Didactic significance of using the ethnic ornamental basic form in professional training of graphic designer

Abstract

The article provides the examples of using the national ornament in contemporary graphic design, and long-term benefits of extrapolation the methods in historical and graphic, theoretical, practical and creative tendencies for students-designers to extend their knowledge in specific subjects – the programs’ content is reasonably to be directed to form knowledge on the main attribution of symbolic nation representation in ornamental art

The author claims the necessity to provide the study analysis of graphical ornamental language as a vital basis for aesthetic development of graphic designing, personal and professional development of the mentioned art, as well as a didactic means in professional training of future graphical designers and appropriate type of visual thinking. It is justified that formal and content aspects are to be used for ethnic ornamental basic forms, originated from the study of fundamental image, and designing, projecting and developing of authorial artistic compositions.

The author has found that in formal context with the help of an ornament student-designers should receive the knowledge to destroy or emphasize visually the form of projected object, create different optical illusions. Students should realize and comprehend a handmade, unique, worldview, traditional and natural character of the ornament in content context.

This study demonstrates that is of great didactic importance. Therefore, students are able to learn the peculiarities of ornamental composition structure, their content and symbolic filling, borrowing and creative interpretation of the aesthetic material while making their personal artistic and graphical projects. Moreover, this process should be supported by the appropriate didactic teacher’s assistance.