Ethnodesign`s Theoretical Aspects by the Example of Packaging with Slavic Culture`s Elements

The paper discusses the development of the theory of ethnodesign, therefore focusing on packaging examples analysis, the design of which embrace the motifs of Russian and Belarusian cultures. For the first time, a classification of possible types of ethnocultural components is proposed, on the basis of which a unique verbal-visual component of ethnodesign may be formed. The study suggests a refined definition of the concept of “ethnomarker” from the point of view of design theory, and develops the structure of ethnodesign of a product tested through the example of packaging. The process of design analysis made for the following provisions: firstly, ethnocultural components, depending on their ability to associate a design product with any ethnos, are unequal and are divided into two groups — dominant and secondary; secondly, each ethno-cultural component has such a characteristic as ethno-identifying ability (proposed for the first time); thirdly, ethno-identifying ability depends on the degree of popularity and uniqueness of a particular ethnomarker. Structural and semantic analysis of packaging samples in the “Slavic style” made it possible to identify the most frequently used ethnocultural components. Among them are ethnonyms and their derivatives (Russian, Russia, Slavic, in Russian), digital fonts imitating Cyrillic writing, national costume and its elements, ethnocultural landscape, unique motifs of decorative and applied art, folklore characters, images architectural structures, household. Secondary ethnocultural components, as a rule, were widespread ornamental motifs, images of traditional management, visual display of the mentality of an ethnic group, color palette of design.