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Файл:Английский язык для профессионального общения. Искусство и дизайн = English for Professional Communication. Art and Design. Учебное пособие
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Unit 4. Graphic Design
5. Mascots
Mascot logos are logos that involve an illustrated character. Often colourful, sometimes
cartoonish, and most always fun, the mascot logo
is a great way to create your very own brand
spokesperson.
A mascot is simply an illustrated character
that represents your company. Think of them as
the ambassador for your business. Famous mascots include the Kool-Aid
Man, KFC’s Colonel and Planter’s Mr. Peanut. Mascots are great for
companies that want to create a wholesome atmosphere by appealing to
families and children. Think of all those mascots at sporting events and
the great dynamic they create by getting involved with the audience!
When to use picture and symbol logos:
•• A pictorial mark alone can be tricky. It’s effective if you already
have an established brand but that’s not a hard and strict rule. You can use
brandmarks to your advantage to convey what your business does graphically if your name is too long, and they can also be used effectively to
convey a desired idea or emotion.
•• Pictorial and abstract marks also work quite well for global
commerce if, for example, a business name doesn’t lend itself well to
translation.
•• A pictorial mark however may not be the best idea if you anticipate
changes to your business model in the future. You may start off selling
pizzas and use a pizza in your logo but what happens when you start to
selling sandwiches or burgers, or even produce?
•• Abstract marks allow you to create a completely unique image for
your business, but are best left to design professionals who understand
how colour, shape and structure combine to create meaning.
•• Think about creating a mascot if you are trying to appeal to young
children or families. One big
benefit of a mascot is it can encourage
customer interaction so it’s a great tool for social media marketing as well
as real world marketing events. I mean, who doesn’t want to take a selfie
with the Pillsbury Doughboy?
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I. Basic course
•• Remember that a mascot is only one part of a successful logo and
brand, and you may not be able to use it across all your marketing material. For example, a highly detailed illustration may not print well on
a
business card. So put some consideration in the next type of logo design
below, the combination mark.
6. The combination mark
A combination mark is a logo comprised of a combined wordmark or
lettermark and a pictorial mark, abstract mark, or
mascot. The picture and text can be laid out sideby-side, stacked on top of each other, or integrated
together to create an image. Some well known
combination mark logos include Doritos, Burger
King and Lacoste.
Because a name is associated with the image,
a combination mark is a versatile choice, with both
the text and icon or mascot working together to reinforce your brand.
With a combination mark, people will also begin to associate your name
with your pictorial mark or mascot right away! In the future you may be
able to rely exclusively on a logo symbol, and not have to always include
your name. Also, because the combination of a symbol and text create
a distinct image together, these logos are usually easier to trademark than
a pictorial mark alone.
7. The emblem
An emblem logo consists of font inside a symbol or an icon; think
badges, seals and crests. These logos tend to have
a traditional appearance about them that can make
a striking impact, thus they are often the go-to
choice for many schools, organizations or government agencies. The auto industry is also very fond
of emblem logos. While they have a classic style,
some companies have effectively modernized the
traditional emblem look with a logo designs fit for
the 21st century (think of Starbucks’ iconic mermaid emblem, or HarleyDavidson’s famous crest).
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Unit 4. Graphic Design
But because of their lean towards higher detail, and the fact that the
name and symbol are rigidly entwined, they can be less versatile than the
aforementioned types of logos. An intricate emblem design won’t be easy
to replicate across all branding. For business cards, a busy emblem
may
shrink so small before it becomes too difficult to read. Also, if you
plan on embroidering this type of logo on hats or shirts, then you’ll really
have to create a design that is on the simple side or it just won’t be possible.
So as a rule keep your design uncomplicated and you’ll walk away with
a strong, bold look that’ll make you look like the consummate
professional.
When to use a combination mark or emblem logos:
•• A combination mark is a great choice for pretty much any business out
there. It’s versatile, usually highly unique, and the most popular choice of
logo among prominent companies. (We also see A LOT of combination
mark logos get created on 99 designs.)
•• An emblem’s traditional look might be favoured by lots of public
agencies and schools but it can also serve any up-and-coming private
business quite well, especially those in the food and beverage industry:
think beer labels and coffee cups (Starbucks!). But remember to play it
safe when it comes to detail. You still want a design you’ll be able to print
neatly across all of your marketing material.
17. Comment on the following statements.
1. Monogram logos or lettermarks are logos that consist of letters, usu-
ally brand initials.
2. A wordmark or logotype is a font-based logo that focuses on a busi-
ness’ name alone.
A pictorial mark (sometimes called brand mark or logo symbol) is an
3.
icon – or graphic-based logo.
4. An abstract mark is a specific type of pictorial logo. Instead of being
a recognizable image – like an apple or a bird – it’s an abstract geometric form that represents your business.
5.
Mascot logos are logos that involve an illustrated character.
6. A combination mark is a logo comprised of a combined wordmark or
lettermark and a pictorial mark, abstract mark, or mascot.
73
I. Basic course
18. Look through the studied material again and write your own
composition My Future Specialty, be ready to discuss it.
19. Read the poem Design and discuss it in your group. Translate
the poem into Russian. You can write your own poem about design.
Design
I found a dimpled spider, fat and white,
On a white heal-all, holding up a moth
Like a white piece of rigid satin cloth –
Assorted characters of death and blight
Mixed ready to begin the morning right,
Like the ingredients of a witchesʼ broth –
Snow-drop spider, a flower like a froth,
And dead wings carried like a paper kite.
What had that flower to do with being white,
The wayside blue and innocent heal-all?
What brought the kindred spider to that height,
Then steered the white moth thither in the night?
What but design of darkness to appall? –
If design govern in a thing so small.
Robert Frost
20. Do research using the library, the Internet and other sourses.
Write an essay on one of the topics given below.
1. Design in our life.
2. Why do I want to be a designer?
3. My favourite English designer.
74
Unit 5. F rom the History of Art
. FROM THE HISTORY OF ART
Unit 5
TOPICAL VOCABULARY
WORDS TO LEARN
plastic arts – пластическое искусство
art school – художественное училище
Art Nouveau [ɑ:(t)nu:ʹvǝυ] – франц. стиль «модерн» (художе-
ственный и архитектурный стиль конца XIX – начала XX вв.)
antique [´æ nt ɪk] art – античное искусство
folk art – народное искусство
applied arts – прикладное искусство
architecture – зодчество
(the) Academy of Arts – Академия художеств
master – великий художник, мастер
landscape painter – пейзажист
portrait painter (portraitist) – портретист
painter of seascapes – маринист
still life painter – художник, пишущий натюрморты
pastel(l)ist (pastel painter) – художник, рисующий пастелью
black-and-white artist (a painter in black-and-white) – график
colourist – художник-колорист
draughtsman [drɑ:f(t)smǝn] (draftsman) – рисовальщик
VOCABULARY PRACTICE
1. Give English equivalents of the following words and word
combinations.
Историческая живопись, абстракционизм, рисовальщик, современное искусство, художник-колорист, графика, пейзажная живопись, маринист, народное искусство, фресковая живопись, прикладное искусство, акварельная живопись, зодчество, пленэрная живопись, батальная живопись, изобразительные искусства.
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I. Basic course
2. Match the words with their definitions.
fine art(s) a paint that is mixed with water to create
pictures, or a picture made with this paint
graphic (black-andwhite) arts
an artist who uses paint to create pictures, or
a worker whose job is to cover parts of buildings
with paint
water-colour
someone who draws well
painting
master a type of art that is admired for its beauty
(painting, sculpture, music, and dance)
painter arts involving the use of lines and tone, rather
than the use of colour
draughtsman a person who is very skilled in a particular job
or activity
3. Make as many sentences as you can, using the following substi-
tution pattern.
Gainsborough
Morland
Reynolds
Van Dyck
Michelangelo
Rembrant
Bryullov
Shishkin
is
an outstanding
a brilliant
a prominent
painter of
the
XIX
XVIII
XVII
XVI
century
4. Make as many sentences as you can, using the following substi-
tution pattern.
Gainsborough
Morland
Reynolds
Van Dyck
Michelangelo
Rembrandt
Brullov
Shishkin
Surikov
Vasnetsov
Aivasovskiy
was a brilliant painter of
pastoral scenes
nature
landscape
sea-scape
genre scenes
still-life
battle scenes
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Unit 5. F rom the History of Art
LANGUAGE PRACTICE
1. Answer the questions.
1. What do you know from the history of Belarusian Fine Arts?
2. Do you like Belarusian modern art?
3. What famous Belarusian painters and sculptors do you know?
READING AND SPEAKING
2. Read the text Belarusian Fine Arts and get ready to speak about
Belarusian fine arts.
Belarusian Fine Arts
Belarusian artists have made an enormous contribution to the deve-
lopment of Slav culture. In the XII–XVIII centuries the most popular
genres of fine arts in Belarus were frescos, icon and portrait painting.
The Belarusian fresco painting of that period has a number of peculiar
features. The traditions of the Byzantic, Old Russian and West-European
art as well as the presence of local art school can be traced in the fresco
details of the Church of the Saviour-Evfrosinia Monastery in Polotsk
(XII century).
The Belarusian iconpainting has a number of striking features pecu-
liar only to this particular school which enables us to single it out as an
independent school. There is an obvious relationship between iconography and secular portrait painting. The introduction of secular symbolic
details into iconography is strikingly illustrated in the XVI and
XVII century icons which are exhibited in The National Art Museum of
the Republic of Belarus
the Unfading Flower (1649), where the crowns and flower-sprinkled
robes of the Madonna symbolize a mystic union between the material
and spiritual world. This is particularly true of The Nativity of the Virgin
icon (early XVII century) painted by Peter Yevseyevich from Golynets,
in which the holy woman is vested in folk embroidery.
The XVI century portraits created in Belarus were influenced by the
Italian and German Renaissance. Secular painting in Belarus took the
form mainly of portraiture, much of which was anonymous before the
century. Ivan Khrutsky (1810–1885) is considered to be the greatest
XVIII
St. Paraskeva (1575) and The Virgin and Child of
77
I. Basic course
figure in Belarusian art of the XIX century. His sentimental portraits and
luminous still-life paintings had been assiduously collected by Russian
and Polish art – galleries.
An important role in the formation of young artists in Belarus was
played by the opening of art schools in Vitebsk (1898) and Minsk (1906).
Among the various genres of Belarusian fine arts watercolour painting
is of undoubted importance and interest. Unfortunately, a lot of watercolours were lost during the war. In wartime the topics of the day were the
focus of all ar t. The watercolours of those days are permeated with excitement and peopleʼs unbending spirit and readiness to fight against the
invaders. V. Volkov, E. Krasovsky, V. Kudrevich, L. Leitman, S. Romanov
and other Belarusian painters worked then in various genres. In postwar
years new peculiarities appeared in Belarusian watercolour painting. The
artists tried to come in closer contact with their heroes, to mingle with
their subjects and contemporary life.
Watercolour landscapes are a particular phenomenon in Belarusian
art. Here we should mention V. Tsvirko, one of the leading Belarusian
artists. His watercolours
Snow and April
are superb. The artist has managed to obtain fresh and
Willows Have Burst into Blossom, The Melted
rich colour effects. His pictures are true to life.
Stilllife paintings and watercolours are also noteworthy. V. Posledovich
(Still Life with Iris, Red Still Life), E. Krasovsky (The Fruit of the Crimea)
and other artistsʼ works in this genre.
The most famous Belarusian artists who painted in oils are M. Savitsky,
E. Zaitsev and I. Akhremchik. The war theme predominates in their
pictures, though, of course, they also painted landscapes and portraits.
M. Savitsky worked out his major theme, that is of partisan movement,
which is so dear to every Belarusian. The series Figures on the Heart by
M. Savitsky has become a specific phenomenon in Belarusian art. These
thematic pictures are based on real events and reflect the brutal methods
of extermination practiced by fascists in concentration camps. Savitsky’s
pictures expose the sinister nature of fascism, and, at the same time,
glorify the courage and strength of people fighting against it.
Belarusian graphic art has rich and interesting traditions. Its history is
closely connected with the history of the written language. The art of
printing in Belarus began in the first half of the XVI century. The first
78
Unit 5. F rom the History of Art
illustrated books in the Slavonic countries were printed by Francisk
Scoryna.
The graphic artist has to represent all the beauty of the surrounding
world, all the nuances of colour with the help of two colours only: black
and white, paper being the white background. In contemporary Belarusian
graphic art painters belong to different generations and work in various
styles.
At the beginning of the XX century a new trend of abstract painting
developed in Vitebsk. The world famous M. Shagal, K. Malevich, G .Pen
were among the artists who belonged to that trend. Some of them had to
leave Belarus and live abroad. Nowadays these artists are our sorrow and
our pride.
No less significant are the achievements in sculpture. Leaving aside
the older masters – A. Bembel (one of the creators of The Brest Memorial
Complex) and Z. Azgur (his monument to Yakub Kolas has been erected
in Minsk) – the younger ones are also doing their bit. They are S. Vakar
(his expressive and very poetic monument to M. Bogdanovich stands in
front of the Opera and Ballet Theatre), T. Misko (his monument to
I. Buinitsky is located in Prozaroky), A. Anikeichik (his artistic monument to Yanka Kupala is admired by all the guests of Minsk).
S. Selikhanov (K. Zaslonovʼs monument in Orsha) together with such
architects as Y. Gradov, V. Zhankovich and L. Levin took part in the
construction of the majestic Khatyn Memorial. Khatyn is known to the
world as a symbol of nazi barbarity. One hundred and forty-nine people,
including 76 children were burned down alive in that village by fascists
during one of their punitive expeditions. Such fearful destiny befell
627 villages in Belarus. One hundred and eighty-six of these villages
have not come back to life. One of the stones of the Khatyn Memorial
bears this inscription: ‘We have burnt alive in flames. We appel to all of
you: may pain and sorrow turn into courage and strength, so that peace
and quiet on Earth may come for ever. May life never again be extinguished anywhere in a holocaust of fires. [12]
3. Answer the questions.
1.
What genres of painting were popular in Belarus in XII–XVIII cen-
turies?
2. What genre prevailed in secular painting in the XVI–XVIII centuries?
79
I. Basic course
3. Why is it difficult to name outstanding portraitists of that period?
4.
What is characteristic of watercolours of the war period?
What is V. Tsvirko famous for?
5.
6.
Are his pictures true to life?
7. What traditions does the Belarusian graphic art have?
8. What trend of painting appeared in Vitebsk at at the beginning of the
XX century?
9. Who are the old masters in Belarusian sculpture?
10. Who belongs to the younger generation of Belarusian sculptors?
4. Comment on:
•• the contribution of Belarusian artist to the development of Slav
culture;
•• a new trend which appeared in Vitebsk at the beginning of the
century;
XX
•• the development of watercolour painting in Belarus.
5. List as many sculptors and painters from Belarus as you can.
Compare your list with of your group mates.
READING COMPREHENSION
6. Read the text Our Great Countryman: Mark Shagal and give
a suitable title for each paragraph:
Our Great Countryman: Mark Shagal
Moisey (Mark) Shagal was born into the family of a poor merchant in
Vitebsk in 1887. At the age of 20 he entered the art school of Ieguda Pan.
There Shagal gained experience and worked out his unique manner of
painting. And furthermore the promising young artist inherited some
features of Penʼs manner of painting. Shagalʼs main theme was: poor people
and their mode of life. It should be mentioned that Penʼs art school was the
best at that time and young artists had been dreaming to study there.
After finishing art school Mark Shagal and his friend Victor Mekler
went to study to Petersburg. Shagal studied at the school headed by
N.
Rerikh. He was one of the best students.
In 1909 he met Bella (Berta) Rosenfeld, a daughter of a rich jeweller
from Vitebsk, and fell in love with her. His love inspired him to create
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