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Раздел 4. Техническая эстетика и дизайн Section 4. Industrial art and design
УДК 74.01/.09 DOI: 10.29013/EJA-21-2-66-83
N. F. SBITNIEVA, 1 N. V. VELICHKO, 1 M. K. VYNOHRADOVA, 1
1 Kharkiv State Academy of Design and Arts, (Kharkov, Ukraine)
CLASSIFICATION OF INTERACTIVE CHILDREN'S PRINTED BOOKS
Abstract
The aim of the article is to systematize means of organizing interaction in children's printed books.
The research methodology combines the methods of comparative, artistic and stylistic analysis, as well as the method of classification.
Results of the research: Interactive children's printed publications presented in the markets of Ukraine and the world, including the United States, Great Britain, Israel and Russia are considered in the article. The peculiarities of different book editions are considered. Common features of these editions from the point of view of interactive component are systematized.
Scientific novelty: For the first time printed children's books are classified according to the types of interaction, a comprehensive analysis of modern means of interaction between a reader and a printed book is carried out. Positive and negative aspects of using different options for interaction are presented. The classification on various features is given. They include the use of additional devices, the degree of automation, volume and production technology.
Practical significance of the research: lies in the possibility of their application in university practice (in preparing a lecture course in discipline "History of Graphic Design" and practical lessons in such disciplines as "Design" and "Form making"), as well as in individual creative work of graphic designers. It will help designers to determine and solve professional tasks in design of a modern interactive book. The collected visual material may be of interest to professionals and a wide range of persons interested in book design.
Keywords: pop-up books, book design, children's interactive books, classification of books, movable books.
For citation: Sbitnieva N. F. Velichko N. V. Vynohradov M. K. Classification of interactive Children's Printed books // European Journal of Arts, 2021, №2. - С. 66-83. DOI: https://doi.org/10.29013/EJA-21-2-66-83
The current stage of development of media culture and the spread of electronic means of storing and transmitting information significantly affects the book design. The children's book has undergone the most significant changes, because it is children who have the most com-
mon patterns of behavior obtained by interacting with electronic devices, and they do not have previous extensive experience of interacting with books of the "pre-electronic" era. The little reader gets used to interaction with a picture, looking for it in printed edition.
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Various researchers have paid attention to the classification study of interactive children's books. At the same time, they considered such a book from different points of view and accordingly named it differently: an interactive book, a toy book, a pop- up book, and so on. E. Ogar [6] distinguishes the following book types: a toy book, a musical toy book, a pop-up book, a nativity scene book, a die cut book, a paper cut out book, "touch and feel" book, and also a finger puppet book. S. Antonova [1] distinguishes screen books, leporello (accordion) books, loose leaf (spiral bound) books, books with a game concept, pop-up books, sound books and paper craft books. According to D. Popova [7] books are differentiated by form into a code book, a double-sided book, a transformer book, a space book and a tablet book. N. Taranov [9] classifies the publication by constructive solution, type of activity, age, purpose and nature of use.
It should be noted that all these researchers consider the book mostly in terms of form or pedagogical component by type of activity, without focusing on the interactive component. At the same time, the development of technology adds new opportunities for interaction, which also requires systematization. Right classification of interactive methods of a printed children's book will help to choose appropriate design tools.
Studying the book products presented on the market of Ukraine and other countries, we can identify typical features which are common to some books, precisely in terms of interactivity usage in the design of these books.
Due to the fact that modern reader associates the concept of interactivity mostly with gadgets, first of all we can identify books that require the use of additional electronic devices to implement interaction. Currently, this is mostly implemented using QR-codes. For example, in the books of the WOW-box series you need to download and install a special application for a smart-phone or a tablet. Using this application, you can "revive" the illustrations in augmented reality by pointing the camera at specially marked pages of the book (Fig. 1). It should be noted that the use of augmented reality in WOW-books has been marked by certain changes. There has been a semiotic transition from the role of "a reader" to "a user", who interacts with a book that is a particular object. Today, the process of obtaining information by involving interactive elements borders on principles of a game, where a user has access to evoke an appropriate reaction with any part of a book or to reproduce an imitation of this interaction.
On the one hand the design of augmented reality limits a user experience in terms of content and form of interaction due to preservation of an author's narrative, as well as the fact that the usage is possible only with an additional device, with available optical scanner at a distance of 50 cm. On the other hand, a user is able to control events in an existing script equally characters. In other words, a user can be a part of an interactive process rather than a spectator. The author adds a feedback of a character predicting reactions to the interaction; its one-way communication in particular will be perceived by a user as a dialogue. However, existing context of a narrative can be viewed by a user from different angles, which affects the end result of communication.
Figure 1. "Alice in Wonderland", illustrated by E. Gapchynska, RANOK Publishing House,Ukraine, 2018
In some series ofbooks, children are encouraged not only to watch an animated illustration, but also to control a hero and play simple logic games (Fig.2). Thus, educational component of such books and children's interest in them significantly increases. The game factor allows you to model various situations in order to create a certain reflex in a child in safe conditions; this form is used both in obtaining information and in behavioral aspect of development. The editions of this series of books use augmented reality technologies, specific feature of which
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is the connection with real objects of material world. For example, adding new meanings to a partially completed illustration in a text block of a book.
It should be emphasized that the use of augmented reality does not require transformation of design objects, unlike the elements of virtual reality, which are built on the use of "ideal" objects. Researcher M. Lou [5] points out that virtual reality has several features which are also common to augmented reality: the ability to interact with an object and include a user's imagination. The interaction outlines that the response to user actions will have real-time feedback on the application project cycle. Imagination enables the realization of content that under certain circumstances cannot be implemented or tested in real world for reasons of technology or cost. For example, in a book, it can be a creature that once existed on the planet or a fantasy violation of laws of physics by characters (gravity, etc.).
Figure 2. "Puss in Boots", illustrated by M. Koshulin-ska, VIVAT Publishing House, Ukraine, 2020
The process of designing a book space is no longer limited by the concept of form and content. By incorporating augmented reality, the book becomes a platform that can be developed and used more clearly. Children's book today is a material and virtual product, because it exists simultaneously in two spaces that do not conflict with each other. One of the tasks of augmented reality is not to copy images, but to form certain sensory experience, transmit images which complete the existing image
in order to achieve emotional impact on a user. The so-called symbolic representation of characters and objects is generally represented by simulacra.
Communication between technology and a user is a two-way process. Augmented reality can't exist without a user. This is how augmented reality technologies enhance impression of history to the level of unrealized experience. According to the philosopher O. Dzoban [4], a user has several scenarios of reality perception in virtual space. These include:
- generalization of a picture, search for similarities that correspond to real world;
- immersion into emotional and figurative world.
This categorization is related to different approaches of users to perception of information and willingness to build communication. However, the issue of illusory virtual space and elements of augmented reality are ambiguously interpreted in scientific discourse [8, 10], because usage of interactivity and game techniques in book graphics helps to encourage a child to cognitive activity; inclusion of a fantasy element which has a shape and a complete image (usually developed in 3 D technology) contributes to spatial development.
Augmented reality technology provides a user with the following opportunities:
1. real-time interaction;
2. focus on three dimensionality (use of 3 D modeling);
3. elements of augmented reality are superimposed on real world, so a user simultaneously interacts in virtual and real planes.
To view interactive parts of the "Tasty ABC book" you don't have to download additional applications. Each illustration is accompanied by a QR-code (Fig. 3), with which you can go to the publisher's page, watch a short video with this illustration and listen to the poem (Fig. 4). From a technical point of view, this approach simplifies browsing because it does not require the use of memory and device resources, but requires a constant and high-speed Internet connection.
But smartphones can be used not only to view additional content. There are options for using a smartphone for physical interaction in real world. For example, in the book "This Book is a Planetarium" you need to place a smartphone with a flashlight in appropriate place of three-dimensional paper structure to see a map of starry sky, as in a real planetarium (Fig. 5).
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Figure 3. "Tasty ABC book", illustrated by A. Pavlyukevich and M. Osadcha, ASSA Publishing House, Ukraine, 2021
Figure 4. "Tasty ABC book", a video on the website of ASSA Publishing House
The book "My Cells and I" offers an even more interesting use of a smartphone, which is on the verge of virtual and real interaction. The device must be placed in a special section of a book, appropriate application should be started and an animated part of the illustra
Figure 5. "This Book is a Planetarium", designed by Kelly Anderson, Chronicle Books Publishing House, USA, 2017
tion is displayed by a smartphone screen, with which you can interact by touching a screen. The application is implemented in such a way that an image on a screen changes automatically when you turn the pages
(Fig. 6).
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Figure 6. "My Cells and I" designed by Omer Viner, Bezalel Academy of Arts and Design, Israel, 2019
So, it's not just a smartphone that can be an additional device that is a part of interaction with a book. Thus, in the series ofbooks "What is hidden in..optical features of light are used, namely the property of additional colors of a spectrum to form effect by mixing gray. Illustrations in the book are multi-layered multi-colored images (Figs. 7, 8). The book is accompanied by three
colored films, the colors of which are additional to the colors used in illustrations. With these films, part of the lines drawn in the same color disappears, and the part of the lines drawn in an additional color becomes clearer. Thus, illustrations seem to be decomposed into layers, each of which is unique, but combines with the others, and as a result they complement each other (Figs. 9, 10).
Figure 7. General view of the illustration in the book "What is hidden in the body", designed by Aina Bestard, The Old Lion Publishing House, Ukraine, 2017
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Figure 8. Picture of a virus in the book "What is hidden in the body"
Figure 9. Picture of a virus in the book "What is hidden in the body" through a blue film
Figure 10. Picture of a virus in the book "What is hidden in the body" through a red film Devices producing sounds, lights and so on can also thick cardboard and it has installed audio unit. This book
be added to usual form of a paper book. For example, the book "Pets" of the series "Book with Sounds" is made of
is a right choice for the youngest readers (Fig. 11). You can hear sounds of different pets by pressing buttons of this unit.
Figure 11. "Pets. Book with Sounds" designed by M. Romanova, Mosaic-Synthesis Publishing House, Russia, 2018
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Figure 12. "Garden Sounds" designed by Sam Taplin, Usborne Publishing, UK
in a separate unit facilitates the production and, ac-
Such audio elements can not only be made as a separate block of the book, but also be directly built in pages. For example, the book "Garden Sounds" has sensitive buttons on each page, when touched you can hear the sound of an animal next to which this button is located (Fig. 12). The option of placing the device
cordingly, it is cheaper than other options. At the same time, the placement of different audio blocks is more complex in terms of performance, but allows you to combine blocks with illustrations organically and diversify them.
Figure 13. "Spot the dot" designed by D. Carter, Scholastic Publishing House, USA, 2013
Thus, all books with interactive elements can be divided on the basis of the use of additional devices:
• with the use of a smartphone as a separate device for viewing digital version of a book, additional games, augmented reality, etc.:
- with installation of a specialized application;
- without installation of a specialized application;
• with the use of a smartphone that interacts with a book physically;
• with the use of non-electrical additional devices included in a book;
• with the use of additional electrical devices that glow, produce sounds, etc.:
- made in a separate block;
- integrated into pages;
• without using additional devices. Considering books in which interactivity is implemented without using additional devices, we can identify different types ofinteraction and the degree of a reader in-
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volvement. Thus, in the book "Spot the Dot" a reader must find a colored dot on the spread, opening the window or pulling special marked structural elements (Fig. 13). That is, in addition to traditional form of interaction by turning over pages of a book, interaction with parts of the page is added. This interaction emphasizes physical properties which are peculiar to a book, giving it added value.
In the book "The Human Body" part of the elements must also be moved by a reader, and some elements move automatically when opening the page due to the system of gluing. Thus, when turning the page, the model of a person's head closes and opens a mouth "without any help", respectively, moving a tongue (Fig. 14).
Figure 14. "The Human Body", designed by J. Miller, D. Pelham, J. Cox, illustrated by H. Willock, The Viking Press, USA, 1983
At the same time, the book "The Large Hadron Collider Pop-up Book: Voyage to the Heart ofMatter" shows an even more complex version of interaction. In this case, a reader is invited to assemble some of the structures individually
(Fig. 15). This is primarily due to technical limitations and technological practicability. But at the same time this makes it possible to attract a reader even more, to make him a co-creator of a book.
Figure 15. "Voyage to the Heart of Matter: the LHC Pop-Up Book", Papadakis Publisher, USA, 2009
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That is, we can state that there are different types of interaction between a reader and a book, which can be divided according to the degree of automaticity:
• interaction that requires a reader to move a book individually;
• automatic interaction by opening a book pages;
• interaction that requires a reader to participate in the construction.
Considering the examples above, we can also see that structures differ in the degree of volume. Thus, in (Fig. 5) or 15, all structures are three-dimensional, moreover, in (Fig. 15) each book spread has additional pages that unfold beyond it, as a result dimension is added.
In (Fig. 13) the presented spread "Spot the Dot" has a flat structure, the so-called "windows". A book with "windows" is rather common version of an interactive book on the Ukrainian market, because production ofsuch books is quite technological process. At the same time, they stimulate children's search activity by offering them elements of a puzzle. Books with an additional page spread are arranged according to a similar principle. For example, in the book "This is a Pelican", a reader is invited to unfold back of the book to see a new interpretation of the picture (Fig. 16).
A more complex version of interaction is presented by books with puzzles, for example, books of the "Find, Com-
pose, Paint" series (Fig. 17). On the one hand, this variant is flat. On the other hand, it takes the book form beyond its physical boundaries, allowing you to use parts of the book separately from it. Color book can also be seen as an interactive flat element, as it also requires interaction with a reader.
Figure 16. "This is a Pelican", illustrated by G. McKenzie, Knigolove Publishing House, Ukraine, 2016
Figure 17. "How a Raccoon Built a Raft", illustrated L. Zadiorna, VIVAT Publishing House, Ukraine, 2017
Possible interactive elements in a paper book do not necessarily move. Tactile interaction and fine motor skills are very important for a child [2]. This type of interaction is offered by books with flat tactile elements. We can see one of the options in (Fig 12) where touch buttons are used and a child can follow with his fingers
a shallow "path" left by the butterfly. A similar "path" is used in the books of the "Play a Game with Me" series (Fig. 18). Also in the books of this series you can see "windows" of original form. In addition, these books use spot UV varnishing, which visually and in a tactile manner enriches the illustration.
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Figure 18. "Transport", illustrated by J. Burley, VIVAT Publishing House, Ukraine, 2017
Figure 19. "Finger Competitions" designed by H.
You can see holes of different shapes. Partial ("windows") and through holes can be made. At the same time, they act as independent interactive game elements, offering interaction to a child. For example, simple finger games are presented in the book "Finger Competitions"
Tullet, OSNOVY Publishing House, Ukraine, 2017
(Fig. 19). The book is made of thick cardboard, with clear contrasting illustrations, and it is the right choice for the youngest readers. Each page has shaped holes into which you can push your fingers and move them, "animating" the illustration.
Figure 20. "Bright Colors", designed by V. Fedienko, SHKOLA Publishing House, Ukraine, 2017
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Figure 21. "Bright Colors", designed by V. Fedienko, SHKOLA Publishing House, Ukraine, 2017
Figure 22. "Counting from 0 to 9" designed by L. Lisakova, Crystal Book Publishing House, Ukraine, 2018
Such audio elements can not only be made as a separate block of the book, but also be directly built in pages. For example, the book "Garden Sounds" has sensitive buttons on each page, when touched you can hear the sound of an animal next to which this button is located (Fig. 12). The option of placing the device in a separate unit facilitates the production and, accordingly, it is cheaper than other options. At the same time, the placement of different audio blocks is more complex in terms of performance, but allows you to combine blocks with illustrations organically and diversify them.
Moving elements do not always remain flat during the movement. Thus, in books of the series "The First Color Book" part of the elements rises above the plane of the sheet when moving, and becomes three-dimensional (Fig. 22, 23).
Figure 23. "Counting from 0 to 9" designed by L. Lisakova, Crystal Book Publishing House, Ukraine, 2018
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Thus, the following groups of books can be distinguished on the basis of volume:
• three-dimensional;
• flat:
- tactile;
- puzzles;
- windows;
- movable;
• flat, which become three-dimensional due to interaction with a reader.
Attention should be paid to a very interesting technological solution of the series "The First Color Book". The production of so-called punch shear dies, paper cutters, which cut and bend a sheet of paper, forming a movable or three-dimensional structure is one of the most expensive elements in the production of interactive books. The design of books of this series is built in such a way that different books of the series can be made using the same punch shear dies, which significantly reduce the cost of production and the cost of finished products (Fig. 24).
Figure 24. Series "The First Color Book", Crystal Book Publishing House, Ukraine, 2018
In general, the issue of production technology is very relevant for the production of interactive books. On the one hand, it is technological issues that directly affect the cost of finished products, and hence the ability of a buyer to buy such a book. This, in turn, shapes the overall market for interactive books, its capacity and diversity.
On the other hand, high-tech production is one of the elements that enable us to diversify the design of such books, to saturate it with interactive elements, to make them interesting for a user. Thus, the design of interactive books requires compulsory consideration ofproduction technologies, partly build on it.
Traditional printing on paper of a book page, not using movable and other elements is the simplest and the most economical way (Fig. 1, 3, 7). In order to organize the interactive component, additional devices and software are used, the cost of development and production of which can significantly exceed the cost of a book printing and its development.
The option of making a separate spread from one sheet without gluing is quite easy and technologically simple (Fig. 16, 19). It is quite possible to make three-dimensional shapes, for example, as in books of the series "Mini Pop-up Book" (Fig. 25). In the process of folding paper and performing die cutting, original three-dimensional scenes can be obtained by means of shaping.
Figure 25. "The Little Tower", illustrated by N. Styashenko-Dyachenko, designed by A. L'gova, RANOK Publishing House, Ukraine, 2017
Also, the organization of interactive scenes is possible when gluing two or more sheets with the previous cut sequentially on the top of each other. In such a way puzzle books (Fig. 17), books with "windows" (Fig. 18), books with flat moving elements are formed (Fig. 20, 21, 22).
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A similar form of production (die-cutting), but a invited to stick it to a special place in a book without any
slightly technologically different option with the use help. Sometimes such stickers can be stuck and unstuck
of stickers deserves special attention. The difference of more than once, as in the series "The Magic World of
this type of production is the usage of separate sheets of Children's Books" (Fig. 26). adhesive paper or PVC film with die-cutting. A child is
Figure 26. "Masha and the Bear" designed by "Astra Design", Crystal Book Publishing House, Ukraine, 2018
Figure 27. "The Princess and the Unicorn", illustrated by Marina Fedotova, VIVAT Publishing House, Ukraine, 2011
The options described above are quite technological, easily automated and require almost no manual work in the production process. Instead, the specifics of interactive books also require the use of more complex technological elements that require a partially manual, manufacturing production cycle. These include books with complex gluing. It is possible to place the whole scene on one page, as in the book "The Princess and the Unicorn", which uses
multifaceted illustrations that require sequential gluing on the supporting structure (Fig. 27, 28) or placing the glued structure in the center of the page spread. Thus it is possible both pasting of one sheet and formation of difficult designs from many consecutively pasted cut forms into each other (fig. 29). According to this principle, it is possible to create not only three-dimensional, but also movable structures (Figs. 14, 30).
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Figure 28. "The Princess and the Unicorn", illustrated by Marina Fedotova, VIVAT Publishing House, Ukraine, 2011
Figure 29. "Alice's adventures in Wonderland" designed by R. Sabuda, Little Simon Publishing House, USA, 2003
Figure 30. "The Snow Queen" designed by M. Brandrup and Y Yeretskaya, Jumping Jack press, USA, 2013
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Inclusion of additional non-paper materials, such as 31, 32). This is usually the most technologically complex rope, plastics, mesh, fasteners, additional electrical de- production option, but at the same time, it is the most vices, etc., looks very interesting and original (Figs. 12, expressive one.
Figure 31. "Yellow Square" designed by D. Carter, Little Simon Publishing House, USA, 2008
Figure 32. "Yellow Square" designed by D. C
So, according to the production technology we can distinguish the following types of books:
• printed books without additional elements;
• books using single sheet die-cutting;
• books using gluing of several layers;
• books with gluing of additional cut elements;
• books with the use of additional materials (fasteners, ropes, plastic, etc.).
To sum up, interactive children's printed books can be classified as follows:
1. According to the use of additional devices:
• with the use of a smartphone as a separate device for viewing digital version of a book, additional games, augmented reality, etc .:
- with installation of a specialized application;
- without installation ofa specialized application;
• with the use of a smartphone that interacts with a book physically;
• with the use of non-electrical additional devices included in a book;
;r, Little Simon Publishing House, USA, 2008
• with the use of additional electrical devices that glow, make sounds, etc.:
- made in a separate block;
- integrated into pages;
• without using additional devices.
2. According to the degree of automation:
• books that require a reader to move them individually;
• automatic interaction by opening a book pages;
• books that require a reader to participate in the construction.
3. According to the volume books can be:
• three-dimensional;
• flat:
- tactile;
- puzzles;
- window;
- movable;
• flat, which become three-dimensional due to interaction with a reader.
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4. According to the production technology books can be:
printed books without additional elements; books using single sheet die-cutting; books using gluing of several layers; books with gluing of additional cut elements; books with the use of additional materials (fasteners, ropes, plastic, etc.).
And of course, it is possible to combine all the above options in one book. But when choosing the number and
method of combining different elements, the designer should take into account not only the principles of design, but also needs of the target audience, the required cost of the finished book and features of production technology. In addition, every year we observe development of production technologies, software and media culture. All this contributes to the rapid growth and change in the field of creation of interactive children's books. This topic offers material for further research.
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Antonova S. G., Vasil'ev V I., Zharkov I. A. Editorial preparation ofpublications: manual. 2002. URL: http://www. hi-edu.ru/e-books/xbook082/01/ [in Russian].
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Grajzer E. V. The development of small motility in children of secondary pre-school age. Scientific notes. Philosophy.- 2 (3). 2015.- P. 75-77. URL: https://cyberleninka.ru/article/n/razvitie-melkoy-motoriki-u-detey-srednego-doshkolnogo-vozrasta/ [in Ukrainian].
Dzoban O. P. Modern virtual space: the congeniality of virtuality and myth. Strategic priorities. Series: Philosophy. 2017.- P. 163-170. [in Ukrainian].
Lou M. A Virtual Reality Teaching System for Graphic Design Course. International Journal of Emerging Technologies in Learning (iJET).- 12 (09). 2017.- P. 117-129. DOI: 10.3991/ijet.v12i09.7492. Ogar E. I. Children's book: problems of publishing training.- Lviv. Az-Art Publishing. 2002. [in Ukrainian]. Popova D. M. Transformation of the book construction of a children's toy book. Vestnik OSU.- 5 (180). 2015. URL: https://cyberleninka.ru/article/n/transformatsiya-knizhnoy-konstuktsii-detskoy-knizhki-igrushki/ [in Russian].
8. Sotnykova O. O. Playing and communicating in social virtual reality. Extended abstract of candidate's thesis. V. N. Karazin Kharkiv National University. 2005. [in Ukrainian].
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Information about the authors
Sbitnieva Nadiia, Kharkiv State Academy of Design and Arts, Dean of the Design faculty, PhD, associated professor, Kharkov, Ukraine
E-mail: [email protected]; Tel.: +38 (057) 706-21-03 ORCID: http://orcid.org/0000-0001-9590-5109
Velichko Nadiia, Kharkiv State Academy of Design and Arts, Graduate student the Faculty of Design, Kharkov, Ukrain
E-mail: [email protected]; Tel.: +38 (057) 706-21-03 ORCID: http://orcid.org/0000-0002-8305-6813
Vynohradova Mariia, Kharkiv State Academy of Design and Arts, Postgraduate student the Design department, Kharkov, Ukrain
E-mail: [email protected]; Tel.: +38 (057) 706-21-03 ORCID: http://orcid.org/0000-0001-9030-9973
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СБГГНеВА Н. Ф. , 1 ВЕЛИЧКО Н. В., 1 ВИНОГРАДОВА М. К., 1
1 Хартвська державна академiя дизайну та мистецтв, (XapKie, Украша)
КЛАСИФ1КАЦ1Я 1НТЕРАКТИВНИХ ДИТЯЧИХ ДРУКОВАНИХ КНИГ
Анотаця
Мета до^дження: систематизувати засоби оргатзаци штерактивно! взаемодг! у дитячих друкованих книжках.
Методи дошдження: поеднання методгв поргвняльного, художньо-стилгстичного аналгзу, а також прийому типологiзацГi.
Результаты дошдження: у статтг проаналгзовано штерактивнг дитячг друкованг видання, представленнг на ринках Укра!ни та свгту, зокрема США, Велико! Британг!, 1зра!лю та Росг!. Розглянуто особливостг ргзних видань, систематизовано притаманнг !м ознаки з точки зору саме гнтерактивно! складово!.
Наукова новизна: вперше класифгковано друкованг дитячг книжки саме за типами гнтерактивно! взаемодг!, здгйснено комплексний аналгз сучасних засобгв взаемодг! читача гз друковано! книгою. Наведет позитивнг та негативнг аспекти використання ргзних варганив гнтерактивно! взаемодг!. Виведено класифгкацгю за ргзними ознаками, а саме: за використанням додаткових пристро!в, за ступенем автоматичностг, за об'емнгстю та за технологгею виробництва.
Практичне значення роботы: результата можуть бути використанг у вузгвськгй практицг (при пгдготов-цг лекцгйного курсу «1сторгя графгчного дизайну» та практичних занять з дисциплгн «Проектування» та «Формоутворення»), а також в шдивгдуальнш творчгй працг дизайнергв-графгкгв, що допоможе !м визначати й виргшувати професгйнг завдання з проектування сучасно! гнтерактивно! книги. Згбраний вгзуальний матергал може становити гнтерес як для фахгвцгв, так г для широкого загалу зацгкавлених осгб у галузг дизайну книги. Ключов1 слова: гнтерактивна книжка, об'емна книжка, книжка-гграшка, дизайн книги, класифгкацгя книг.
Список лтератури
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2. Брязкун В. В. З'ясувати поняття «вгртуалгзащя» як фглософська категоргя. Науковг працг NaUKMA. Фглософгя та релгггезнавство, 8. 2011. - С. 93-103. [Укра!нською мовою].
3. Розвиток В. мало! моторики у дгтей середнього дошкгльного вгку. Науковг записки. Фглософгя. - 2(3). 2015. - С. 75-77. URL: https://cyberleninka.ru/article/n/razvitie-melkoy-motoriki-u-detey-srednego-doshkolnogo-vozrasta/ [Укра!нською мовою].
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6. Дитяча I. книга: проблеми видавничого навчання. - Львгв. Az-Art Publishing. 2002. [Укра!нською мовою].
7. Попова Д. М. Трансформацгя книжково! конструкцг! дитячо! гграшково! книги. Вгсник ОСУ. - 5(180). 2015. URL: https://cyberleninka.ru/article/n/transformatsiya-knizhnoy-konstuktsii-detskoy-knizhki-igrushki/ [Росгйською мовою].
8. Сотникова О. О. Гра та спглкування у соцгальнгй вгртуальнгй реальностг. Розширений автореферат кандидат-сько! дисертацг!. Харкгвський нацгональний унгверситет гменг В. Н. Каразгна. 2005. [Укра'г'нською мовою].
9. Таранов Н. Н. Книжка гграшок. Розробка глюстрацгй та дизайн дошкгльних видань: Навч. 2014. [Росгйською мовою].
Section 4. Industrial art and design - f^MIER European Journal of Arts 2 (2021) - ISSN 2310-5666 -
10. Сшь Л. Досмдження багатовимiрноi тенденцп графiчного дизайну. Мiжнародний журнал соцiальних наук та досл1джень осв™, 2021. - С. 329-334. DOI: 10.6918 / IJOSSER.202102_4 (2) .0053.
1нформац1я про авторш
Сбинева Над1я, Харк1вська державна академгя дизайну та мистецтв, декан факультету дизайну, к.т.н., доцент, Харк1в, Украша
E-mail: [email protected]; Тел.: +38 (057) 706-21-03 ORCID http://orcid.org/0000-0001-9590-5109
Величко Над1я, Харювська державна академгя дизайну та мистецтв, астрантка факультету дизайну, Харюв, Украша
E-mail: [email protected]; Тел.: +38 (057)-706-21-03 ORCID http://orcid.org/0000-0002-8305-6813
Виноградова Мар1я, Харкiвська державна академия дизайну та мистецтв, астрант кафедри дизайну, Харюв, Украша
E-mail: [email protected]; Тел.: +38 (057)-706-21-03 ORCID http://orcid.org/0000-0001-9030-9973
