The Ethnology Notebooks, 2018, № 5 (143), 1298—1307
UDK 766:7.012-027.3(477)
DOI https://doi.org/10.15407/nz2018.05.1298
Received 16.06.2018
ORCID ID https://orcid.org/0000-0002-8826-0135
Kosiv Vasyl Mykhailovych, Candidate of Art Studies, Associate Professor
of the Department of Graphic Design
of Lviv National Academy of Arts.
Kubiiovycha Street 38, 79011, Lviv, Ukraine.
Contacts: vasylkosiv@yahoo.com
Abstrakt. By comparing the examples of the Soviet Ukrainian posters and periodicals covers of the diaspora of 1945—1989, the article clarifies the peculiarities of using folk ornament as a means of national identification. Being at all levels of the composition and communication hierarchy, folk ornament in graphic design was one of the most flexible symbols. Authors` focus on a small number of embroidery and folk painting motives ensured recognition and expanded its semantic capabilities. As a result, the same ornaments were used in Soviet Ukraine and the Ukrainian diaspora, similar methods and means were popular, while the ideology of the message was opposite.
Keywords: folk ornament, graphic design, Ukrainian identity, Soviet Ukraine, Ukrainian diaspora, posters, periodicals covers.
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