The final paper is devoted to the rather new phenomenon in the world of books – to the artist’s copyright book. It is thirty years old only, however, already three exhibitions of “artist’s” book were arranged. Objective of the final paper is to show historical development of the book origin and finishing with modern book and book’s form, destination, material changes are considered here. These are Sumerian clay tables and Egyptian papyrus and the Middle Ages’ manuscripts and the book which today we cal call classic with its canons and standards. Simultaneously, development of post services is analysed also as it was an integral part of the book. Analysis of book development is the context in which today “artist’s” book forms. This is like a new phenomenon, deliberately denying traditions, both of form and material, and finally of function of the book in all world of art, in which attention is drawn to the concept, individuality, where traditions are deliberately avoided and the escape from traditions also becomes a tradition.

„Woman pride“ – project of feeling vision. The album „Woman pride“ – project of feeling vision was prepared and predicated according to art, design theory (knowledge of artistic and composite expression means) and evaluation criteria of design creation (aesthetics, functionalism, solid style and availability). The conception was formulated and it was grounded by philosophical and social aspects. Creative work organisation, general statistics, colouristics, constructional and other decisions were concretized with reference to prototype analysis and examples. Creative work span is planned and design decisions of concrete parts are formulated. The hypothesis is based with work results that synthesis of painting, graphics, drawing and photography enable to create subtle and modern product.

The Taro cards are the theme of the work. The point of work is to create the classic Taro deck of cards, containing all 78 cards, decompounding of 22 senior arcades and 56 cadence using traditional taro card system and sustaining with symbolisms of the Baltic tribes. The target of work: 1. To scrutinize the history, structure and symbolism of Taro cards. 2. To scrutinize the string of Taro cards with the magical world. 3. To scrutinize symbolic meaning in philosophical aspect. 4. Sustaining on the analysis of prototypes to concretize the volume and organization. 5. Designing (the generation of the idea for the work, sketching, projecting with a computer programs). There is the analysis of the literature and other sources of information used in the work. The photography and computer graphics are used in the magisterial work. In pursuance of the best quality there was the photography session with the reselected models organized. The pictures were processed with Adobe PhotoSHOP and Corel PhotoPAINT computer programs, later the results were processed with CorelDRAW computer program. Appearance and in abstract a growth of human mind gain abstractness, gets some new names, newer the less the target remains the same ��� to find the very point of reference, which could lead the life in harmony. Primitive minded people understand the ambience more in prominence to the parts that are important to their empathize which are important to experience, it is its harmony with nature... [to full text]

Bakalauro darbe analizuojama raitelio apranga – jos istorija, aprangos taisyklės šių dienų žirginiame sporte bei, kaip raiteliškumo bruožai atsispindi drabužių kolekcijose. Analizė buvo daroma siekiant geriau susipažinti su raitelio apranga ir suprojektuoti drabužių kolekciją raiteliams. Teorinės informacijos analizė atskleidė, kad žmogus ir žirgas neatsiejamas jau daugelį tūkstantmečių. Net ir pačiuose seniausiuose išlikusiuose istoriniuose šaltiniuose, praktiškai kiekvienos tautos mitologijoje ar tautosakoje sutinkamas žirgas, kuriam skiriama ypač garbinga vieta kaip žmogaus draugui ir pagalbininkui. Žirgas, kaip prestižas ir mada geriausiai atsiskleidė suklestėjus dvarams. Tuomet, pradėjus naudoti žirgą ne tik karo tikslams, bet ir pramogai keitėsi ir raitelio apranga. Jai kisti sąlygojo žmogaus pasaulėjauta, žirgo naudojimo paskirtis bei žinoma pramonė. Jai suklestėjus buvo pradėta naudoti įvairesnius audinius bei drabužių sukirpimą. Tačiau raitelio apranga niekada neturėjo kliudyti joti, to nesąlygojo jokia epocha. Per visą istoriją raitelio drabužiai buvo paprastesni ir kuklesni nei kasdieniniam naudojimui skirti drabužiai. Daugiausia suvaržymų ir sąlygų yra pateikiama šių dienų žirginiame sporte. Kadangi, tai labai ekstremalus sportas, skirtingai nuo kiekvienos soprto rūšies yra pateikiamas ir tam tikras raitelio aprangos kodas. Drabužiai nevaržo judesių ir padeda geriau justi žirgą jojant. Tiriamosios temos objektas – raitelio apranga – yra savitai patrauklus ir... [toliau žr. visą tekstą] / In this bachelors work were analyzed clothes of equestrians – their history, nowadays rules of the horseback riding clothes and how designers are interpretating the equestrian‘s image into the clothes collections; this analysis has been made to get more informations about equestrians and to design a clothes collection inspired to them. The analysis of the theoretical partshowed that human and horse are connected for ages. Even in the oldest historical memorials, almost in every part of the world, horse took a big part in human‘s life, as a friend and as a worker. The best period of this relashionship, when horse started to be a demonstration of richness and social power, was the time of the manors. There were a lot of changes in equestrians clothes when the horse started to be used not just for the war, but also for entertainment. Human way of thinking, different uses of horses and industrialization cotributed in a lot of changes in equestrian clothes; because of the industrial progress was possible to make more difficult fabrics and obtain from new materials more elaborated clothes. No matter which period it was, first of all equestrian clothes had to be confortable. Through all the history equestrian clothes were simplier than casual ones. A lot of rules are in nowadays horseback riding sports. First of all, clothes have to be “safe“. In the different disciplines are also special dress codes for the equestrian equipment. Clothes have to protect and at the same time to... [to full text]

Darbe nagrinėjamos butaforiškumo ir moteriškumo sąsajos bei pateikiama meninė jų vizualizacija. Apžvelgiama bendroji butaforijos samprata, ieškoma butaforijos apraiškų kultūroje, mene ir madoje. Koncentruojantis ties mados butaforijos apraiškomis, analizuojamos sudėtinės kostiumo dalys, nagrinėjama ar drabužis, kaip kostiumo detalė, gali butaforizuoti jį dėvintįjį. Atsižvelgus į drabužio galią butaforizuoti, išskirtas labiausiai šią galią įprasminantis drabužis – korsetas. Jis pasirinktas, kaip meninės raiškos priemonė praktines darbo dalies fotografijose, vizualizuojant butaforinę moterį. Ši sąvoka teorinėje darbo dalyje nagrinėjama masinės ir moderniosios (postmoderno) kultūros kontekste, analizėje atsižvelgiant į feminizmo atstovių teiginius. Darbe taip pat aptarti populiariausi šiuolaikinėje visuomenėje moters įvaizdžiai bei jų kūrimo principai. Daug dėmesio skiriama mados fotografijai ir grafiniam dizainui, koncentruotasi ties kalendorių dizaino sritimi. Grafinio dizaino ir fotografijos dermė naudojama, išryškinant butaforinės moters sąvoką praktinei darbo daliai sukurtame kalendoriuje. Įvertinus ir išnagrinėjus butaforinės moters sąvoką bei vizualizaciją fotografijos mene, aptariamas darbo temos aktualumas pedagogikai bei praktinis darbo tematikos pritaikymas meninio ugdymo srityje. / The object of this study is to investigate specific sham woman image in art works, and to analyse the treatment of woman as object in art and society. To analyse the general conception of props and sham, look through the cultural history on purpose to find how they were used in practical part of art. The author of this study examines the sham principle in fashion, analyses components of the costume and focuses on phenomenon how the part of the costume can change the person into the sham object. The corset is used as such changing part of the costume. It is chosen as the artistic expression of the practical work of women photographers trying to visualize sham principle. The concept of theoretical part deals with the culture for and (postmodern) culture in the context of the feminist analysis of the representatives of the claims. Also the most popular images of woman in art and the main principles of making these images were discussed in this study. A lot of attention was paid to fashion photography and also graphic design, having an assumption that most important part of graphic design for this study is calendar design. The correlation between art photography and graphic design was used as purpose to expose visualization of sham woman in calendar which was designed especially for this study. Also the relevance for pedagogy and practical adaptation of this study in the fields of art education were evaluated.

Vydūnas (tikr. Vilhelmas Storostas, 1968–1953) – lietuvių palikimo autorius, filosofas, Mažosios Lietuvos kultūros veikėjas, gyvenęs ir kūręs ypač neramiais kovos dėl Lietuvos valstybės, lietuvių tautos tapatumo išsaugojimo laikais. Šiame darbe tiriama neatskiriama autoriaus gyvenimo ir kultūrinės veiklos dalimi buvusi jo kūrinių leidyba ir sklaida. Leidybinė autoriaus veikla lietuvių kultūros, Mažosios ir Didžiosios Lietuvos bei Lietuvos ir kitų valstybių santykių istorijoje atliko nemenką vaidmenį, kuris reikalingas apibendrinti ir įvertinti. Rašytojo palikimas leidėjų tebėra siūlomas ir šiuolaikiniam skaitytojui, tačiau laikotarpiui, o kartu ir visuomeniniam bei kultūriniam kontekstui pasikeitus, pakito ir rašytojo kūrybos aktualintojų vykdomos leidybinės veiklos specifika, jos tikslai. Šio darbo problematika apima nuo pirmosios autoriaus knygos paskelbimo iki šių dienų tebevykstančius jo kūrinių leidybos ir sklaidos procesus. Tyrimo objektas susideda iš dviejų kategorijų: autoriaus gyvenimo metais vykusių jo kūrinių leidybos procesų ir Vydūno kūrybinio palikimo aktualinimo darbų. Svarbiausias darbo tikslas – kompleksiškai ištirti Mažosios Lietuvos mąstytojo kūrinių leidybos ir sklaidos procesus, šios veiklos ypatumus lėmusias priežastis; apibendrinti leidybos organizavimo tendencijas ir veiklos rezultatus. Pagrindiniam tikslui pasiekti buvo iškelti šie uždaviniai: apibūdinti Vydūno kūrybos repertuaro sudėtį bei repertuarą sudarančių leidinių ypatumus; nustatyti... [toliau žr. visą tekstą] / Vydūnas (Wilhelm Storost, 1968–1963) was a Lithuanian writer, philosopher and cultural figure who lived in the uneasiest times of fighting for Lithuanian nation, its spiritual and cultural identity. He belonged to the Lithuania Minor but his public activity was oriented to the both parts of the nation. An integral part of the author’s life and his public activity was the publishing and spread of his works. The following processes may be taken as a way of author’s communication with nation. But this activity has been researched only partly and needs to be summarized and evaluated. The ideas of Vydūnas appear relevant in our days: they are offered to the modern reader but because of specific cultural and other aims the processes of publishing and distribution of books retain some particularity. The object of the work consists of two categories: the publishing processes in the author’s living days (which in most cases was controlled by Vydūnas himself); other category is a publishing of the creative heritage of the author (after his death). The main purpose of this Master thesis is to analyze the publishing and spread of the works written by W. Storosta, the factors which influenced the peculiarity of these processes; to summarize the tendencies of work organization and the results of realized projects. The main methodological principle is historicity. It enables to analyze facts in the particular political, economical and cultural context. For the research general scientific... [to full text]

Pirmojoje darbo dalyje nagrinėjama dizaino nauda edukacijoje. Ši dalis skirta teorinių šaltinių analizei, dizaino galimybių edukacijoje pavaizdavimui, apibrėžti šiuolaikinės mokyklos problemas ir dizaino galimybes joje. Antroji darbo dalis skirta apžvelgti užsienio ir Lietuvos dizaino ir kūrybingumo pasireiškimą edukacijoje. Trečiojoje dalyje, yra kuriamas paslaugos konceptas vadovaujantis dizainerio mąstymo ir paslaugų dizaino metodais. Ketvirtoje dalyje, atlikta galimybių analizė remiantis Dizaino receptų paslaugos įvedimo į rinką pavyzdžiu, įvardintos projekto vizija ir misija, atlikta PEST analizė, sukurta objektų kolekcija Dizaino receptų sistemai. / Design education benefits are analysed in the first part of this work. First part is dedicated to theoretical model analysis, in order to emphasise esential aspects of design which could be used in education. Second part is to observe Lithuania’s and foreign cultural-educational projects and cases. Third part is a concept of a service based on design thinking and service design methodologys. Fourth part shows posibilities study based on Design recipes service concept. Several researches were carried out, such as PEST analyses, an interview with arts and crafts teachers. Collection of design objects was specially created for Design recipes educational system.

Darbe keliama dizaino ir marketingo dermės stoka, menkas šių sričių specialistų bendradarbiavimas. Tyrimais siekiama įrodyti dizaino ir marketingo sąveikos būtinumą. Dizaino ir marketingo sąveika darbe pateikiama kaip labai aktuali Lietuvoje dizaino inovacija. Darbe atlikta dailės ir socialinių mokslų studentų baigiamųjų magistro darbų analizė. Pasirinkta 11 studentų darbų: 5 socialinių mokslų ir 6 menų mokslo srities. Studentų darbuose analizuojami trys pagrindiniai tyrimo objektai: komunikacija, reklama, firminis stilius. Tyrimo rezultatai parodė, kad dizaino inovacijos turėtų reikštis glaudesne marketingo ir dizaino sąveika. Dizaino inovacijų plėtra turėtų pasireikšti šiomis tendencijomis: marketingo specialistai į marketingo rengimo strategiją turėtų įtraukti dizaino specialistus, dizaino specialistai turėtų rengti dizaino projektus pagal atitinkamą marketingo ir dizaino specialistų kartu parengtą marketingo strategiją. Galimi šie dizaino inovacijų diegimo lygiai: dizainas prie marketingo pritraukiamas galutiniam apipavidalinimui, dizainas naudojamas produkto gamyboje, dizainas dalyvauja produkto kūrime nuo pirmojo žingsnio. / The work highlights lack of tune between design and marketing, not sufficient collaboration among the professionals of these fields. The research aims to prove the necessity of interaction between design and marketing. Interaction of design and marketing is presented as a very relevant design innovation in Lithuania. The work is based on the analysis of master works of art and social sciences students. It covers 11 works, including 5 from the field of social sciences and 6 from art. Three main subjects of the research that have been analysed encompass communication, advertising and brand style. The research results indicated that design innovations should be expressed in a closer interaction between design and marketing. The development of design innovations should open out in the following trends: marketing professionals should involve design professionals into marketing planning strategy and design professional should prepare design projects under the appropriate marketing strategy, prepared jointly by marketing and design professionals. The following levels of implementation of design innovations are possible: design is incorporated into marketing for the final shaping; design is used in the process of production; design partakes in the product creation from the beginning.

The aesthetics of material environment grounded on design influences us. We are sensitive to space (to its certain volume); it influences our psychological state. Everyone of us encounters material environment as a user, perceiver or creator. Modern teenager finds it quite difficult to perceive himself and his relation with the surrounding reality or the forms of reality. It is even quite difficult to tell what is material environment. Modern technologies can easily present fiction, imitation as a reality, which we start trusting, perceive and live in. The man communicates with the environment and information. His imagination has to start to evaluate, form and change the material environment in a creative way, employing cognitive, logical and emotional processes. Design as designing of material environment, artistic constructing, creation of aesthetic appearance combines art, science and technics. Aesthetic cognisance is significant in its evolutionary sense too, because it enables to model and describe internal and external world, which surely would be impossible to represent just in the rational way. Aesthetic value describes the so-called object, on one hand as the totality of peculiarities and various relations, and on the other hand, as the relation of those peculiarities and the man with the environment (natural, social, material). This research work provides a broader analysis of aesthetic reflection of design as one of the types of aesthetic activities. Design... [to full text]

Transformable Furniture Master’s Degree Work The theme of the Master’s degree work - “Transformable Furniture” – is a topical issue these days, because the problem of irrational and tasteless furniture as well as interiors still exists. After analysing theories of the development of contemporary material environment as well as philosophical and artistic theories and attitude through the prism of the art and science proportion, the conception of the art playfulness, tendencies of the development of furniture and interior installations, assortment and principles of the creation and art conception as well as ergonomic laws, declared by the Functionality, the Constructivism, the concept of the Master’s degree work was formed, theoretical description was prepared and the universal, transformable furniture of 98 sq. m., designed for the interior was created; it enables to plan the dwelling space rationally and creatively. The project is composed from eleven main objects with continuous transformable modifications of the furniture for individual space. The project is presented on fourteen plane-tables with detailed schemes of each object, visualisations of their position in the interior. Three-dimensional models of each object are presented following a chosen scale of M 1 : 10. After the analysis of theoretical sources and their application in the project, the conclusions were made: transformable furniture enables to form the mobile as well as playful individual space... [to full text]