The purpose of the article is to find out the peculiarities of headscarves functioning in the late 19th – early 20th centuries as an element of women’s national dress, to identify general and specific characteristics of their manufacturing and methods of tying, to find out the etymology of the word "headscarf", to trace its relationship with the concept of "ubrus" and others similar in meaning. Research methodology. Using a comparative-historical method, we have explored the etymology of concepts related to Ukrainian women’s headwear. Using a historical-typological method, a cultural and art analysis of the study has been conducted. Scientific novelty. The etymology of significant concepts of Ukrainian headwear, namely "ubrus", "headscarf" and others, is thoroughly studied. Their characteristic features in different regions of Ukraine are noted. The methods of tying headscarves from the 19th to the early 20th century are analysed and presented, the characteristics of their production and distribution in the counties of Poltava province are marked. It is proved that in Poltava province at the end of the 19th century, there were two main ways of tying headscarves simultaneously: in the counties of the north-western part of the province, the method of tying a headscarf with a knot on the top of the head was common, and in the eastern part – with a knot on the neck. Conclusions. Everyday women’s headscarves were intended to cover, insulate and decorate the heads of married women. Patterned woven headscarves were distinguished by the local originality of the artistic solution. Festive headdresses of Ukrainian women differed in variety and elegance. Strict completeness is inherent in the forms of this integral part of the national costume as those that have been refining over many generations. At the end of the 19th century. the wimples, on which a lot of material was spent, were almost destroyed. Headwear of new shapes was becoming more practical, cheaper and lighter. "Starovytsky headscarves" give way to manufactured goods. At the beginning of the 20th century, headscarves became the most common headdress both in the city and in the village.

The purpose of the article is to identify current trends in the use of works of fine art in the interior of the premises, as well as to clarify the impact of works of art in the interi­or on the psychophysical state of a person. The research methodology contains general scientific theoretical methods of analysis, syn­thesis, abstraction and observation, as well as art analysis. The scientific novelty is to de­termine the features of the influence of works of modern art both on the appearance of the premises themselves and on the psychophys­ical state of a person. The paper attempts to identify the features of human interaction with works of contemporary art, in particular in the aspects of interactivity, relaxation and aesthetic pleasure. The article contains an explanation of the artistic techniques used to achieve such ef­fects. The analysis of works of modern painting by the artist O. Yasenev, placed in the interior of the premises, is used in the work. Conclusions. The study identified the benefits of applying contemporary art in the interior. The use of art, which is created on the border of figurative and abstract perception, is common today. In par­ticular, such art often has a surreal component, which encourages the viewer to interact with the imagination the most. This approach is rein­forced by the technique of work with a trace of deliberate imperfection, which also creates the ground for co-creation. Such work can divert the attention of the recipients, distract them from everyday worries and promote their relax­ation. The mentioned technique also contrib­utes to the visual expansion of the space of the room. In fact, such criteria should be followed by the designer when selecting works of art in the design of modern interiors.

The purpose of the article is to clarify the meaning and functions of illustration festivals and book fairs from a socio-cultural perspective, as well as to determine and summarize the level of Ukrainian illustration’s representation in the international space through participation in such events. Research methodology. Empirical method, method of analysis and synthesis were applied. Journalistic materials on international events containing locations for the presentation of illustrative works and professional communication between illustrators were subject to analysis. Scientific novelty. The article considers the theoretical aspects’ importance of professional exhibitions of illustrators at international book fairs, competitions and festivals in the field of illustration for the development of this sector of creative industries. It is determined that these events are a powerful socio-cultural phenomenon and an effective platform for social communication between the main players in the sector. The events also perform a compensatory and motivating function for both professional environments and ordinary viewers of illustration, and their festivity and positive public response increase the illustration importance as a creative industries’ sector among the population. Also, for the first time, the article synthesizes factual data on the awards and prizes of Ukrainian illustrators, which exist in separate news publications, in the chronology of each event. It turned out that the most attractive for the participation of Ukrainian illustrators is The Illustrators Exhibition – Bologna Children’s Book Fair, as the chronology of achievements at this event is the longest and largest. The most successful illustrators in terms of international awards are Romana Romanyshyn and Andriy Lesiv («Agrafka»creative workshop). Conclusions. Over the last decade, Ukrainian illustration has been actively asserting itself internationally. The works created in 2010 correspond to world trends and attract the attention of foreign colleagues, publishers and critics. In recent years, the promotion and PR of illustrators have reached a much higher level, which increases the publicity of Ukraine’s achievements and strengthens the prestige of the sector in the public. The constant worldwide recognition of a narrow circle of Ukrainian illustrators in the presence of many talented authors raises the question of forming a culture of Ukrainian illustrators’ professional ambitions, when presenting themselves in international competitions and festivals, submitting their work should be understood as part of professional activity. The presentation of Ukrainian illustration in such events can be interpreted as a tool of cultural diplomacy of Ukraine in the international space.

The purpose of the article is to highlight fashion trends in clothing using traditional Ukrainian embroidery in the 50s of the twentieth century. The methodological foundations of the study are based on historical, art and cultural observations and analysis. Scientific novelty. The article examines historical sources, artifact finds, indicating the presence of embroidered ornamental elements in the decoration of the clothes of the Ukrainians of the indicated period. The manufacture of clothing, including embroidery, on the territory of Ukraine is associated with artisanal and industrial production. The article analyzes the state of embroidery using modern fashion trends in clothing of the 50s of the twentieth century. Conclusions. As a result of the analysis of the art of making clothes of Ukrainian fashion of the 50s. XX century, we can state that the creation of compositionally complete collections of clothes, including those developed using national traditions, was possible due to the unification of the creative efforts of various industries of light industry. Mainly, in the fashion of the 50s, there were cardinal changes in silhouettes and shapes, in accordance with the change in the ideal of beauty. Skirts, straight and flared, came into fashion, pleated skirts, dress-coats, coats, suits made of shaped, overcoat fabrics, which were decorated with metal, leather, wooden buttons, were introduced, taking into account folk ornamental traditions. New styles of dresses were created on a fitted basis with the use of a variety of embroidered ornaments: «roosters», «flowers», embroidered with «nets», «satin stitch», with elements of sewing fabrics along the entire product, etc. The implementation of thematic, original artful designs directed and coordinated the activities of the textile, clothing, knitwear industries. Elements of national clothing with common motives of traditional Ukrainian embroidery attracted special attention in the fashion of that time.

The purpose of the article is to identify the features of the coworking space design, in accordance with the possibilities of using intelligent systems and technologies in the organization of the main and secondary working space zones of the spatial-functional organization. The research methodology is based on the use of theoretical methods: scientometric method, analysis of domestic and foreign experience in the design and construction of the object, analysis of domestic and foreign standards and regulations on the research topic, and empirical methods: structural analysis method, experimental design method, structural method -functional modeling. The scientific novelty of the obtained results lies in the generalization and systematization of the basic techniques and features of the flexible coworking space design. For the first time, the application of intelligent systems and innovative technologies to functional areas of primary and secondary importance has been identified and systematized. Conclusions. As a result of the conducted research the basic regularities of formation of coworking spaces for creation of integral harmonious subject-technical space of the environment of human life were revealed. There are 3 groups of coworking users (owners, employees, residents), according to which the requirements for office space are justified. Functional zoning of coworking allowed to specify the possibilities of using intelligent systems and innovative technologies in each zone and to develop recommendations for their use. As a result of the study, the effectiveness of the use of office furniture and accessories to combine work formats during the day was systematized. The expediency of using intelligent systems to change the working mood to an atmosphere of rest and relaxation, as well as the use of equipment for physical activity in the sports rooms of the coworking space was substantiated. The installation of such intelligent systems and innovative technologies is becoming a clear indicator of the concern for the physical and mental health of residents, which is in line with the latest trends in the use of innovative technologies and intelligent systems.

The aim of the article is to study such a design phenomenon as «zine» in terms of etymology of the name and its synonymous variability in English and Ukrainian. The main attention is paid to the ordering and systematization of the chronology of the formation of zine culture in Ukraine and America from the first carriers of the idea of distribution of limited editions to the present day. The development of zine culture in these regions took place in parallel with the acquisition of originality, depending on the socio-cultural situation and technological progress. Adherence to the set goal involves the study of the possibilities of using zines in society, in particular in modern Ukraine. Currently, samizdat has integrated into a new culture and is becoming part of contemporary art and literature. Research methodology. To carry out this study, the method of analysis, comparison and generalization of the documentation of the development of zine culture and its scientific analysis was used. Scientific novelty. The article reviews the parallel formation of zine culture in Ukraine and America. Based on the analysis of different points of view on the stages of development of zines and significant events that influenced it, the author’s chronology is proposed, structured according to three criteria – purpose and content, technical progress, institutionalization of zine culture. Conclusions. The article provides an overview of the historical background of the origin of the terms «zine» and «samizdat», which revealed the semantic similarity of the terms «zine» and «magazine». At the same time, the unique properties of zine as an object with permission for authentic (uncensored) expression, free from commerce, independent of common aesthetic, linguistic and spelling standards, full of unique ability to broadcast creativity and innovation, become apparent. Zine has been found to be a recognized category of publications that a number of scholars and practitioners have sought to single out as an independent form of design. The Zines draw on a long history of independent, alternative, and sometimes radical publications that began long before the first Zines appeared in the 1930s. Over the past century, they have evolved with the communities that produced them and the new technologies that have become available.

The purpose of this research is to systematize and present the acquired in the process of personal teaching effective teaching methods and techniques, as well as meaningful conclusions in the context of the course “Computer Technology in Design” for its optimization. Research methodology. The research is based, first of all, on the author’s remarks and observations on the peculiarities of mastering by students of the speciality “Graphic Design and Advertising” of the Kyiv National University of Culture and Arts the functionality of graphic editors. That is, among the scientific methods in the preparation of the article were used methods of observation, experiment, comparison, classification, systematization, scientific analysis. Scientific novelty. The study has found that the current model of teaching computer science to designers focused on the study of graphic editors needs to be improved and updated in the context of current trends in computer design. Therefore, taking into account the existing shortcomings, it was proposed to optimize the training approach in four main positions: study of digital art terminology; working out of technical receptions; combination of basic artistic principles with program functionality; education of analytical qualities in students (graphic image analysis). Thus, all volume of the tasks directed on working off of technical receptions in combination with basic art bases is classified into three categories according to their maintenance: algorithmic tasks (the result is predicted); creative tasks (the result is variable, unpredictable); combined tasks (the result is variable). The practical block of tasks for studying graphic editors Adobe Photoshop and Adobe Illustrator for 1–2 years students, successfully tested during the educational process during 2018–2021, is reflected in the table, and the relevant analytical conclusions are presented in the form of infographics. Conclusions. As it was proved in the course of the research, it is the accumulated teaching experience in the context of theoretical substantiation that can experimentally help to determine a quality educational model. As a result, it was possible to systematize the effective teaching methods and techniques acquired during personal teaching, to present a successfully tested set of tasks, as well as to formulate theses on optimizing the educational model in the context of the “Computer Technology in Design” course.

The article reveals the role of the poster, which at the beginning of XXI century doesn’t lose the position of the main advertising medium for outdoor (especially in city lights), in interiors for various purposes, even as an element of the decor instead of paintings, in virtual competitions of various themes, and can be transformed into online ads banners. Purpose of the study is environmental social advertising, an empirical analysis of visual language and stylistic trends in the poster was conducted. The research methodology is based on rethinking the results of the International Project “ECO-Culture”, whose objectives were the development of eco-thinking, popularization of eco-trends, the formation of poster art a new lifestyle in an urban environment, promoting the concept of clean cities and consumer culture. In this way, the role of education, art and design and the responsibility of each of us in the systemic changes for the environment is proved. To achieve this goal, scientific methods were used: system-structural, socio-cultural, axiological, comparative, method of theoretical generalization. Scientific novelty. Ecoposter has been actualized as a form of socio-cultural communication, strategically aimed at preserving the environment and creating comfortable conditions for human life and activity, changing consumer attitudes, strengthening social responsibility and positive values. Conclusions. The current state of ecoposter, in particular in Ukraine, motivates further initiatives and interdisciplinary approach to the development of ecoculture in society by means of Poster Art. In the arsenal of techniques to increase the efficiency and aesthetic level of ecoposters, the authors highlighted the use of creative advertising technologies – visual metaphors, hyperbole, associations, allegories and metonymy, focusing on the experience of famous poster artists and participants in international exhibitions and competitions.

Purpose of research. The need for a thorough scientific and theoretical consideration and generalization of the formation of systematic knowledge about the national forms of our art at the leading stages of historical development, is gaining relevance in modern domestic science of art. Among other things, it requires the study of the achievements of scientists in the study of national creative heritage in the field of sculpture of Kievan Rus and the Cossack times during the formation of scientific art history. The article is devoted to the process of formation of the concept of evolution of forms of sculpture of the old princely years and the Cossack era in the works of specialists of the early twentieth century. The research methodology is based on a comprehensive historical and cultural approach, a systematic method, synchronous analysis of publications of one time period, structural analysis. This methodology allows us to consider the gradual formation of scientific views on the characteristic national differences and the direction of evolution of Ukrainian art of this period in the broader international context of artistic development. The scientific novelty of the results is to determine the process of formation of objective ideas about the formal and semantic features, distinctive features and high artistic level of monuments of Ukrainian sculpture from ancient times to the end of the Cossack era based on analysis of publications of various trends of leading experts of the late XIX – XX centuries .: D. Ainalova, E. Redina, E. Kuzmina, F. Ernst, M. Makarenko, K. Shirotsky, S. Yaremich, V. Modzalevsky, F. Schmidt, devoted to the study of this branch of ancient Ukrainian art and in the context of the characteristics of the general development of fine arts, and as an independent subject of research. Conclusions. Ukrainian science of art of the early twentieth century. has achieved undeniable success in the study of national forms of domestic sculpture of ancient Slavic times, Kievan Rus and the seventeenth – eighteenth centuries. as the period of the highest prosperity. The considered material testifies to the high professional level of formation of the substantiated scientific concept of national self-sufficiency of ancient Ukrainian sculpture as an important component of the general art process at various stages of its development.

The purpose of the article is to identify the features of branding campaigns of Ukrainian art museums and their impact on increasing the popularity of museum institutions; and finding out the effectiveness of design approaches in such campaigns. Research methods are based on the application of comparative, formal-stylistic, iconological analysis and deconstruction method. The novelty of the research is to analyze the branding campaigns of art museums in order to learn from their experience and effective design solutions. The article also reveals the problem of integration of the viewer into the museum environment and the attempt through design to go beyond the imposed stereotypes, to overcome the attitude to art as a field alien to the average viewer. Conclusions. As a result of the analysis of branding campaigns of iconic Ukrainian art museums we come to the conclusion about their efficiency both for separate establishments, and for all culture in general. Comparative analysis of different approaches has shown the importance of identifying the uniqueness of institutions and attempts to reflect it in the design of identity. And although today we can talk about the belated transformation of the museum environment in Ukraine, which has been shedding boring socialist-realist cloaks almost three decades after the restoration of independence, it is important to note that this process coincides with the global trend of renewal of world museums. Design is becoming a cultural strategy that aims more than changing the image: it must turn the museum into a subjective player in the cultural field, able to think not in terms of power but in terms of culture. Therefore, the rebranding of the country’s iconic art museums can be called without exaggeration one of the most important cultural achievements since the restoration of independence. This process also demonstrated the current demand for design as a cultural strategy that can establish visual bridges between art professionals and potential viewers, as well as change cultural codes, set trends and thus influence the change of image of the city and country.