Graphic Arts Research Articles

Editorial: Special coating issue contains highlighted works from TAPPICon 2023

Did you know that TAPPI’s Coating and Graphic Arts Division has changed its name to Coating, Printing, and Surface Enhancement (CPSE) Division? This change occurred mid-year, as our members realized that the new name fits much better with the day-to-day workings of the Division, as well as the broader activities to functionalize and add value to paper and paperboard that continue to expand into new arenas.

On public participation in efforts to beautify the towns and cities of Galicia in times of its autonomy. Prolegomenon

This paper is an introduction to studies of Urban Beautification Societies (“UBSs” in the plural) active in times of Galicia’s autonomy (1867–1914). The Societies were community organisations set up in many cities and towns across Galicia from the 1880s onwards with a view to improve the aesthetic in public urban space. To Galicia, years of its autonomy yielded years of considerable expansion of civic freedoms, including the re-enacted right to association. Formed by individuals with university education, UBSs were popular throughout Galicia, their structure frequently reflecting the local cross-section and specificity of social strata. Established in large, medium-sized, and small cities and towns (such as Cracow and Lviv; Przemyśl; Wadowice and Wieliczka), they attempted to reach their goals chiefly through establishing urban parks and green squares (often as not with accompanying infrastructure, such as tennis courts or bowling alleys); planting trees in market and other public squares and along communication routes; developing aesthetically pleasing small architecture; and taking initiative to erect monuments and install commemorative plaques, usually commissioned with eminent artists. The latter – in large cities in particular, where art communities were large and powerful – were occasionally UBS co-organisers and members, and thus capable of considerable influence over any Society activities, potentially including publishing, graphic artists and painters especially prominent therein.

Contemporary techniques of graphic art and its representations

The research tagged (Representations of Contemporary Technologies in Graphic Art) deals with the dialectical relationship between the diversifications of technologies within their temporal developments and the structure of graphic work, especially in our current era and the huge openness of digital technologies and their cultural influences in thought and their functional deliberations in life and their aesthetic representations in art. This faces a cognitive tangle and questions represented in: 1. What is the cognitive space of graphic techniques between the primitive and contemporary edges? 2. How did reproduction replace the original in contemporary circulation? The importance of the research is represented in the following points: 1. The research deals with one of the forms of arts whose historical presence has indicated through time and space. 2. The research seeks to seriously explore the roots of an artistic phenomenon seeking to innovate manifestations of the beautiful always. 3. The research monitors and analyzes the phenomenon of archaeological transition from immanent to transcendental. The boundaries of the research receded between the early days of the spread of digital technologies in the visual arts, including graphics, and the researcher chose the year 1970 to the year 2023 to contain the research problem from its beginnings to its conclusions. Therefore, to the basic indicators reported in the third chapter, which dealt with three distinct models as a research sample, and concluded from its analysis to the results of the research that were discussed in the fourth chapter, and the researcher drew conclusions from them and identified recommendations and proposals.

Graphic Art of Ukraine as a Statement on War

The article examines the specifics of graphic art as a means of archiving the war. The chronological boundaries of the study cover the period from the beginning of the full-scale invasion to the present. In turn, this is due to the active reflection of art on anomalous and atypical conditions of the socio-cultural environment. In addition to theoretical works, exhibition projects devoted to the theme of war became a powerful basis for research. The subject of the study is graphics, as a type of fine art, and the peculiarities of its reflections on the war. The main emphasis of graphic art research is focused on its technical component. It was found that the technical diversity of graphics ensures its multi-functionality and ability to archive historical events through fine art. The main differences between archiving and war documentation are established. The main factors that ensure the development of graphic art during the war are determined. A separate analysis of ideological and thematic language was carried out on the example of modern Ukrainian artists working with various graphic materials and techniques, styles and genres. It was determined that the main themes of the graphic works reveal various events and symbols of the war, and the images of its heroes and victims fill the works with deep content and meanings. However, among such a variety of thematic themes, war is always at the forefront of each plot. She is the subject that determines the role of art in relation to her, in particular graphic art. The methodological foundations of the research are based on the principle of historicism and observation, which provide an objective and theoretical approach to research.

A novel cross-entropy framework for pattern design quality evaluation based on interval-valued intuitionistic fuzzy multi-attribute decision making

Paper packaging is favored by manufacturers in various industries due to its advantages such as economy and environmental friendliness, and the application of paper packaging in various types of products is also becoming increasingly popular. However, with the growth of the national economy and the increasing purchasing power of the people, consumers not only have higher requirements for the functionality of products, but also have higher requirements for the visual effect of product packaging. Based on the potential consumption trend of “looking for things”, enterprises need to further strengthen the artistic design effect when using paper packaging, promoting the unity of practicality and aesthetics of paper packaging. Pattern design art, as a component of graphic design art, is mainly based on pattern modeling to convey artistic concepts and aesthetic temperament. Integrating pattern design art into the process of paper packaging design can effectively enhance the artistic value of paper packaging, thereby adding color to products. The pattern design quality evaluation is a classical multi-attribute decision making (MADM). In this paper, the MADM methodology is investigated based on cross-entropy (CE) method under interval-valued intuitionistic fuzzy sets (IVIFSs) for pattern design quality evaluation. First of all, this paper extends the CE method under the IVIFSs to propose the interval-valued intuitionistic fuzzy number cross-entropy (IVIFN-CE) method, it enlarges the application range of the CE method. Secondly, a new MADM model for pattern design quality evaluation based on IVIFN-CE algorithm is proposed. In this algorithm, attribute weight is calculated by CRITIC method which is a well-known objective method. At the end of this study, we noticed to a comparison between the proposed IVIFN-CE approach with other existing methods to verify the effectiveness of the algorithm.

The Russian Tradition of Publishing Illuminated Bibles

The article is devoted to the tradition of publishing engraved biblical albums in Russia (17th — early 20th centuries), made by Russian engravers after the prototypes of European engravings or after author’s drawings by graduates of the Russian Academy of Arts. Illustrated collections on the subjects of the Holy Scriptures of the Old and New Testament based on drawings by Russian artists — A.E. Egorov, A.A. Agin, M.N. Koshelevskaya, V.S. Kryukov, V.D. Fartusov — are considered. The source material for the work were copies from large collections of graphic art: the isofond of the Russian State Library, the Museum of Christian Art “Church-Archaeological Study” of the Moscow Theological Academy and the Sergiev Posad State Historical and Art Museum-Reserve, which are first introduced by the author into the scientific turnover.At present, Western European illustrated Bibles are widely studied by specialists in various fields of scientific knowledge as a large-scale phenomenon of book culture. The ways of penetration and distribution of foreign editions in the Moscow state are studied; the search, accounting and description of copies in domestic library collections are carried out; marginalia on the pages of albums and captions to images are investigated; techniques, biographies of masters, stylistics of works and methods of copying foreign samples in Russian artistic practice are studied. At the same time, the tradition of publishing Russian illuminated Bibles, created by analogy with foreign ones, remains poorly studied.Pre-revolutionary catalogues of Russian illustrated editions contain descriptions of Bible albums of the first half of the 19th century, while the vast array of illustrated printed matter of the second half of the century has not yet been systematised and catalogued.The purpose of this study is to partially fill this lacuna, to restore the chronology of the appearance of the first domestic folio Bibles, and to present an overview of lithographed editions of pictures of the Sacred History of the Old and New Testament of the second half of the 19th century.

Sketches for the Illustrations of the Novel Don Quixote de La Mancha in the Creation of Pavel Șillingovski and Ilie Bogdesco

This article compares the preparatory drawings for the illustrations of Miguel de Cervantes Saavedra’s novel Don Quixote de La Mancha by Pavel Șillingovski and Ilie Bogdesco, two famous artists, whose work represents the successive stages in the evolution of graphic during the 20th century. The series of drawings represents different attitudes towards the process of illustrating literary works. In order to achieve the proposed objective, we have resorted to theoretical concepts, present in the science of “art history” and described by the Viennese theorist Walter Koschatzky, as well as the published diary of I. Bogdesco, which complements the artistic creation inherited from the artist. In addition, has been described and analysed, the historiography, including very recent, in which the series of works, proposed for investigation, is published. The sketches for the illustrations allow us to see how the image of the famous hidalgo passes through 20th century art. In addition to this, we also make a brief incursion into the artistic context in which these two personalities worked. Through this modest theoretical approach, we wish to join the series of events and publications commemorating the centenary of the birth of the great graphic artist Ilie Bogdesco.

A tournament, not a competition

On May 27, 2023, the jubilee V Tournament of Architectural Graphics “Line of Thought”, established by the Iakov Chernikhov International Foundation in 2018, was held within the framework of the XXVIII International Exhibition of Architecture and Design “ARCH MOSCOW”. The aim of the Tournament is to support the art of hand-made graphics. The prize, the Silver Stylus, was unexpectedly awarded to Marianna Antonova, a beginning architect from St. Petersburg. Architect Andrey Chernikhov, the author of the idea and the President of the Iakov Chernikhov International Foundation, will tell us what the Graphics Tournament is all about.

The impact of technology development upon art essence intricacy on arts: The perspective of art practitioners in Malaysia

This paper presents and discusses the relative issues of the development of modern technology that directly impact the creation of artwork. The artistic value has always been argued and discussed as the era changes occasionally. The artistic world has again learned the value of integrating and applying technology to artists' artworks. The technology enforcement, in alignment with the demands of the new generations, kept contextual and conceptual artworks secondary. This paper will elaborate on the relationship between technological applications and artworks' impact. As the digital era shifted rapidly, more advanced technological applications were valued more than conceptual value. Art appreciation has become more tangible rather than elaborate. Thus, it is important to simulate a conceptual framework to understand the phenomenon properly. Multiple understandings of the theory of the development of technological implications support the conceptual framework. This study conducted exploratory research by collecting primary data through a focus group interview with Fine Artists, Graphic Artists, and Hybrid Artists in an open session and discussing by elaborating on the topics mentioned. An underlying understanding of the conceptual framework has been achieved, and a new conceptual framework has been developed. This paper is limited to the technological implications of the value of artworks and the artist's experience. The advanced conceptual framework of the Art Intricacy Performance Model will define artwork to recognise the proper understanding of its value and direction.

Elimination Noise from Image Using Machine Learning Techniques

The Image Processing system is mostly used because of their easy accessibility of powerful personal computers, bulk memory machines with graphics software and others visual application. Of “Image Processing” is applied in a number of applications. These include in area of Remote Sensing in GIS application, Medical Imaging Processing for patient care application, Forensic Studies, Textiles engineering and design, Material science, Military Research, Film industry application, and Document processing, Graphic arts. An image is defined as an array, or a matrix, square pixel arranged in rows and columns. Many image-processing procedures involve making the image as a two-dimensional signal and applying standard signal processing techniques to it. Image processing can be defined by means of a ‘digital image processing’’. The pitch of ‘digital image processing’ states to ‘processing digital’ images through channels of a computer. In this paper Image de-noising through K-SVD algorithm is presented by taking the RGB color with 256*256 sizes 24 bit standardize image.

Graphic design in Vietnam in integration and sustainable development

Graphic design is a type of fine art design (also known as applied art) that has only really developed strongly in Vietnam in the last one or two decades. Due to its communication nature, Graphic design plays an increasingly important role and influences many aspects of social life. However, at present, in the trend of strong economic and cultural integration and exchange taking place in the world, Vietnamese graphic design art has made significant progress, but there is still a lot of progress. Design products show plagiarism, copying, style mixing, ignorance, alienation from culture and national aesthetic language. Faced with the above facts, by a combination of survey research methods, expert interviews, combined with comparison with advanced graphics platforms in the world, the thesis evaluates the points of interest advantages, difficulties and causes of the aforementioned inadequacies of the field of modern graphic design in Vietnam. At the same time, from the perspective of the trainer, through the analysis, explanation, and discussion, some comments are made on the development direction of Vietnam's graphic design field in the coming period.

CHOLAMANDAL ARTISTS’ VILLAGE: AN INTERACTION BETWEEN THE TRADITION AND MODERNITY (INDIA, THE MADRAS SCHOOL)

Based on the analysis of scientific literature, a successful example of an independent and self-organized community of Cholamandal artists was studied as a continuation of the artistic searches and experiments of the Madras school during the second half of the 20th – early 21st centuries. The prerequisites for the emergence and development of the Cholamandal commune headed by K. Paniker are analyzed. The activities of individual artists of the art association – painters (K. Paniker, R. Pooviah, T. Tarani), graphic artists (K. Haridasan, K. Ramanujam), sculptors (C. Patnaik, S. Nandagopal) and others are considered. The plot and thematic features of their achievements are clarified – the search for original interaction with folk, religious and tantric art is characteristic for these artists. The special position of folk art becomes one of the distinguishing features of the association’s activities. Traditions and their inheritance are seen as an important communicative part and as a source of experiments for modern practices, which, in turn, supported the cross-platform nature of Cholamandal. The settlement included not only workshops and an exhibition gallery, but also an open-air theater for dancing and theatrical performances, a textile workshop, a library and all the necessary infrastructure for everyday life. Cholamandal artists are known for their experiments with traditional Indian techniques and materials such as terracotta, bronze casting, a combination of fresco and oil painting. They combined these techniques with contemporary styles and themes to create unique works of art, reflecting the richness and complexity of India’s artistic tradition. The Cholamandal commune also played an important role in popularizing of modern Indian art among a wide audience. Art exhibitions and events held at Cholamandal attracted art enthusiasts and collectors from all over India and abroad and have helped bring Indian contemporary art to the attention of the global art scene.

Cartographies of Contemporary Class Struggles

This essay provides an interdisciplinary analysis of the work of the Iconoclasistas, a Buenos Aires-based duo whose practice combines graphic art, counter-cartography, radical pedagogy, and militant research. The Iconoclasistas’ heterodox landscape illustrations and collectively produced maps demonstrate how various territorial conflicts in South America express class struggles that operate at multiple geographic scales. In so doing, they show how apparently local conflicts express dynamics of transnational capitalist accumulation, including its neocolonial character, while also revealing material relations between seemingly disparate popular struggles. This essay focuses on the Iconoclasistas’ early work representing urban life in Argentina from 2007, as well as on works addressing the deleterious effects of extractivism (or neoextractivism) created between 2007 and 2019. I argue that these works contribute to the insights of ecological Marxism by showing how contemporary processes of capitalist accumulation plunder nature and shape social and natural environments in ways that degrade the living conditions of people of the working and popular classes, as well as those of other species. The Iconoclasistas’ collective mapping workshops utilize techniques of Marxist pedagogy, while bringing attention to visual ideologies and ways spatial relations shape consciousness. This essay shows how this practice was influenced by the politics and organizational forms of recent social movements, and how it contributes to their production of knowledge. It also situates the Iconoclasistas’ work within a tradition of Marxist cultural praxis that values formal experimentation and that concerns itself with reworking the social relations of cultural production, distribution, and reception.

The significance of calligraphy training for the future teacher in the context of art and graphic competence

The article examines the problems of calligraphy training in the context of artistic and graphic competence during the training of future teachers. The main problems related to the insufficient preparation of the teacher for the formation of artistic and graphic skills are identified, namely the absence or a small number of hours, devoted to the study of such educational components as «Calligraphy», «Drawing», «Art graphics», lack of explanatory work from the scientific and pedagogical staff of higher education institutions about the importance of artistic and graphic skills. A characterization of the components of the artistic and graphic training of future teachers was carried out, in which the mastering of calligraphy skills by students was identified as a key aspect. The components of calligraphy training are characterized, including mastering the basics of fonts, developing the muscles of the arm and hand, learning the correct posture of the arm and body, using various materials for writing, training hand motility, learning the elements of calligraphy, creating and analyzing calligraphy samples.
 The article examines the font as the basic unit of calligraphy and font composition as the art of creating harmonious and aesthetically balanced layouts using different fonts. The main methodical components of the study of fonts are outlined and some methodical techniques are proposed for teaching future teachers the basics of creating a font composition. As a result, the value of calligraphy training of future teachers for their professional activities was determined, in particular, improving the quality of teaching writing for 1st grade students, ensuring the writing culture of students, developing and supporting the speaking skills of education seekers, ensuring a creative approach, increasing the general aesthetic level of the personality of the future teacher, diversification of methods of working with students in classroom and extracurricular activities

The Literary Characteristics and Innovative Design of Chinese Taoist Graphic Arts

Taoism is the purest native religious sect in China, and one of the most representative aspects of Taoist culture is graphic art. In this paper, we trace and analyze the origin of Taoist culture and art, and summarize its characteristics; from the aesthetic perspective, we classify Taoist graphic art by subject matter, analyze the classic patterns of Taoist graphics, and summarize their artistic meanings and connotations, and then express the aesthetic implications of Taoist graphics; from the perspective of the development and use of graphics, we first analyze the use of Taoist graphics in modern clothing, and propose the concept of pattern From the perspective of the development and application of graphics, we first analyze the use of Taoist graphics in modern clothing, and put forward the concept of secondary design for traditional Taoist graphics, and then make creative use of pattern design in clothing design.

Nie tylko muzyka. Kolekcje dzieł sztuki Filharmonii Pomorskiej im. I.J. Paderewskiego w Bydgoszczy

During 1954-1958 the building of the Pomeranian Philharmonic was erected in Bydgoszcz. From the 1970s its interiors were decorated with sculptures, tapestries and graphic artworks by contemporary Polish artists. Sculptures additionally stood in front of the building and in the park, creating an outdoor gallery of virtuosos and composers. The originator of this collection was the long-time director of the Philharmonic, Andrzej Szwalbe (1923-2002). The idea of combining music with various fields of art was implemented consistently until the 1990s. For the “temple of music” in Bydgoszcz, works were prepared by artists such as Barbara Zbrożyna, Adam Myjak, Michał Kubiak, Józef Makowski (sculptures), Kiejstut Bereźnicki, Józefa Wnukowa, Magdalena Heyda-Usarewicz, and Tadeusz Brzozowski (tapestry designs). The “Collection of Painting and Graphic Art Tadeusz Brzozowski” includes works by – among others – Magdalena Abakanowicz, Jan Tarasin, Stefan Gierowski. The works not only decorate the interiors, but also document the achievements of Polish artists in the 1970s and 1990s. The art collection has been on the Register of Historic Places since 1990.

Plastic Interpretations of the World Artistic Heritage in the Monotypes of Valery Babanov

Since his youth, Valery Babanov’s professional activity has been connected with the art of book design. He is a graphic artist, illustrator of classic and modern prose, poetry of domestic and foreign authors. The search for his own line in art revealed the proximity of his individual creative nature to the monotype technique. The history of the creative path of the outstanding master of prints E.S. Kruglikova, thanks to whose activity it was in St. Petersburg in the early twentieth century that the Russian school of monotype was born, had a great influence on his choice. Prominent Leningrad artists K.A. Kordobovsky, G.D. Epifanov, D.M. Plaksin became mentors in mastering the “pictorial” graphic printing technique. But an example of virtuoso artistry in working with monotype was K.I. Rudakov. A true fan of monotype in book illustration, Babanov strives to create subtle professional graphic works that reveal the essence of the literary work. Long practice has honed the techniques used by the artist in his work: the base — perfectly smooth plates of plexiglass of different sizes with slightly rounded edges, black paint layer, squirrel brushes, cotton paper. In addition to the visual interpretation of literary texts, the master actively works in easel graphics, in particular, realizing a project of plastic interpretations of the world’s artistic heritage. The artist’s solo exhibition “Striving for Perfection” (2020), which became the intermediate result of his activity, presented selected monotypes, in which Babanov reflects on the work of the great masters of painting, passing the history of art through his perception. A visual narrative of contemplation and plastic retelling of the legacy of the old masters and artists of the twentieth century — interpretation by means of monotype — in personal sensations there is a reflection of creative individuality, a fuller disclosure of natural identity. The more the artist understood, penetrated, felt the sample of copying, the more he presented himself. Turning to the past, V.V. Babanov continues to follow the eternal path of apprenticeship.

Beautiful vulvas: expanding illustrative visual imagery of female genital cutting types.

Visual imagery has been used to educate healthcare providers, patients, and the lay public on female genital cutting (FGC) typology and reconstructive procedures. However, culturally inclusive, diverse, and anatomically accurate representation of vulvas informed by women possessing lived experience of FGC is lacking. We sought to apply World Health Organization (WHO) FGC typology to the development of type-specific visual imagery designed by a graphic artist and culturally informed by women with lived experience of FGC alongside a panel of health experts in FGC-related care. Over a 3-year process, a visual artist created watercolor renderings of vulvas with and without FGC across varying WHO types and subtypes using an iterative community-based approach. Somali women possessing lived experience of FGC were engaged alongside a team of clinician experts in FGC-related care. Women and clinicians provided descriptive input on skin color variation, texture, and skin tone, as well as the visual depiction of actions necessary in conducting a genital examination. A series of vulvar anatomic illustrations depicting WHO FGC typology. FGC types and subtypes are illustrated alongside culturally informed descriptors and clinical pearls to strengthen provider competency in the identification and documentation of FGC WHO typology, as well as facilitate patient education, counseling, shared decision making, and care. Ensuring equitable representation of race, gender, age, body type, and ability in medical illustrations may enhance patient education, counseling, and shared decision making in medical and/or surgical care. FGC provides a lens through which the incorporation of patient-informed and culturally relevant imagery and descriptors may enhance provider competency in the care of FGC-affected women and adolescents. The strengths of this study include the development of visual imagery through an iterative community-based process that engaged women with lived experience of FGC alongside clinicians with expertise in FGC-related care, as well as the representation of historically underrepresented bodies in the anatomical literature. Study limitations include the lack of generalizability to all possible forms or practices of FGC given the focus on one geographically distinct migrant community, as well as the reliance on self-report given the inability to clinically verify FGC status due to the community-based methodology employed. Patient-informed and culturally representative visual imagery of vulvas is essential to the provision of patient-centered sexual health care and education. Illustrations developed through this community-engaged work may inform future development of visual educational content that advances equity in diverse representation of medical illustrations.

Transformation of Bookplates in Ukraine in the Era of Independence: Artistic Imagery and Graphics

The purpose of the study is to highlight the transformation of the bookplate of the independence era: artistic imagery and graphics. The research methodology is to use an analytical approach to highlight the peculiarities of the development of the bookplate of the era of independence. An important element of the research was observation and description, which allowed us to explore and outline certain aspects of international cultural cooperation, including active participation in international exhibitions and competitions. The novelty of the study lies in the systematisation and generalisation of the achievements of small-form graphics, important historical and socio-cultural changes that have shown a deepened interest in it on the part of graphic artists. For the first time, the volume of the most significant publications prepared by Ukrainian scholars on the way to a thorough study of the bookplate heritage is summarised. The fulfilment of the research objectives is clearly demonstrated. Conclusions. Significant achievements of Ukrainian bookbinders during the years of Independence were the result of a major shift in the country’s political, social, and economic system. Cultural institutions, museums, and libraries became interested in the bookplate, which led to the emergence of educational publications and research that stimulated an in-depth study of the stages of its development and symbolic language. Exhibition activities intensified, and Ukrainian bookplates became known in many countries around the world and were duly appreciated for their achievements. Not only collective but also personal exhibitions of famous artists were held abroad. The emergence of new book marks was facilitated by numerous exhibitions and competitions dedicated to anniversaries held in many countries of the world, and was also reflected in the work of bookplate designers, which encouraged them not only to new creative achievements, but also contributed to the creation of a large portrait gallery of prominent cultural and artistic figures. The art of small-form graphics of the independence era is marked, first of all, by the creation of new paradigms and canons, with special attention paid to national themes. Key words: bookplate, transformation, collectors, publications, exhibitions, museums, libraries, anniversaries.

Synthesis of Development of Book Graphics and Design in Ukraine

The purpose of the study is to systematise and generalise information on the synthesis of the development of book graphics and design in Ukraine. Research methodology. The study used a comprehensive approach due to the need to use the comparative historical method, which records the similarities between cultural phenomena as evidence of their common origin. It became necessary to apply a cultural methodology that includes a socio-cultural approach, is important for our research because it focuses on the unity of culture and sociality, taking into account the scientific achievements of the complex of design sciences, cultural studies, ethnography, psychology, and history. Scientific novelty. The publication examines the design of the Ukrainian book, which as an artistic phenomenon has been studied by researchers rather cursorily. Conclusions. A technologically advanced product of the bookmaking industry of Ukraine, which is characterised by high-quality book and graphic illustration, is the result of a complex interaction of excellent factors, which are artistic and socio-cultural. At the beginning of the twenty-first century, there was a transition from classical forms of book and graphic illustration to electronic design and dynamic computerisation of all operations in the design and printing of books of various forms and genres. The transition of industrial society to the information society, accompanied by widespread Internet globalisation, has been directly reflected in the worldview and techniques of graphic artists and book designers. In view of the above, these circumstances have led to the reformatting of the book design industry, strengthening the importance of the designer in the status of co-author of the book, which has ensured that printing has reached new standards and will further contribute to the development of book publishing in our country. Combining the achievements of book graphics and design allows us to create a professional and unique artistic product (with the active use of technological achievements in computer processing and high-quality typography). Drawing on archaic and innovative forms of Ukrainian book graphics, contemporary designers create artistically perfect and highly functional designs. Key words: graphics, graphic art, book graphics, graphic design, designer, project graphics, design, artistic and decorative means, publishing, synthesis.