Composition in design. Features of the emotional construct

Abstract

The study is based on the experience of understanding the educational cource “Composition” as a kind of grammatical construct, in which elementary pictorial forms and color play the role of an important tool for forming the creative image and personality of the artist in general. Special attention is focused on experimental methods of teaching the cources “Fundamentals of composition” and “Color science” at the Bauhaus school in the 1920^s, discussion of phenomenological aesthetics, problems of the "artistic idea" (“idea artystyczna”) by postwar theorists and participants of Lviv hermetic circles and academic communities Lviv in the 1970s and 1980s. Special attention is paid to the importance of personal artistic qualities and the choice of an emotional channel by teachers: Taras Dragan, Igor Bodnar, Sergey Babkov, Volodymyr Ovsiychuk. As the main scientific methods, the methods corresponding to the systemic art history approach were applied: sociological, in which culture is considered as a factor in the organization of public life and the formation of the intellectual landscape, biographical for the analysis of the main periods of the pedagogical activity of the specified artists, systemic for ascertaining the language of emotional transmission in the author's approaches to teaching cources “Composition” and “Colorology”. The method of field research gave the work practical significance by filling with valuable memories of the participants of educational practices.

This is the first study in domestic science dedicated to the description and analysis of non-traditional methods of involvement in the study of “Composition” and “Color Studies” in the Lviv academic environment in the late 70^s-early 80^s of the 20^th century. In the future, a study of the impact of the light-music theory on the design of the environment is envisaged.