Zhelondievskaia L.V., Sorokina A.A.
FORMATION OF DESIGN THINKING AMONG SCHOOLCHILDRENIN THE PROCESS OF ARTISTIC AND PROJECT ACTIVITY ^{[№ 1 ' 2024]}
In a changing world, it is difficult to determine the future of many professions, therefore, a student needs to be prepared not only for specific, understandable professions today, but rather for a set of cognitive processes, activities for solving project tasks. Any innovations are driven by the design thinking of their creators. The term “design thinking” is associated with a certain cognitive style, when a person, seeing a problematic situation or the current state of the environment, is able to design a strategy of actions and a new vision for many steps ahead. Design education within the framework of additional educational programs is considered as an educational environment that forms a new format of thinking of schoolchildren. In the process of creative activity, there is training in the project method of thinking, the search for answers to the problems posed, project tasks. In the process of teaching project creativity, the problem statement occupies an important place. It is important to understand the problem and evaluate it from different sides: from the position of contradiction and the creative process aimed at finding a solution to remove this contradiction. The problem situation itself is considered as something unknown, undisclosed, assumed and the task is to find a new solution. A set of skills related to identifying contradictions, posing a problem and finding ways to solve this problem is important in the modern world. It promotes the manifestation of initiative, creative abilities of the student, his independent work. This approach immerses a young person in real life, teaches them to objectively assess the situation, forms the skills of analysis, logical and critical thinking. The student learns to develop an independent decision, his point of view, to defend the result of work. In modern conditions, this is the most important result of activity, capable of adapting a young person in reality, giving a method of action in a professional and social environment.

Zhelondievskaia L.V., Barysheva V.E.
MANIFEST AS A TOOL OF STRATEGIC DESIGN IN ART AND DESIGN ^{[№ 5 ' 2015]}
The article relevance is due to the acute need for new project thinking in design and architecture. For the purpose of search for future design technologies it is necessary to study and understand methods, used in the earlier project work, at the time of stylistic trends fracture. Declaration of an artist's position, expressed in the form of a manifesto, is one of the main instruments of strategic planning. The article analyzes the manifestos of the most problematic periods of cultural development as the key to the solution of contemporary issues. The article deals with artistic manifestos that have become iconic in terms of changes in design methods, that are turning to a different style formation and understanding of the art role and place in the historical process. One of such cruсial periods is the Avant-garde of 20-s of XX century. "Manifesto of Futurism" by F. T. Marinetti is one of the most iconic ones in terms of fundamental changes in the artistic paradigm. Its theses were stronger and more expressive than the creative works based on them. The manifestos of Futurism themselves became an avant-garde product that influenced the history of art movements. Since then the manifesto has become an indispensable instrument for the expression of new ideas. The Suprematism is one of the most important trends of the avant-garde, which has attracted the attention of artists, designers and researchers for about a century. In this article the Suprematismis being considered through declarations and manifestos, in terms of its contribution to the search for design technology of the twentieth century. The subject is analyzed on the example of the founder and ideologist of this art movement — Kazimir Malevich. Creative and research heritage of Malevich is studied from the perspective of a project concept. As for the modern examples, inter alia, the following works are reviewed: the manifestos of Ken Garland 1963, "Manifesto 2000", creative credo of American designer B. Papanek stated in his book "Design for the Real World" in 1971, philosophy and creative postulates of English designer Karim Rashid.

Zhelondievskaya L.V.
DESIGN FUNCTIONS IN MODERN COMMUNICATION ^{[№ 5 ' 2014]}
In article functions of design object and its information image created by technologies of branding, in the conditions of modern communication are analyzed.Design is considered an integral part of marketing communication.

Zhelondievskaya L.V., Barysheva V.E.
PRINCIPLES OF FORMING THE SUPREMATISM OF MALEVICH AS THE BASIS OF THE STYLE OF THE XX CENTURY ^{[№ 5 ' 2014]}
The publication addresses Suprematism with the position of morphogenesis. The genesis of the form is presented in interaction styles of impressionism, cubism, futurism and cubofuturism. The authors analyze the contribution of Suprematism in modern shape, and the concept of Suprematism as the basis of the style of the 20th century.

Zhelondievskaya L.V., Barysheva V.E.
SYMBOLIC FORMS OF VISUAL IDENTITY OF THE CITY ^{[№ 4 ' 2012]}
The article deals with symbolic forms of territorial identity. The authors analyze the semantic and cultural basis of the territory identification from heraldry up to the modern symbols of cities.

Zhelondievskaya L.V.
HYPERTEXT OF GRAPHIC DESIGN ^{[№ 9 ' 2011]}
The paper analyzes the current formats of communication, in particular the principles of organization of information files. It identifies the concepts of "hypertext", "insight", "communication idea" with respect to interactive communication. It considers the problems of forming a visual code in non-linear communication and defines the role and place of design in new project conditions.