title: Development Stages of Graphic Design in the Arab World
metadata.name: dc.contributor.author
metadata.value: Sabour, Karam N.
metadata.lang: -
metadata.name: dc.contributor.author
metadata.value: Vilchinskaya-Butenko, Marina E.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2019-12-12T10:30:58Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2019-12-12T10:30:58Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2019-09
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Sabour, Karam, and Marina Vilchinskaya-Butenko. “Development Stages of Graphic Design in the Arab World”. Vestnik of Saint Petersburg University. Arts 9, no. 3 (2019): 590–603.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu15.2019.309
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/16818
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: The article identifies the graphic design periodization criteria and its development stages in
  the Arab countries. It is noted that the initial development stage of graphic design aligns with
  design history in general. The allocation of graphic art as an independent professional domain
  can be considered to be a specific characteristic of the protodesign period (8th–19th centuries).
  Certain specific elements of the Islamic decorative canon developed, particularly calligraphy,
  geometric patterns, and vegetal arabesques, and professional artists and calligraphers appeared during this stage. The second stage of graphic design development in the Arab countries is
  characterized by the period of colonial dependence and priority of the European cultural tradition
  (19th — first half of 20th century). This was connected with the establishment of applied
  graphic arts as an independent art form — book and advertisement design (pictorial signboards,
  political advertisements, posters, and event posters), bank note design, typographic
  letterheads, postal graphics, etc. This form of graphic design is connected with cultural borrowing
  and the lack of national traditions and professionals in the sphere of graphic design.
  The third stage goes back to the visual language of geometric patterns, arabesques and Arabic
  calligraphy as an all-Arab visual heritage. It marked the establishment of printing offices and
  printing schools, changes in aesthetics of the printing industry due to production computerization,
  the introduction of a graphic designer occupation, and similar major programs in
  Arabic universities.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of Saint Petersburg University. Arts;Volume 9; Issue 3
metadata.lang: -
metadata.name: dc.subject
metadata.value: graphic design
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: design history
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Arab countries
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Arabic calligraphy
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: arabesque
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: graphic ornament
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Development Stages of Graphic Design in the Arab World
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 590-603.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/16818/1/590-603.pdf
resources.format: Adobe PDF
resources.size: 668,89 kB