Мехмед Фемі Ага: учень Георгія Нарбута зі світовим ім’ям

Abstract

У статті досліджено творчий шлях учня Георгія Нарбута та одного з перших арт-директорів у історії журнального дизайну Мехмеда Фемі Аги (1896–1978). Розглянуто базову мистецьку освіту дизайнера та формування його творчого методу в контексті розвитку як українського, так і американського графічного дизайну. Окремо простежено основні аспекти та принципи роботи над дизайном друкованих видань, зокрема, глянцевих журналів “Vanity Fair” та “Vogue”.

В статье исследовано творческий путь ученика Георгия Нарбута и одного из первых арт-директоров в истории журнального дизайна Мехмеда Феми Аги (1896–1978). Рассмотрено базовое художественное образование дизайнера и формирование его творческого метода в контексте развития как украинского, так и американского графического дизайна. Отдельно означено основные аспекты и принципы работы над дизайном печатных изданий, в частности глянцевых журналов “Vanity Fair” и “Vogue”.

The article explores the creative path of Mehmed Femi Agha (1896–1978), who was one of the first art directors in the history of magazine design. His contributions to the field of magazine publishing changed the nature of magazine design and redefined the role of the designer and art director. M. F. Agha emigrated from Ukraine at a fairly young age, but the very fact that he obtained his first (and only) professional education precisely at the Ukrainian Academy of Arts and under the guidance of the coryphaeus of Ukrainian graphic arts G. Narbut predetermines the need for rethinking and deeper analysis of his creative posture. The key principles laid down in the graphic workshop of G. Narbut, the technical and aesthetic peculiarities of the works, as well as the general aesthetic and ideological orientations of the artist themselves, became the catalysts for creating a new quality of the Ukrainian printed product and proved the significance of his pedagogical program and the example of M. F. Agha. Relying on his own creative experience and being conscious of the role played by the book in society, G. Narbut focuses his work on the workshop, first of all, on the book graphic arts. Studying at the workshop of G. Narbut began with the perfect mastering of graphic equipment and its correspondence to the working materials. The first stage of practical work was the “discipline” of hands and eyes – copying. The next step in the workshop was to solve a composite task – a combination of font and ornament on a separate page or cover page. This work opened the understanding of the properties of the closed graphic composition, the balance of graphic and font elements. The main task in the work on the cover was the creation of a certain sign element that contains the generalized symbolic content of the book and organically fits with the font and at the same time serves as a decoration of the book. It should be noted that the appeal to historical styles and “past” did not become the basis of the creative method of the Agha, but became a source of inspiration and self-education. The bases of the composition, the understanding of the specifics of the materials and the possibilities of polygraphy, laid in the workshop of Narbut became fundamental knowledge for the future. After graduating he emigrated to Europe, where he practically improved his artistic skills. His work impressed the publisher from New York Conde Nast, therefore, he moves to New York and becomes an art director of three glossy editions. Agha was an exceptional artist, with strong scientific and technical skills. He was a pioneer in the use of sans-serif typefaces, photo montage, duotones and full color photography which he used wherever possible. He was the first designer that spread the images across the gutter and he used full bleed images. The creative achievements and the importance of his activities are the cause of this study. The basic artistic education of the designer and the formation of his creative method in the context of the development of both Ukrainian and American graphic design is considered. The main aspects of the work and principles of the design of printed publications, including the glossy journals “Vanity Fair” and “Vogue”, are followed.