The article analyzes visual and graphic, constructive and structural features of the redesign of the brands, countries and cities of the world in the period from 2006 to 2016 years. On the basis of changes in the territorial brand identification describes the main approaches of representation of the territory by means of visual identity, as well as trends in graphic design as a global language of contemporary visual communication.
This article deals with the emergence of idea of ghaţa in architecture of chaytyagriha in Karli, in the context of the early cave architecture of India. It serves as a part of the support structure, fully imitating the shape of the village ceramic pot. In addition, attention is paid to the semantic content of the element - the semantics of form and its value, as well as evolution. Ap- pearing in the early Buddhist cave chaytyas, ghaţa element then moves to the monastery buildings - vihara, become an important element in the pillars of Hindu architecture columned halls mandapas and Jain temples.
The article is devoted to the problem of the meaning and formation of urban brand identification through the rethinking of the language of templates (communicative patterns) of the urban space of K. Alexander in the framework of branding of territories. As an example of this approach, the branding of the city of Yuryevets is analyzed, performed by students of the School of Design of the RANEPA.
This article is dedicated to the problem of theoretical definition of art and elicitation of its specificity. In the capacity of starting-point the author used the conclusions of institutional theory of art. On account of these conclusions the author formulated an ontological paradox of institutional relativism in the field of art. It asserts that first and foremost the artwork is something that possesses the status of artwork in the certain social group, not entity of objective reality.
The article is devoted to the problem of communicative features of the constructive structure of the font identity in the city branding sphere. This problem is considered in the framework of the nonlinearity of visual communication based on typology, comparative and structural analysis of the font identity of the world's cities. The article analyzes the brand identity of the city of Murmansk (2015) with the use of qualitative research methods: an expert interview with the designer of Murmansk identity.
The work is devoted to the study of the main compositional, constructive and plastic techniques used in modern typeface brand identification of territories. The article deals with typology of font identity and its structural analysis in the context of the problem of empirical measurability of a work of art.
The article is devoted to the problem of borrowing, reproduction of similar constructive and visual-graphical solutions, as well as plagiarism in the field of territorial branding, arising due to a number of factors and conditions of contemporary visual communication, as reflected in the work. This problem is relevant for the perception of visual identification of the target audience and has a direct impact on the existence of a visual brand-identification of the territory in a public space and marketing communications of the brand territory.
The article is devoted to the problem of reproduction, adaptation and processing of historical heraldry as a special type of communicative message in a modern brand identification. In article on the basis of specific examples highlights the main characteristics of the systems of communication and identification of areas in the context of the problem of the coexistence of two types of visual information.
The article deals with the problem of nonlinearity in the structure of media and aesthetic communication in contemporary visual identity and territorial brand identification. As an element of nonlinearity stand out abstract images, — the visual elements that do not have matching subject in the real environment. The problem of the artistic image is considered in the context of the theory of communication as a key element of shaping visual identification in the field of mass communications and branding.
The article is devoted to the analysis of the city brand identification, which uses attractions, within the framework of the semiotic paradigm based on the semiotics of tourist attractions of D.Mccannel and the semiotic model of the city brand by Jiyoung Yoon. The attraction is considered as a means of representation of the territory and a communicative pattern, visual and graphic characteristics and features of brand identification as the most important element of the semiotic model of the city brand are singled out separately.
The article discusses the problem of typology of place brand identification on the level of visual-graphic language and visual-graphic style that reflects the structural ambiguity of the object of communication, which are simultaneously its subject. In graphic design this problem at the project level expressed in meaning- and shaping the place brand and the priority importance of the visual graphic style.
The article analyzes the country of origin and event identification systems of the territory (signs of the country of origin «Made in...», identity of international political and business events and Olympic games) in the context of national branding and place brand identification. Their constructive-artistic and representative features, differences and qualitative unity with solutions in the field of territorial brand identification, as well as the typology of each of the identification systems are identified.
In ancient and early medieval India cave temples became one of two widespread types of sacral architecture of Hindu, Jain and Buddhists. It’s the most full-fledged tradition of cave architecture in a world art history. More than 1500 temples were carved during the thirteen hundred years. Despite of many obvious loans from wooden prototypes, Indian cave architecture became independent, developing in parallel to structural temples. In this article I analyze the most possible emergence reasons of rock-cut architecture and the peculiarities of the evolution of it’s forms.