https://repin.pjwstk.edu.pl/xmlui/handle/186319/1115 Wed, 04 Feb 2026 14:04:03 GMT 2026-02-04T14:04:03Z https://repin.pjwstk.edu.pl/xmlui/handle/186319/1140 The origins of visual language in dystopian advertising Tsitavets, Viktoryia This paper discovers the ancient roots of such notions as utopia and dystopia in order to trace their original etymology. The way through the most famous and major works in the history of dystopia reveals different types of it in variable forms of art. The key features of dystopian worlds are aimed to emphasize particular aspects of life in the worst possible way. Getting closer to the film industry it becomes clear that many dystopias filmed on camera are visualizing and interpreting apocalyptic scenarios from novels and other literature. Analyzing particular examples of legendary dystopian movies and advertising campaigns reveals certain character traits of visual language and storytelling. It includes dark color palettes, lighting, types of shots, grim music, propagandist and oppressive storylines in a way that causes emotional feedback and gives particular mood to the movie clip. Dystopian advertising catches viewer`s attention thanks to a completely different emotional feedback which it causes instead of expected positive emotions. Mon, 30 Aug 2021 00:00:00 GMT https://repin.pjwstk.edu.pl/xmlui/handle/186319/1140 2021-08-30T00:00:00Z https://repin.pjwstk.edu.pl/xmlui/handle/186319/1139 Artistic potential of contemporary video games Tabaka, Ursula The main objective of this theoretical paper is to study video games’ potential in the artistic context. The paper will approach video games as a novel artistic medium and analyse the potential of the medium in expressing philosophical questions and ideas. The study will also evaluate the impact of artistic games on an individual’s mental state and explore various possibilities for artistic expression from the technical point of view. The emotional impact of modern artistic games will be examined through studies of pre-existing academic publications; these studies, in turn, will be applied to analyse artistic and non-artistic video games that have been created in the last decade. The paper will also help to establish dominant artistic trends occurring in AAA (high-budget games), as well as within the indie game industry to predict the direction of the medium and its future development. Artistic video games will also be examined within a general art scope, as well as by comparison of the medium to traditional forms of art. The research will help to define the importance of artistic elements in video games in society as well as their importance in mass market entertainment-driven games. Mon, 30 Aug 2021 00:00:00 GMT https://repin.pjwstk.edu.pl/xmlui/handle/186319/1139 2021-08-30T00:00:00Z https://repin.pjwstk.edu.pl/xmlui/handle/186319/1138 Brand Manifestation: How the visual elements change for different branding personalities. Mi Sun, Mi Sun We could see that the colors, shapes and typography are the building blocks of a logo and each of them has a significant role to make the intended emotional, semantical and syntactical impact on the audience. The colors can work on us with their universal and cultural associations what they can evoke. Sometimes it can be explicit like a blue drop in a cleaning product`s logo or more implicit like the red in a newspaper logo. Due to the associations and emotions what they can evoke and how these are characteristic for certain industries it was discussed as well that some colors are more typical in certain industries like blue in the technology sector. The shapes from their nature are (more) tangible and their associative and emotional impact on us can work on us consciously or unconsciously. These shapes can be more exact and precise geometrical shapes, more rough and loose organic shapes, or more abstract or expressive symbolical shapes. In Logos these can work on the more underlying message of a brand character like masculinity or femininity or can become the most recognizable part of a brand like the chirping bird of Twitter. The typefaces went through and evolution since there first appearance and this evolution unknowingly takes part in the perception of the words they build up. Like and old-type face or serif letter will be more likely suitable for a brand which wants to express their connection to tradition and customs. The different strokes, contrasts, serif types, positioning i.e. the characteristics of the letters add up in the end who will we perceive those words. In a logo these typefaces have a bigger freedom compared to the written text in a book and can be as unique as a display typeface and different characteristics of brand and the product could be expressed with it. These visual elements in the end manifest the brand logo itself and play a significant role in the brand personality. Although there are no clear-cut rules for the usage of the graphic elements in the logos of the different brand personalities. But we could see that for some of these branding styles there are some characteristics which are more likely to be choosen (even though the samples for each types wasn`t broad). These connection have different grounds. The main cause for this could lay in the specifics of a good logo. Based on this review we could say that a good logo should be memorable, relevant, distinctive and simple. Making connection to the product, expressing the brand character and the desired traits for the certain industry,product type and target audience, can help to make most of these happen. And to have an in-dept knowledge about the different branding archetypes can make a designer more conscious and skillful in their work. Mon, 30 Aug 2021 00:00:00 GMT https://repin.pjwstk.edu.pl/xmlui/handle/186319/1138 2021-08-30T00:00:00Z https://repin.pjwstk.edu.pl/xmlui/handle/186319/1137 Slavic mythology and religion in the works of Victor Vasnetsov, Mikhail Vrubel, Jerzy Przybył Sosnovska, Dana In my theoretical part, I was analyzing using Slavic Mythology in art. Due to this, my thesis was based on the idea that elements of Slavic mythology and religion in the works of Victor Vasnetsov, Mikhail Vrubel, Jerzy Przybył are a bridge between the past and the present. On the one hand, in the artistic form they bring back to life the cultural and spiritual heritage of the Slavic peoples and, on the other hand, they send a message which is relevant for today’s world. The works of the artists mentioned above remain in stark contrast to nationalistic use made of Slavic beliefs by far-right, neo-pagan groups (Slavic Native Faith). The characters from Slavic Mythology were well used in works of Victor Vasnetsov, Mikhail Vrubel, Jerzy Przybył. The aim of painting them was to show their vision of Slavic Mythology on paint. I started to write from the history of Slavs. This is the beginning of all culture, as the place where they were staying and the group to which they have belonged, played a big role. Unfortunately, the original resources of Slavic Mythology don't exist. But nowadays we have many types of research done by different sciences about the origins of Slavic Mythology and the content of it as tales, creatures. But in my work, I was writing about the first mention by Procopia Caesarea in 562. Why is it so important to underline the origins? As it is proof that Slavic people had their Gods. Because Slavic Mythology is not so developed and learned as Greek or Egyptian Mythology. And for people it may make some doubts. But these artists used the Slavic myth in their works to renew the topic. I analyzed the works of Victor Vasnetsov, Mikhail Vrubel, Jerzy Przybył. I took the paintings which had the most meaning for me. As the "Demon" by Mikhail Vrubel, "Bogatyri'' by Victor Vasnetsov and "Dazbog" by Jerzy Przybył. All of them are full of symbolism which refers to Slavic Mythology. In the first painting Bogatyr by Victor Vasnetsov. He painted the 3 heroes from Bogaturski Byliny. The second painting is a "Demon" by Mikhail Vrubel. In the books, the demon is more described as the spirit, but Vrubel decided to paint it as human. The third painting is "Dazbog". The Dazbog is the God of the sun. All of these artists had the same goal to tell the part of Slavic history. In the works of Vasnetsov people might see the nationalistic direction. But these paintings didn't have the aim to make their painting as a nationalist weapon. As Hitler did. He made part of the culture as the weapon to manipulate people in his goals, to make them believe that they are special nation. But these artists made a big contrast, they painted the Slavic Myth to show that our ancestors were more close with nature and they were caring and peaceful people. These paintings were made in purpose to tell the next generations about Slavic Gods. Also, nowadays the topic of Slavic mythology didn't die. Now, we can see it in different books and modern cartoons. Also, to my observation, I see that young people are more and more interested in Slavic Myth. Mon, 30 Aug 2021 00:00:00 GMT https://repin.pjwstk.edu.pl/xmlui/handle/186319/1137 2021-08-30T00:00:00Z