Art and Design
Art and Design
ISSN 2617-0272 e-ISSN 2617-0280
DOI: 10.30857/2617-0272
Submit an article

Article

Download article

Representation of territorial-spatial identity in modern graphic design

Natalia Udris-Borodavko

Received 02.12.2025, Revised 09.03.2026, Accepted 09.04.2026 Published 10.04.2026

Abstract

The research relevance is determined by growing value of territorial and spatial identity in the context of globalisation, as well as the need to identify trends and opportunities for socially influential institution of graphic design regarding the issue issue. The study aimed to substantiate the functionality of graphic design as a representative of territorial and spatial identity and to analyse methodology for implementing identification markers in design projects. The research process involved use of visual description, stylistic analysis, semiotic analysis, content analysis, classification, and comparative analysis methods. An increase in design community’s interest in local contexts has been identified, which corresponds to socially balanced position of designers in vectors of development of modern globalised society. As a result of analysis of graphic design projects for 2021-2024, recognised by international professional communities, leading approaches and techniques for reproducing the identity of macro- and micro-spaces were identified. The study established that markers of territorial and spatial identity are evident in three ways: a single sign or a group of signs representing a material object-marker of natural environment; a space created by humans; a combination of markers of both environments with attributes typical of social actions of people in territory. The study underlined that these means reflect the levels of generalisation of territorial identity – from a single iconic sign of natural or anthropogenic origin to a complex system of symbols of tangible and intangible sociocultural connections. Levels differ in intensity of sociocultural influence on addressee, and choice is determined by project goals. The practical value of the study is determined by the use of the results by graphic designers, educators in art and design specialisations, as well as scholars in the fields of design, cultural studies, and sociology


Keywords:

sociocultural identity; visual communication; cultural diversity; localisation; sustainability; interdisciplinarity

https://doi.org/10.30857/2617-0272.2026.1.4

Retrieved from Vol. 9, No. 1, 2026

Pages 44-54

References Suggested citation

References

  1. Aleshawie, W.M. (2019). Cultural identity in graphic design. American International Journal of Contemporary Research, 9(4), 50-63. doi: 10.30845/aijcr.v9n4p6.
  2. B. League All-Star Game 2023. (n.d.). A’ Design Award & Competition. Retrieved from https://competition.adesignaward.com/design.php?ID=152302.
  3. Bartos, O., & Smaga, V. (2025). Global identity as a type of social identity. Scientific Bulletin of Uzhhorod University, 2(55), 14-18. doi: 10.24144/2524-0609.2024.55.14-18.
  4. Bartůněk, M., & Marek, P. (2025). Territorial identity of a region: A review of data collection techniques. Hungarian Geographical Bulletin, 74(1), 37-55. doi: 10.15201/hungeobull.74.1.3.
  5. Be a fish in Kukup. (n.d.). Indigo Award. Retrieved from https://www.indigoaward.com/winners/7575.
  6. Bickerstaff.658 “Bickerstaff”. (n.d.). Epica Awards. Retrieved from https://winners.epica-awards.com/2021/winners/56-00756-ALT/bickerstaff658/bickerstaff.
  7. Bickerstaff.658 “We instead of me”. (n.d.). Epica Awards. Retrieved from https://winners.epica-awards.com/2022/winners/04-00951-DIG/bickerstaff658/we-instead-of-me.
  8. Bobyr, V.O. (2025). Territorial identity through the lens of domain names and search queries: A case study of Kyiv. Ukrainian Geographical Journal, 2, 104-112. doi: 10.15407/ugz2025.02.104.
  9. Buschgens, M., Figueiredo, B., & Rahman, K. (2019). How brand visual aesthetics foster a transnational imagined community. European Journal of Marketing, 53(11), 2268-2292. doi: 10.1108/EJM-10-2017-0655.
  10. Concepcions, G.P. (2025). Constructing ASEAN identity through shared cultural heritage and socio-cultural solidarity: A proposal. SUVANNABHUMI, 17(1), 7-31. doi: 10.22801/svn.2025.17.1.7.
  11. de Jong, M., & Lu, H. (2022). City branding, regional identity and public space: What historical and cultural symbols in urban architecture reveal. Global Public Policy and Governance, 2, 203-231. doi: 10.1007/s43508-022-00043-0.
  12. Fonseca Braga, M. (2023). The fifth order of design: The value of design in times of transition. Cubic Journal, 6(6), 98-115. doi: 10.31182/cubic.2023.6.63.
  13. FutureBrand. (n.d.a). Curaters of beauty, embellishing simple moments. Retrieved from https://www.futurebrand.com/our-work/acqua-panna.
  14. FutureBrand. (n.d.b). The ambassador of a nation. Retrieved from https://www.futurebrand.com/our-work/air-tahiti-nui.
  15. Gimeno Martinez, J. (2023). Pluralizing the code: Designed national symbols beyond reverence. In S.A. Lichtman & J. Traganou (Eds.), Design, displacement, migration: Spatial and material histories (pp. 219-231). Boca Raton: Routledge. doi: 10.4324/9781003194293-18.
  16. Gomes, R. (n.d.). Brazilian roots – restaurant. Behance. Retrieved from https://www.behance.net/gallery/123838197/Brazilian-Roots-Restaurant.
  17. Green captain. (n.d.). Zambelli Design. Retrieved from https://www.zambellidesign.com/portfolio/green-captain-branding.
  18. Green field watchmen. (n.d.). A’ Design Award & Competition. Retrieved from https://competition.adesignaward.com/design.php?ID=159138.
  19. Hassan, S.M., & Al-Dajani, T.A. (2025). Utilizing graphic design trends to reimagine Saudi culture identity. Journal of Ecohumanism, 4(2), 2552-2578. doi: 10.62754/joe.v4i2.6667.
  20. Images of Hangzhou scenery. (n.d.). A’ Design Award & Competition. Retrieved from https://competition.adesignaward.com/design-image.php?y=2023&design=159134.
  21. Jingting Mountain scenic area. (n.d.). A’ Design Award & Competition. Retrieved from https://competition.adesignaward.com/design.php?ID=152983.
  22. Joyful Garden Tour. (n.d.). A’ Design Award & Competition. Retrieved from https://competition.adesignaward.com/design.php?ID=159119.
  23. Kipng’etich, L. (2024). Cultural hybridity and identity formation in globalized societies. International Journal of Humanity and Social Sciences, 2(5), 14-25. doi: 10.47941/ijhss.1885.
  24. Knaps, F., & Herrmann, S. (2018). Analyzing cultural markers to characterize regional identity for rural planning. Rural Landscapes: Society, Environment, History, 5(1), article number 1. doi: 10.16993/rl.41.
  25. Liu, W. (2022). Regional cultural symbols in visual communication design. International Journal of Frontiers in Sociology, 4(5), 75-80. doi: 10.25236/IJFS.2022.040514.
  26. Love Hanshui. (n.d.). A’ Design Award & Competition. Retrieved from https://competition.adesignaward.com/design.php?ID=152699.
  27. Lúčnica. (n.d.). Zlatý klinec. Retrieved from https://surli.cc/auitln.
  28. My Japan Railway. (n.d.). D&AD Awards. Retrieved from https://www.dandad.org/annual/2024/entry/professional/238208.
  29. Nguyen, T.H. (2024). The Preserving and promoting national cultural identity for students majoring in the University of Greenwich Vietnam’s Graphic and Digital Design in an international University environment. Proceedings of the International Conference on Research in Education, 1(1), 37-43. doi: 10.33422/icreconf.v1i1.605.
  30. Norman, D., & Stappers, J.P. (2015). DesignX: Complex sociotechnical systems. She Ji: The Journal of Design, Economics, and Innovation, 1(2), 83-106. doi: 10.1016/j.sheji.2016.01.002.
  31. O’Shea, M. (2024). Graphic design needs to take responsibility: Embedding social awareness and ethics through social science knowledge and pedagogical change. Design Issues, 40(2), 15-27. doi: 10.1162/desi_a_00752.
  32. Parsons, T. (1949). The structure of social action. Glencoe: Free Press.
  33. Peirce, C.S. (1991). Peirce on signs: Writings on semiotic. Chapel Hill: University of North Carolina Press.
  34. Raff, J.-H. (2012). Theoretical frameworks for the conceptualization of graphic design in use. Iridescent, 2(2), 10-21. doi: 10.1080/19235003.2012.11428507.
  35. Reserva Das Parkias. (n.d.). A’ Design Award & Competition. Retrieved from https://competition.adesignaward.com/design.php?ID=161512.
  36. Schweizer Berghilfe. (n.d.). MetaDesign. Retrieved from https://metadesign.com/en/work/schweizer-berghilfe-1.
  37. Shun Pin Lang 480 blue. (n.d.). A’ Design Award & Competition. Retrieved from https://competition.adesignaward.com/design.php?ID=152682.
  38. Six pandas. (n.d.). A’ Design Award & Competition. Retrieved from https://competition.adesignaward.com/design.php?ID=160636.
  39. The 6th “When in the woods”. (n.d.). Epica Awards. Retrieved from https://winners.epica-awards.com/2022/winners/55-00547-ALT/the-6th/when-in-the-woods.
  40. The impression of Feixi. (n.d.). A’ Design Award & Competition. Retrieved from https://competition.adesignaward.com/design.php?ID=160807.
  41. Vreja, L.O., & Balan, S. (2023). Contemporary identity crisis and socialisation. Proceedings of the International Management Conference, 17(1), 739-746. doi: 10.24818/IMC/2023/05.05.

Suggested citation

Udris-Borodavko, N. (2026). Representation of territorial-spatial identity in modern graphic design. Art and Design, 9(1), 44-54. https://doi.org/10.30857/2617-0272.2026.1.4