REPRESENTING THE NATIONAL IDENTITY OF UKRAINE IN GRAPHIC DESIGN
Keywords:
ethnodesign, visual communication systems, country branding, state brand, national identity, national symbols, «sharovarschyna», «bayraktarschyna»
Abstract
Based on the study of scientific works, comparative art historical analysis of a large array of ukranian graphic design since the beginning of its exit from the Soviet Union and its functioning as an independent state, it has been determined that the national liberation struggle assumed a broad scope, having only a territorial, but also a cultural character. It has been reflected that the new system of visual communication is characterized by the rejection of the Soviet heritage and complete de-Russification at the social and cultural levels. The establishment of the Ukrainian national style includes turning to the ethnic objects and their use by Ukrainian brands as part of the identity, and in the creation of new symbols associated with the war against russian invasion.The scientific novelty of the study lies in revealing the trends in the development of Ukrainian graphic design and visual representation of Ukraine and its symbols after the full-scale invasion of the Russian Federation. The practical significance of the work lies in a creation of a holistic picture of the development of graphic design «with a Ukrainian character» and in the formation of the main strategies for creating a Ukrainian national product and brand.
References
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14. Syvash, I. (2024). Motyvy etnodyzainu v suchasnii vizualnii kulturi. [Motives of Ethnodesign in Modern Visual Culture]. Visnyk Natsionalnoi akademii kerivnykh kadriv kultury i mystetstv, 2, 131–138 https://doi.org/10.32461/2226-3209.2.2024.308373 [in Ukrainian]. [in Ukrainian] 15. Soloviova, Yu., Antonova, O., & Manych, N. (2022). Natsionalno vyrazni elementy u redyzaini upakovky ukrainskykh tovariv na prykladi molochnoi produktsii. [ Nationally expres- sive elements in the redesign of packaging of Ukrainian goods using the example of dairy products]. Ekonomika ta suspilstvo, (46). https://doi.org/10.32782/2524-0072/2022-46-17 [in Ukrainian]
16. Udris-Borodavko, N. (2018). Kolazh u formuvanni natsionalnoi modeli hrafichnoho dyzainu ukrainy khkhi stolittia. [Collage in the formation of the national model of graphic design in Ukraine in the 20th century]. Visnyk KNUKiM. Seriia «Mystetstvoznavstvo», (38), 268–280. https://doi.org/10.31866/2410-1176.38.2018.141829 [in Ukrainian]
17. Udris-Borodavko, N. (2023). Hrafichnyi dyzain z ukrainskym oblychchiam [Graphic design with a Ukrainian face]. ArtHuss. [in Ukrainian]
2. Bondar, I. (2020). Etnodyzain yak forma zberezhennia obraziv narodnoho mystetstva v umovakh hlobalizatsii. [Ethnodesign as a form of preserving folk art images in the context of globalization] Demiurh: idei, tekhnolohii, perspektyvy dyzainu, 3(2), 192–201. https://doi.org/10.31866/2617-7951.3.2.2020.220078 [in Ukrainian]
3. Halchynska, O. S., Muntian, V. V., & Kostenko, I. O. (2024). Produkty hrafichnoho dyzainu stvoreni na osnovi tradytsiinykh ukrainskykh rozpysiv [Graphic design products are created based on traditional Ukrainian paintings]. Ukrainskyi mystetstvoznavchyi dyskurs, (4), 45–50. https://doi.org/10.32782/uad.2024.4.7 [in Ukrainian]
4. Dineri, E., Bilginer Özsaatcı, F. G., Kılıç, Y., Çiğdem, Ş., & Sayar, G. (2024). Unveiling the Power of Nation Branding: Exploring the Impact of Economic Factors on Global Image Perception. Sustainability, 16(16), 6950. https://doi.org/10.3390/su16166950
5. Iermolaieva, V. S., Nikishenko, Yu. I. (2017). Yavyshche «sharovarshchyny»: poshuk definit- sii [The phenomenon of «sharovarschyna»: searching for a definition] Mahisterium. Kulturolohiia, 68, 27–31. Retrieved from http://nbuv.gov.ua/UJRN/Magisterium_kul_2017_68_7. [in Ukrainian]
6. Kostusiak, N., Shulska, N., Kostrytsia, N. (2022). Metaforychna verbalizatsiia kontseptu viina v suchasnykh mediinykh zaholovkakh [Metaphorical verbalization of war concept in modern media headlines] Naukovyi visnyk Mizhnarodnoho humanitarnoho universytetu. Seriia: Filolohiia, 56, 60–65. https://doi.org/10.32841/2409-1154.2022.56.13 [in Ukrainian]
7. Madryha, T. (2024). Natsionalnyi brend Ukrainy yak zasib komunikatsii v umovakh povno-masshtabnoi viiny.[ The national brand of Ukraine as a means of communication in conditions of full-scale war] Visnyk Prykarpatskoho universytetu. Seriia: Politolohiia, 97–105. https://doi.org/10.32782/2312-1815/2024-17-13 [in Ukrainian]
8. Maslak, V. (2023). Etnichni motyvy u suchasnomu shryftovomu dyzaini upakovky. [Ethnic motifs in modern packaging font design] Aktualni pytannia humanitarnykh nauk. 70(2). 66–73. https://doi.org/10.24919/2308-4863/70-2-8 [in Ukrainian]
9. Mosendz, O., Kasianenko, K., & Krasylnykova, I. (2025). Rol natsionalnykh motyviv u suchasnomu ukrainskomu dyzaini ta yikhnii vplyv na hlobalni trendy. [The role of national motifs in modern Ukrainian design and their influence on global trends]. Ukrain- skyi mystetstvoznavchyi dyskurs, (6), 97–108. https://doi.org/10.32782/uad.2024.6.12 [in Ukrainian]
10. Mudrak, M. (2018) «Nova generatsiia» i mystetskyi modernizm v Ukraini ["New Generation" and Artistic Modernism in Ukraine] Kyiv : Rodovid [in Ukrainian]
11. Mudrak, M., Chechyk, V. & Pavlova T. (2011) Borys Kosarev: Kharkiv Modernism, 1915–1931 Kyiv : Rodovid [in Ukrainian]
12. Pashkevych, K. L., Herasymenko, O. D., Yezhova O. V., & its (2023). Ukrainska estetyka v dyzaini suchasnykh yuvelirnykh vyrobiv [Ukrainian aesthetics in the design of modern jewelry]. Art and Design, 1(21), 143–156 https://doi.org/10.30857/2617-0272.2023.1.14 [in Ukrainian] 13. Riznychenko, Ye. (2024). Reprezentatsiia ukrainskoi identychnosti v SRSR cherez pryzmu «sharovarshchyny» [Representation of Ukrainian Identity in the USSR Through the Prism of «sharovarshchyna»] Kulturolohiia ta sotsialni komunikatsii: innovatsiini stratehii rozvytku. U 2 ch. : materialy mizhnar. nauk. konf., prysviach. 95-richchiu KhDAK (21–22 lystop. 2024 r.). Kharkiv : KhDAK, Ch. 1, 109–112 [in Ukrainian]
14. Syvash, I. (2024). Motyvy etnodyzainu v suchasnii vizualnii kulturi. [Motives of Ethnodesign in Modern Visual Culture]. Visnyk Natsionalnoi akademii kerivnykh kadriv kultury i mystetstv, 2, 131–138 https://doi.org/10.32461/2226-3209.2.2024.308373 [in Ukrainian]. [in Ukrainian] 15. Soloviova, Yu., Antonova, O., & Manych, N. (2022). Natsionalno vyrazni elementy u redyzaini upakovky ukrainskykh tovariv na prykladi molochnoi produktsii. [ Nationally expres- sive elements in the redesign of packaging of Ukrainian goods using the example of dairy products]. Ekonomika ta suspilstvo, (46). https://doi.org/10.32782/2524-0072/2022-46-17 [in Ukrainian]
16. Udris-Borodavko, N. (2018). Kolazh u formuvanni natsionalnoi modeli hrafichnoho dyzainu ukrainy khkhi stolittia. [Collage in the formation of the national model of graphic design in Ukraine in the 20th century]. Visnyk KNUKiM. Seriia «Mystetstvoznavstvo», (38), 268–280. https://doi.org/10.31866/2410-1176.38.2018.141829 [in Ukrainian]
17. Udris-Borodavko, N. (2023). Hrafichnyi dyzain z ukrainskym oblychchiam [Graphic design with a Ukrainian face]. ArtHuss. [in Ukrainian]
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Published
2025-10-30
How to Cite
Safronova, A., & Safronova, O. (2025). REPRESENTING THE NATIONAL IDENTITY OF UKRAINE IN GRAPHIC DESIGN. Scientific Journal of Polonia University, 71(4), 139-147. https://doi.org/10.23856/7116
Section
LANGUAGE, CULTURE, COMMUNICATION
