The article conducted a cultural analysis of the problem of disconnecting knowledge of the humanitarian and natural science spheres of culture as a consequence of the incommensurability of spiritual and material creativity. The solution to the problem is proposed by design theorists that see in the methods of artistic design not only the process of shaping convenient and beautiful things, but an organic consistent combination of the concept of the project and its subject materialization, while subject-targeted communication is carried out using graphics at the “clause” stage. Scientists affirm the presence of a cultural form of existence in this aspect and develop an opinion on the “third project culture”, along with the culture of scientific, technical and humanitarian. The visual and graphic level of design is produced by a cultural code that transfers scientific abstractions of the conceptual level into concrete-sensual forms and images of constructive and subject design. In the development of the idea of V. A. Favorsky about the existence of three independent methods of design and artistic forming of a realistic sensual, formalistic logical and whole method of art (the “composite” method), the thesis is put forward and substantiated in the article on the visible presentation of the relationship in the study of their stages that form complete design cycles. The authors develop the thoughts of V. I. Vernadsky and P. A. Florensky about the existence of two earthly spheres for a person – biospheres and pneumatosphere, holistically generating his physical and ideal development, presented in the geographical landscape and cultural environment. The article presents a cultural and historical dynamics illustrating the hypothesis of L. S. Vygotsky about the existence of the structural connection of cultural-historical processes with the processes of the formation of cognitive functions of the child. The design and graphic relationships of the creativity of the nature and artistic creation of man and humanity are shown.

The article conducted a cultural analysis of the problem of disconnecting knowledge of the humanitarian and natural science spheres of culture as a consequence of the incommensurability of spiritual and material creativity. The solution to the problem is proposed by design theorists that see in the methods of artistic design not only the process of shaping convenient and beautiful things, but an organic consistent combination of the concept of the project and its subject materialization, while subject-targeted communication is carried out using graphics at the “clause” stage. Scientists affirm the presence of a cultural form of existence in this aspect and develop an opinion on the “third project culture”, along with the culture of scientific, technical and humanitarian. The visual and graphic level of design is produced by a cultural code that transfers scientific abstractions of the conceptual level into concrete-sensual forms and images of constructive and subject design. In the development of the idea of V. A. Favorsky about the existence of three independent methods of design and artistic forming of a realistic sensual, formalistic logical and whole method of art (the “composite” method), the thesis is put forward and substantiated in the article on the visible presentation of the relationship in the study of their stages that form complete design cycles. The authors develop the thoughts of V. I. Vernadsky and P. A. Florensky about the existence of two earthly spheres for a person – biospheres and pneumatosphere, holistically generating his physical and ideal development, presented in the geographical landscape and cultural environment. The article presents a cultural and historical dynamics illustrating the hypothesis of L. S. Vygotsky about the existence of the structural connection of cultural-historical processes with the processes of the formation of cognitive functions of the child. The design and graphic relationships of the creativity of the nature and artistic creation of man and humanity are shown.