CC BY
4
УДК 378
Khodjaeva U. M. associate Professor Department «Clothing design» National Institute of Fine Arts and Design
Uzbekistan, Tashkent
THE IMPORTANCE OF DESIGN IN FORMING A WORLDWIDE VIEW
OF YOUTH
Abstract: This article discusses the importance of design in shaping youth thinking. The importance of design in shaping the aesthetic taste of young people is explained by interesting facts.
Keywords: design, art, taste, worldview, culture
Through the complex relationship between design and art, we can significantly clarify the idea of modern design due to a greater penetration into the depth of design activity than was possible, while our task was to find out a generalized design product as an organized activity of professionals. It is no accident that the question of the relationship, or rather, the system of links between contemporary design and contemporary art, we are raising only now: although a direct comparison of art with design always seems attractive, it can do little until design is defined.
Such attempts have been made repeatedly, and the authors considered art uniquely known, and as a result of such comparisons three parallel and equally unprovable definitions were obtained. If we use the theoretical concepts that we have already examined, then this is "design - abstract art" (Herbert Reed); "design is not art" (Gloag, Ashford and others); "design contains elements of art, but does not match art" (Maldonado). Moreover, we can already take into account now that the authors had in mind, firstly, not an identical idea of art (we could separately distinguish Gio Ponti with his super-art, covering everything and everything) and, secondly, significantly different " designs. "Having defined design through its product - the consumer value of mass-consumed products - and pointing to the non-identity of design and design project activities, the significant autonomy of the latter, we now have the opportunity to correlate art with a completely unambiguous permanently defined design.
While the design product was understood as a thing or certain qualities inherent in a thing in its specificity, it was extremely difficult to correlate it with art; consumer value is undoubtedly a certain type of spiritual value introduced into a thing as an element of the whole material environment of a person (another question is what spiritual value it is), and this somewhat facilitates our task. However, we have repeatedly emphasized that the design product in our definition manifests itself exclusively through mass consumption, and this mass was not a purely quantitative certainty. Massiveness in referring to a design product undoubtedly includes a certain typification of perception, standardization (although there may be many standards) of consumer reactions. Until now, we had no reason to mean consumption, including the consumption of a visual expression of consumer value,
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the necessary complicity, co-creation, which connects the creator of a work of art with each of its consumers (if one can speak of consumption in its pure form) individually .
This individuality, the obligatory nature of the dialogue, is the deep essence of the communications established between the person-creator and the person-spectator (even if there are many) in art. Regarding design, it is difficult for us to find similar examples of direct communication in an individualized perception -where such a connection can be seen.
Design is now the main, most developed and theoretically meaningful sphere of human activity according to the laws of beauty outside of art. It covers the field of design, production and life of things manufactured by the industry, taking into account their benefits, convenience and beauty. "Design is a creative activity whose purpose is to determine the formal qualities of industrial products. These qualities include the external features of the products, but mainly structural and functional relationships that turn the products into a single whole, both from the point of view of the consumer and from the point of view of the manufacturer. "Design is the objective world created by man by means of industrial technology according to the laws of beauty and functionality. This is a new, industrial type of aesthetic activity. Design is generated by the needs of mass production and consumption.
Design creates a "visual language" - a special form language that gives ideas visual expression. In the visual design language, signs become proportions, optical illusion, color, the relationship of light and shadow, the emptiness and volume of bodies, color and scale. The design form is a sign of the material, technology and quality of manufacturing a thing, expressing its purpose (function) and its social being in the system of culture. In a certain sense, design is the result of the unlimited expansion of the sphere of applied art and its development on an industrial basis, the result of the penetration of aesthetics into technology, and the artist's invasion of production. A.V. wrote about the need for an "indissoluble union of industry and art" Lunacharsky: "The task of industry: to change the world in such a way that a person can best satisfy his needs in it. But a person has a need to live joyfully, live cheerfully, live intensely ... If a person does not have creative freedom, there is no artistic pleasure, his life is joyless ... It is important that the food is not only hearty, but also tasty, but a thousand it's more important that a useful household item is not only useful and expedient, but also joyful. Let us say this word instead of the still beautiful mysterious word "beautiful, elegant." The dress should be joyful, the furniture should be joyful, the dishes should be joyful, the home should be joyful ... A gigantic artistic and industrial task ... will be to find simple, healthy, convincing principles of joy and apply them to more grandiose than now, the machine industry, to the construction of life and life ... "Design makes the product form not only expedient and constructively meaningful, but also emotionally expressive, aesthetically meaningful. The design artist creates such products and tools that acquire the ability to "relate humanly to a human being," that is, they also have an aesthetic value.
Design provides a human relationship between a thing and its consumer - a
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person. And since there is a different person behind each thing - its creator and the thing appears in a peculiar role of a mediator, a link between its creator and the consumer, so far the design acts as a "humanization" factor in human relations. Using artistically constructed things, a person, as it were, contemplates himself in the world he created, which gives him deep aesthetic pleasure. Design carries out mass cultural and aesthetic communication, passing through everyday objects, tools, everyday items created by modern industry, a certain type of artistic taste. Design penetrates into all spheres of life and activity of people, has an all-encompassing effect on the general population. In terms of mass and power of aesthetic impact, it can not only be compared with cinema and television, but in a certain sense even surpasses them. After all, to go to the cinema, you need to find time and buy a ticket, to become a viewer, you need to buy a TV and find leisure. To undergo the aesthetic impact of design, it is enough to be our contemporary. It is impossible to avoid the impact of design, even having set itself such a goal, because no one is allowed to jump out of the cultural life of the era, do without its attributes, without furniture, utensils, means of transport, books, etc. And all this is the creation of design, with all this lies the seal of a certain style.
The influence of style on human consciousness is especially deep and direct. This or that form of a spoon, a hammer, a car, a TV, not only serves the goals of convenience and pragmatism, but also the goals of aesthetic impact. The latter in consumer products created according to the principles of design is connected with the lifestyle of a given society, the type of thinking and activity of this era. Design links spiritual and material culture into a single knot. He is the place of their meeting, the focus of their intersection. In addition, the design also combines art, scientific, technical and industrial-technological culture. Thus, it ensures the cultural integrity of modern civilization.
Literature:
1. Kurushin V.D. Graphic design and advertising. - M.: DMK - Press, 2001.272p.
2. Mesheshvili N. Express means of written communication Institute of Linguistics, USSR Academy of Sciences. - M.: 2006
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