simple and noble graphic image.

A separate group of applied graphics consists of the design of various prospectuses, theater and concert programs, invitation cards, addresses, certificates of honor, booklets for tourists, restaurant menus, etc. It is necessary that these common everyday things be designed beautifully, modernly, and the appearance they were appropriate for their intended purpose, so that all design elements were in harmony with the text. It is necessary to avoid in every possible way old-fashioned techniques of embossing and gilding, tasteless monograms, vignettes and flourishes. The design of greeting and anniversary artistic cards, envelopes, forms, telegrams, etc. must meet the same requirements.

The art of a postage stamp, due to its special role, variety of subjects, principles of compositional and decorative solutions, is rightly called a microposter. The art of labeling for matches is similar in nature. One can only regret that the very beautiful engraved stamp is almost disappearing and that many photomontage stamps appear, stamps - reduced easel works that have nothing in common with the art of graphics.

A very unique genre of applied graphics, which has a long history and traditions, is the art of the book sign. A book sign is a small-sized graphic work printed in the form of a label. The book sign is glued to the inside of the book's binding and indicates which library belongs to and who owns the book. A book sign is often printed from the author's printing plate and fits perfectly with the appearance of the book. The design on the book sign reflects the profession, inclinations and tastes of the owner of the book or indicates the character and direction of the library. These traits are expressed in the form of a symbol or allegory. The book sign contains the inscription “Ex libris” (translated from Latin - “from books”), the surname or initials of the owner and sometimes short aphoristic sayings. In our country, where collecting libraries has become a widespread phenomenon, the book mark, as an art of high culture, should become widespread. Examples of creating a book sign for collective and public libraries are already known. Remarkably beautiful book signs are created by artists of Soviet Estonia - H. Mugasto, A. Laigo, O. Kangilaski, G. Reindorf, E. Lepp, P. Luchtein. The modern progressive American artist R. Kent created many excellent book signs (ill. 26).

26.R. Kent. Book sign

Graphic artists also work on the creation of factory, publishing and trade marks, emblems of various societies and organizations, and create originals of banknotes, bonds, lottery tickets and other government documents. This is not a complete list of works of applied graphics.

Soviet graphics developed, confirming the advanced, progressive ideas of the Communist Party, matured and strengthened in the fight against trends in art that were alien to us. At all stages of the history of our Motherland, Soviet graphic artists actively and passionately participated and are participating in the life of the country with their creativity, devoting their strength and talent to the great goals of the victory of communism.

Of course, no descriptions of works of fine art can convey what the works themselves will tell an inquisitive viewer. The artist speaks to the people primarily in the language of his art, and everything that he wanted and could say, we will find in his works. Our essay pursues only the task of giving the viewer the most general information, orienting him on a fascinating journey into the art of graphics.