Graphics(Greek graphike, from grapho - I write), a type of fine art that includes drawing and various types of printed graphics images, based on the art of drawing, but having their own visual means and expressive possibilities.
Graphics is an ancient form of fine art. Drawings by ancient artists on the walls of caves; ornaments and drawings on antique Greek vases; engravings and drawings by outstanding Renaissance masters - all these are wonderful graphics. In Rus', graphics in the form of ornaments and illustrations adorned handwritten and early printed books, and in the form of entertaining and cheerful engravings - folk popular prints, painted with watercolors, adorned the homes of peasants and artisans.
By purpose, easel, book, newspaper and magazine, applied graphics and posters are distinguished.
Easel graphics
Easel art is a type of fine arts, the works of which are independent in nature and do not have a direct decorative or utilitarian purpose (in painting - paintings; in graphics - prints, easel drawings and popular prints). The name comes from the machine (easel, sculpture machine) on which many works are created.
Depending on the nature of the technique, easel graphics are divided into two types: printmaking and drawing. A print is a print on paper. The main forms of existence of easel graphics are museum and exhibition collections and expositions.
Book graphics includes illustrations (serving interpretive purposes literary works), creating a font design, general design and design of the book.
Depending on the size and location in the book, illustrations are divided into: - frontispiece, headpiece and ending; - half-strip, strip and spread illustrations, which are respectively located on half a page, on the entire page and on two pages; - defense illustrations; - drawings in the margins.
Newspaper and magazine graphics- illustrations, design and design printed publications, a specific mass form - caricature.
Along with the traditional, drawn or printed, but one way or another arising at the artist’s hand, there appeared computer graphics. Computer graphics- technology for creating and processing graphic images using computer technology.
A special, independent region is formed by Letter graphics(epigraphy, font art, calligraphy).
According to the method of execution and the possibilities of reproduction (replication) of a graphic work, unique and printed Graphics differ.
Unique Graphics- watercolor drawing, gouache, monotype, collage and other methods of creating a composition using various materials, resulting in a graphic work as a single, inimitable example.
Printed Graphics makes it possible to obtain a certain circulation of relatively equivalent, identical works of art - prints from a board, from a metal plate, from a stone, a sheet of linoleum or other base on which a corresponding design is applied (mirror in relation to the print).
Depending on the material, from technical method its processing (engraving), the following varieties (“techniques”) of printed graphics are distinguished: woodcut, linocut, zincography, lithography, cardboard engraving, copper engraving, etching, mezzotint, aquatint, drypoint and others, sometimes appearing in pure form, sometimes as mixed media, both in black and white and in color.
In applied graphics, posters, and book illustrations, printing is used. The printing plate is made from the original, made by the artist, photomechanically, by machine. IN easel graphics for a print, the printing plate is created by the artist himself, so that a number of copies of original works of art of equal artistic value are obtained, fully preserving the living and immediate imprint of the author's creative work. The process of creating a printing form from any hard material - wood, metal, linoleum - is called engraving (from the French word graver - to cut). The drawing is created by cutting or scratching with some sharp instrument - a needle, a chisel. Works of graphics printed from an engraving printing plate are called engravings.
Types of engraving:
Flat engraving - the drawing and background are on the same level;
Convex engraving - the paint covers the surface of the drawing - the drawing is above the level of the background;
In-depth engraving - paint fills the indentations, the drawing is below the background level.
Depending on the material from which the printing form is created, there are different types of engraving:
Lithography - the printing form is the surface of a stone (limestone). The stone is polished very smoothly and degreased. The image is applied to the lithographic stone with a special thick lithographic ink or pencil. The stone is wetted with water, then paint is rolled on, sticking only to the previously applied design. Lithography was invented in 1798.
Algraphy is a flat print, the execution technique is similar to lithography, but instead of stone an aluminum plate is used.
Woodcut - wood engraving, cut with a special cutter. The paint is rolled onto the plane of the original board. When printing on paper, the areas cut out by the cutter remain white. The prints are a contour drawing with thick black lines.
Linocut - engraving on linoleum. The technique is very close to woodcuts. Linoleum is an inexpensive, accessible material. Linocuts are simpler to perform compared to woodcuts due to the synthetic origin of the material used (uniformity, absence of artificial fibers interfering with the cutter).
Metal engraving is performed on zinc, copper, iron, steel. Metal engraving is divided into printing with etching and without etching. Exists large number The technique of this type of engraving is the drypoint technique (closest to the author's graphics, since it does not have a large circulation), mezzotint ("black print"), etching, aquatint, soft varnish (or strip varnish).
Etching - from the French eau-forte - nitric acid. The design is scratched with an engraving needle into a layer of acid-resistant varnish covering the metal plate. The scratched areas are etched with acid, and the resulting in-depth image is filled with paint and stamped onto paper.
Drypoint - the design is applied directly to the metal by scratching strokes on the surface of the metal board with the tip of a hard needle.
Mezzotint is a type of in-depth engraving in which the surface of a metal board is roughened by a lapidary, giving a solid black background when printed. Areas of the board corresponding to the light areas of the pattern are scraped, smoothed, and polished.
Aquatint is an engraving method based on etching with acid the surface of a metal plate with fused asphalt or rosin dust and an image applied with an acid-repellent varnish using a brush. Has huge amount shades from black to white.
Depending on his plans, the artist is free to choose different engraving techniques. The printing plate is made from the original, made by the artist, photomechanically, by machine. In easel graphics for printmaking, the printing form is created by the artist himself, so a number of copies of original works of art of the same artistic value are obtained, fully preserving the living and direct imprint of the author’s creative work.
More accessible in execution is easel drawing (drawing not as one of the artistic means of fine art, but as an auxiliary work). The drawing is made by the artist directly on a sheet of paper using any graphic material - pencil, charcoal, ink, sanguine, watercolor, gouache.
Main graphics tool- drawing (plasticity - in sculpture, color - in painting). Drawing is an image made by hand. By eye, using graphic means: contour line, stroke and spot. Drawing (as an artistic and expressive means) is used in all types of fine arts, but in graphics it is used in a purer form. The drawing demonstrates the character, temperament, and mood of the artist. The drawing is usually black and white, in some cases color. There are numerous types of drawing, differing in drawing methods, themes and genres, techniques and nature of execution.
Drawing is an image made by hand. By eye, using graphic means: contour line, stroke and spot. There are numerous types of drawing, differing in drawing methods, themes and genres, techniques and nature of execution.
Means of graphic expression- a contour line, stroke, contour, spot (sometimes of color), background of a sheet (usually white paper), with which the image forms a contrast or nuanced relationship. Color in graphics, unlike painting, often plays a supporting role.
Graphics tend to be monochromatic, most often extracting artistic expression from a combination of two colors: white (or another shade of the base) and black (or some other coloring pigment color).
The stylistic means of graphics are varied: from fluent, spontaneous, quickly executed sketches, etudes, sketches to carefully developed compositions - pictorial, decorative, font.
Graphic materials varied, but, as a rule, the basis is a sheet of paper. The color and texture of the paper play a big role. Paper - predetermines the classical role of a white background, on which lines and spots acquire significant expressiveness; At the same time, a monochrome image on a contrasting white background forms a special aesthetic system, which allows us to characterize graphics as the art of “white and black.” But this does not at all exclude rich polychromy or coloring of the planes, depending on the artist’s creative intent and his choice of materials ( colored paper, colored pencils, watercolors, etc.).
The most common distinguishing feature of graphics is the special relationship of the depicted object to space, the role of which is largely played by the background of the paper. The spatial sensation is created not only by the areas of the sheet not occupied by the image, but often (for example, in watercolor drawings) by the background of the paper appearing under the colorful layer.
Drawing techniques:
Pen - used for drawing with liquid dyes (ink, ink, watercolor). Depending on the shape of the pen tip, various lines and strokes are obtained, making it possible to both convey a large shape and draw the smallest details. Drawings made with a pen are difficult to correct, since the dye solution penetrates deeply into the structure of the paper. The pen technique requires great composure, accuracy, and self-discipline from the artist.
Coal is an extremely soft, pliable material with a beautiful matte texture. It is made from evenly burned thin branches or planed sticks of linden, willow or other tree species. Hard charcoal made from pressed coal powder with the addition of a rough surface with a stick of drawing charcoal is common; it does not bond well with paper and crumbles. Finished drawings made with bulk coal need to be fixed with a special fixative solution. Unlike natural drawing charcoal, sticks made from compressed charcoal powder produce greasy, sticky lines that are very difficult to remove. The technique of drawing with charcoal is varied, since charcoal can be used to draw thin, clear lines and cover entire surfaces with the side.
Sanguine - rimless sticks of various red-brown tones. Unlike natural, artificial sanguine is made from kaolin and iron oxides. Sharpened sanguine sticks produce fine lines and strokes. Like charcoal, sanguine can be worked with the end of a stick or flat. It rubs well with various shades, rubber bands and thin emery cloths. When rubbed, sanguine changes its color and texture somewhat, but these qualities can also be used as new means of expression in drawing. The sanguine technique makes it possible to achieve subtle tonal transitions. The most commonly used is a warm red-brown tone. Close to the physical. While working, the sanguine stick can be moistened, which will allow you to achieve greater variety in the thickness and density of the stroke. The disadvantages of sanguine include the difficulty in conveying the depth of shadows.
Pastels are dry, soft, rimless colored crayons made from pressed, powdered pigments with the addition of glue, milk, chalk and plaster. Pastels are characterized by a matte texture, purity, and softness of colors, which, as a rule, retain their original freshness for a long time. Drawing with colored chalk brings graphics closer to painting. Pastel pencils (sticks) are used to draw on rough paper or cardboard. The delicate, velvety surface of the pastel must be protected from the slightest touches and shocks. To preserve drawings made in pastels, they are not fixed with a fixative (this makes the pastel lose its velvety and purity of color), but are carefully edged and glazed in a frame. “Pure pastel” is done with strokes and spots in one layer of color. But pastel colors can be mixed by applying one layer on top of another and rubbing them with a feather or hand.
The sauce is fat black cylindrical sticks with a diameter of 8-10 mm, wrapped in rimless paper, made from compressed powder, soot or coal with the addition of glue. You can work with lines, strokes, spots using rubbing (dry sauce) and sauce dissolved in water with a brush (wet sauce). In drawing with wet sauce, as in painting, pointed and flat brushes are used from fat-free calcined hair or the wool of various animals - squirrel, badger, kolinsky and others. Not only pastel techniques, but also watercolor and gouache techniques are on the verge of painting and graphics.
Watercolor - paints, usually with vegetable glue, diluted with water. Its main qualities are the transparency of the paints, through which the tone and texture of the base (mainly paper, less often silk, ivory) and the purity of color shine through. Watercolor combines the features of graphics (the active role of paper in constructing an image and in conveying an artistic image) and painting (rich tone, construction of form and space with color). Specific watercolor techniques are washes and streaks, creating the effect of mobility and trembling of the image. In watercolors done with a brush, a drawing with a pen or pencil is often introduced. Watercolor is combined with whitewash, gouache, tempera, pastel and other materials.
Gouache is a paint consisting of finely ground pigments with a water-adhesive binder (gum arabic, wheat starch) and an admixture of white. Gouache is usually used to work on a variety of substrates - paper, cardboard, linen, silk. Gouache arose as a type of watercolor, when white was added to water-based paints to achieve the density of the paint layer. In terms of technique, gouache is closer to watercolor, and in terms of artistic impact - to pastel. Currently, gouache is used to create original posters, book and applied graphics, sketches and decorative works. Colorful materials and techniques are determined by the type of graphics.
The main differences between graphics and painting:
Graphics (especially drawing, lithography) give the artist more freedom than painting, due to the simplicity and accessibility of the technique, the ability to work quickly, reflecting instant emotional experiences;
Graphics are mainly illustrative in nature, they are more decorative (often used to create illustrations for books, cartoons, etc.).
V.M. Ivanushkina, senior teacher
Explanatory note
Program elective course“Fundamentals of graphics. Types of graphic techniques and their use in conditions modern lesson” is intended for an overview of the art of graphics for students, expands knowledge about the history of development graphic art and outstanding master graphic artists.
Target– formation of students’ interest in the art of graphics, further formation of an emotional and value-based attitude towards the world.
Tasks:
- an overview of the development of graphic art, its types, features;
- expanding knowledge and skills in the field of graphics and graphic techniques;
- introducing students to graphic culture different countries and peoples.
Attention is paid practical work: drawing with various graphic materials, getting to know printed graphics, making available types of engravings. Graphics classes are related to composition and develop figurative perception, imagination, and aesthetic taste.
As a result of studying the program, students should know:
- basic information about the art of graphics, its origin and development;
- basic information about graphic artists and their works;
- types, means of expression and features of graphics.
Students must be able to:
- creatively use the information received in fine arts classes and be able to apply it, as well as find the necessary information in archives, libraries, museums, and via the Internet;
- make drawings using various graphic materials;
- produce printed graphic works (monotype, cardboard engraving);
- be able to combine materials and methods of their use, use rich visual techniques drawings and apply them in practice.
The forms of control of acquired knowledge and skills are varied: exhibition and discussion of creative works, writing an essay, creating and defending a presentation.
Procedures for monitoring student success levels.
Option I. Execution and Analysis graphic works. Skills assessment. Elimination of professional difficulties.
Option II. Exhibition of works. Writing an essay based on the results of viewing the exhibition. Discussion.
Option III. Creating a presentation on the topic of the course studied. Discussion.
The material is accompanied by the presentation “The Art of Graphics”. The program allows students to develop practical activities in the field of graphics, which encourages them to participate in creative competitions, Olympiads, conferences.
The material included in the program can be used in the lessons of fine arts and MHC, history and literature, in classes in art studios, and also as a modular block in advanced training courses for teachers educational institutions and institutions of further education.
The program lasts 16 hours. Variable changes in the duration of the course are possible.
Educational and thematic plan.
| № | Subject | Number of hours | Number of hours |
| 1 | Graphics. History of development. Types of graphics. Figurative language of graphics. Means of expressive graphics. |
2 | Lecture. Presentation. Discussion |
| 2 | Drawing. Variety of graphic techniques. Making drawings. |
6 | Conversation. Practical work |
| 3 | Engraving. Types of engravings. Engraving on cardboard. Engraving on linoleum. Monotype. |
6 | Conversation. Practical work |
| 3 | Final control procedures | 2 | Exhibition. Discussion |
After completing the program, consultations with the teacher are provided.
Glossary of terms
Bistre – transparent brown paint from wood soot mixed with water-soluble vegetable glue.
Graphics – a form of fine art that includes drawing and printing works of art, based on the art of drawing and having their own visual means and expressive capabilities (from the Greek. grafo- I write, I draw, I draw).
Engraving (from fr. gravure– cut, scratch), a type of graphics in which the image is a printed impression of a relief design applied to an engraving board by an engraver.
Engraving board – any material on which an engraving is carved.
Italian pencil– graphic material, made from burnt bone, held together with vegetable glue.
Collage(from French collage- gluing), a technique in fine art that involves gluing onto a base materials that differ from it in color and texture; a work made using this technique.
Woodcut– wood engraving
Linocut– engraving on linoleum
Lithography- engraving on stone.
Splint(folk picture), type of graphics, image with a caption, characterized by simplicity and accessibility of images.
Monotype – type of printed graphics; The print obtained during printing is always unique, the only one.
Etching (from fr. eau-forte– “strong vodka”), a type of engraving on metal (zinc, copper), in which the in-depth elements of the printing form are created by etching the metal acids.
Sangina – pencils without rims in various red-brown tones; while working, the rim can be wetted and a variety of stroke thicknesses and densities can be obtained.
Sepia - light brown coloring matter, natural sepia was made from the so-called. ink sac of sepia sea clam; This is also the name of the type of graphic technique.
Drawing - an image made by hand using graphic means - a contour line, a stroke, a spot.
Printmaking(from fr. estamper- to imprint, to stamp), imprint, imprint, easel engraving or lithograph.
1. Graphics. History of development. Types of graphics. Figurative language. Means of expression (2 hours). Presentation “The Art of Graphics”(Appendix 1).
Graphics - the art of depicting the world using lines (Slide 2). First graphic images (Slide 3). The history of the development of graphic art from Paleolithic rock paintings to printing works and computer graphics. Famous masters - graphic artists. Types of graphics. Graphic materials, tools and their features.
Drawing (Slide 4). Drawing is the basis of all fine arts. Linear and tone drawing (Slide 5). Drawing - sketch. Transfer of volume, illumination, texture in a tone pattern. Silhouette is a type of tone pattern in which the outline is filled with an even tone. The uniqueness and originality of the drawing, its artistic value.
History of the development of the art of drawing. Drawings in the art of Ancient Egypt, ancient Eastern civilizations. Drawing in ancient Greek vase painting. Ink drawings in China and Japan. Line drawing, architectural drawing in medieval art. Drawing in icon painting. Medieval miniature. Drawing in the Renaissance of the 15th–16th centuries (Pisanello, A. Mantegna, Raphael, Leonardo da Vinci, Michelangelo, Titian, P. Veronese, A. Durer and others). Pencil portraits of J. Vann Eyck, H. Holbein the Younger, J. and F. Clouet. Rembrandt's drawings are bold and free in style. Energetic drawings by P.P. Rubens. Grotesque sketches by J. Callot. Natural, genre, landscape drawings by A. Watteau, F. Boucher, J. O. Fragonard, T. Gainsborough. Sharp drawings by F. Goya, sharply grotesque drawings by O. Daumier. Sketches by artists of the Barbizon school. Drawings by impressionist artists conveying the moment of movement. Emphatically graphic drawings by artists of the Art Nouveau style, designed to be reproduced on the pages of books, magazines, newspapers (T.T. Heine, O Beardsley). Drawings by post-impressionists - P. Cezanne, A. de Toulouse-Lautrec, V. van Gogh. Political drawings by K. Kollwitz, F. Maserel and others. Avant-garde, full of experiment drawings by E. Kirchner, A. Matisse, J. Braque, F. Léger. Sharply satirical drawings by J. Effel, H. Bidstrup. Drawing in the works of P. Picasso. Full-scale and compositional drawing by A. Losenko and P. Ugryumov in Russia in the 18th–19th centuries. Classical perfection of form, life-like persuasiveness of the drawings by O. Kiprensky, K. Bryullov, A. Ivanov. Realism in the drawings of Russian artists and Itinerant artists (I. Kramskoy, P. Chistyakov, I. Repin, A. Vasnetsov, V. Serov, V. Vrubel, V. Makovsky). Book graphics by A. Benois, I. Bilibin. Drawings and illustrations by D. Shmarinov, E. Kibrik, A. Deineka, E. Lansere, E. Charushin, S. Gerasimova and others.
Printed graphics . Replication is a feature of printed graphics.
Engraving (Slide 6). Types of engravings .
Convex engravings (woodcut - woodcut; linocut - linoleum engraving; relief engraving on metal) (Slide 7).
In-depth engravings (incisor engraving; etching and other varieties) (Slide 8).
Flat engravings (lithography - stone engraving) (Slide 9). Imprint. Printmaking.
Engraving has been known in China since the 6th and 7th centuries. In Europe, interest in engraving appeared during the Renaissance. Religious engravings from the 14th century. Chisel engraving of the 15th–16th centuries (M. Schongauer, A. Montegna, A. Dürer, Parmigianino, etc.) Development of book woodcuts in the 16th century. Engraving with a 17th century chisel. Dutch school of etching (Rembrant, J. van Ruisdael, A. van Ostade). The spread of metal engravings in Russia in the 17th century (S. Ushakov, L. Bunin, A. Trukhmensky). Russian popular print from the late 17th century. Etchings by A. Watteau, J. O. Fragonard, G. Tiepolo, A. Canaletto, W. Hogarth. Chisel engraving allegories, battle scenes, landscapes and portraits of A. Zubov, I. Sokolov, N. Utkin, S. Galaktionov, A. Ukhtomsky. Japanese woodcuts of the 17th–18th centuries (O. Masanobu, S. Harunobu, K. Utamaro, K. Hokusai, A. Hiroshige, etc.). Etchings by F. Goya. Woodcut engraving by V.Mate. Etchings by J. Millet, C. Corot, C. Pissaro, T. Shevchenko, I. Shishkin, V. Serov. I.Repina. A cycle of etchings on a revolutionary theme by K. Kollwitz. Decorative stylization, Art Nouveau and the revival of woodcuts (W. Morris, A. Ostroumova-Lebedeva). Woodcut and linocut of the 20th century (F. Maserel, L. Mendes, R. Katz, Li Hua). Book engravings and prints by P. Picasso, A. Matisse, R. Dufy. Realism in engravings by R. Kent, A. Grant. Tone engraving by I. Pavlov and I. Sokolov. Woodcut and color engraving P. Shilingovsky, V. Falileev. Psychologism and integrity of V. Favorsky’s linocuts, technicality and richness of tonal transitions in M. Akhunov’s linocuts.
Easel graphics. Book and newspaper and magazine graphics . ( WITH lead 10).
Applied graphics . (Slide 11). Poster . (Slide 12).
Easel graphics refer to traditional genres fine arts - thematic composition, portrait, landscape, still life. Easel works of printed graphics are replicated in many copies. Lubok – a specific type of easel graphics . . (Slide 13). Decorative graphics. Collage . (Slide 14). Computer graphics.
Figurative language of graphics. Line, stroke, spot are the main expressive means of graphics. Contrast. Nuance. The depicted object has a special relationship to space, the background of the paper plays an important role in its reconstruction. Black and white are the basis of the figurative language of graphics.
2. Drawing. Variety of graphic materials and techniques. Making drawings (6 hours).
Drawing. A drawing is an image made by hand using graphic means - a contour line, a stroke, a spot. The drawing is linear and tonal. Black and white effects and plastic modeling. Varieties of drawing - sketches, drafts, sketches, etudes. Drawings reflecting the architectural design.
Limited use different colors in the drawing. Drawing as an easel work of graphics and as an auxiliary material for creating pictorial, graphic, sculptural works. Drawings made with dry inks (charcoal, metal pins, Italian and graphite pencils, sanguine, etc.). Drawings made with liquid dyes (ink, bistre, sepia, ink, etc.). The basis for the drawing is papyrus, parchment, white and tinted paper. Drawing as a means for the artist to understand reality.
A variety of materials used in the drawing and ways of using them. Combining materials in a drawing. An extraordinary wealth of visual techniques and varieties of drawing. Monochrome and tinted drawings. Multicolor drawings. Watercolor, gouache, pastel, ink - means of creating drawings and paintings. Making drawings using different materials and using different graphic techniques.
3. Engraving. Types of engravings. Engraving on cardboard. Engraving on linoleum. Monotype (6 hours).
Engraving. Engraving board. Imprint.
Types of engravings. Convex, flat, in-depth engravings. Convex engravings:
– woodcut – wood engraving;
– linocut – engraving on linoleum;
– relief engraving on metal (used until the end of the 15th century; plates of brass, tin, and lead were processed with a graver).
In-depth engraving:
– chisel engraving – cutting lines in the surface of a metal with a graver;
– etching – scratching a design with an engraving needle on a metal board coated with acid-resistant varnish, followed by etching the board;
– engraving with a “dry point” – scratching a drawing with a needle on a board;
– aquatint – etching a board through the pores of resinous powder adhering to it and other varieties.
Flat engraving – lithography – stone engraving.
Monochrome and color engravings.
A drawing - a sketch - is an image of a future engraving. Laconic technique, compressed means of expression. Display of the most essential. State – the stage of work on the engraving, fixed at any stage.
Engraving on cardboard. Tools and materials required for engraving on cardboard: corrugated cardboard, paper knife, black gouache or ink, wide brush, colored and white paper, pencil. Features of the work. Making a sketch of the engraving and its mirror image. Drawing on cardboard. Cutting. Printing of prints.
Engraving on linoleum. Materials, tools necessary for making linocuts. Features of execution. Organization of the workplace. Exercises.
Monotype is a type of printed graphics. The print obtained during printing is always unique, unique. Color monotype resembles watercolor in its subtlety of color relationships. The technique has been known since the 17th century, and has spread since the 19th century (E. Kruglikova, E. Shevchenko and other authors). Performing a monotype.
4. Final control procedures (2 hours).
Sources of information.
- N.M. Sokolnikova. Basics of drawing. – Obninsk: Title, 1996.
- N.M. Sokolnikova. Glossary of terms. – Obninsk: Title, 1996.
- A.S. Shchipanov. For young lovers of brushes and chisels. – M.: Education, 1975.
- Popular art encyclopedia. – M.: Soviet encyclopedia, 1986. T.1,2.
- “School of Fine Arts”. – M.: Fine Arts, 1994. No. 5.
- http://www.hudojnik.ru; http://>www.bibliotekar.ru; http://www.arttrans.com; http://www.museum.ru, ru.wikipedia.org
Graphics
Graphics from the Greek - I write - a type of fine art that uses lines, strokes, spots and dots as the main visual means, contrasting with the white (and in other cases also colored, black, or less often textured) paper surface - the main basis for graphic works
The most ancient and traditional type of graphic art, where the basis of the image is line and silhouette. In graphics, along with completed compositions, independent artistic value They also have full-scale sketches, sketches for works of painting, sculpture, and architecture.
Classification:
Depending on the method of execution and replication capabilities, graphics are divided into unique and printed. Unique graphics— creation of works in a single copy (drawing, watercolor, monotype, appliqué, etc.). Printed graphics (engraving)— creation of printing forms from which you can receive several prints.
Unique graphics:
Watercolor, water paints on paper or silk. Technology using special watercolor paints, when dissolved in water, forming a transparent suspension of fine pigment, and due to this, allowing you to create the effect of lightness, airiness and subtle color transitions.
Shanko Irina, paper, watercolor, 2014.
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Gouache, chalk based water paints. A type of adhesive water-soluble paints, more dense and matte. Gouache paints are made from pigments and glue with the addition of white. The admixture of white gives the gouache a matte velvety quality, but when drying the colors become somewhat whitened (lightened), which the artist must take into account during the painting process. Using gouache paints you can cover dark tones with light ones. The dried image made with gouache is slightly lighter than the wet one, which makes color matching difficult. The foundation can also be susceptible to cracking if applied too thickly.
Shanko Irina, paper, gouache. 2012
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Pastel, colored crayons. Most often it comes in the form of crayons or rimless pencils, shaped like round bars or bars with a square cross-section.
There are three types of pastel - " dry, oil and wax. Oil pastels are made from linseed oil pigment by pressing. “Dry” pastels are produced in a similar way, except that no oil is used. The basis of mixing wax pastels is wax top quality and pigments. Oil pastel is considered an educational material, while its dry counterpart is used both for educational purposes and for purely artistic purposes. In the “dry” pastel technique, the “shading” technique is widely used, which gives the effect of soft transitions and delicacy of color.
There are two main types of dry pastels: hard and soft. Soft pastels are composed primarily of pure pigment, with a small amount of binder. Suitable for wide, rich strokes. Hard pastels are less likely to break because they contain a larger amount of binder. And they are great for drawing, because the side of the stick can be used for tone, and the tip for fine lines and detail work.
To paint with pastels, you need a textured surface that will hold the pigment. Pastel drawings are usually done on colored paper. The tone of the paper is selected individually, taking into account the objectives of the drawing. White paper makes it difficult to appreciate the saturation of the main colors.
Degas. Blue dancers.
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Sanguine, chalk or pencil of a “red” color. Often included in pastel kits (dry pastels).
Shanko Irina, Paper, sanguine
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Sepia, crayon or pencil brown, from a substance released by cuttlefish. Often included in a set for pastels (dry pastels).
Shanko Irina, paper, sepia
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Coal, in art, is a drawing material made from fired thin tree branches or planed sticks (in the 19th century also from coal powder with vegetable glue).
Charcoal sticks
Charcoal sticks are made from grape, beech or willow knots, fired in a sealed oven at high temperature. Willow charcoal sticks are the most common option. Grape and beech sticks are more expensive, but they leave richer strokes. Sticks 15 cm long are sold in boxes, their degree of hardness and thickness varies. Soft carbon turns into powder faster and penetrates paper less well than hard carbon. Therefore, soft charcoal is more convenient for creating large tinted areas, as well as for imperceptibly transitioning from shade to shade and for shading.
Harder types of charcoal are suitable for writing details and drawing lines; they are less shading. The only drawback of charcoal sticks is their fragility: under strong pressure they usually break.
Pressed coal
This type of coal is made from ground coal chips mixed with a binder and pressed into short thick sticks.
Compressed charcoal is stronger than charcoal sticks, does not break as easily and leaves a rich, velvety finish.
But it is much more difficult to brush such coal off paper than natural coal.
Charcoal pencil (retouching)
The retouch is a thin “slate” of pressed charcoal encased in a wooden shell. These pencils do not stain your hands and are easier to control than charcoal sticks. They have a slightly firmer texture. You can only use the tip of this pencil, so you won't be able to make broad strokes. The tip of the pencil can be sharpened in the same way as lead pencils are sharpened.
Shanko Irina, paper, coal, chalk.
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Sauce, a material for drawings, in the form of short round gray and black sticks. A sauce is prepared from kaolin, chalk and pressed carbon black. Sauce is a type of pastel. It has the great strength and looseness of soft pastels. Drawing with sauce is done in two ways - dry and wet.
Student work. Photo from the Internet.
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Ink, paint for drawing and calligraphy made from soot.
Mascara can be liquid, concentrated and dry in the form of sticks or tiles. Apply to paper using pens or brushes.
Shanko Irina, paper, ink, pen, brush.
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Italian pencil, which appeared in the 14th century. It was a rod of clayey black shale. Then they began to make it from burnt bone powder, held together with vegetable glue.
A. A. Ivanov. "A boy playing the pipe." Study for the painting "Apollo, Hyacinth and Cypress". Italian pencil. OK. 1831-34. Tretyakov Gallery. Moscow.
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Engraving, a type of circulation graphics, when several prints can be obtained from one original. Types of engravings:
Woodcut, woodcut.
A. P. Ostroumova-Lebedeva. "Mining Institute". Wood engraving for N. P. Antsiferov’s book “The Soul of St. Petersburg.” 1920.
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Lithograph, stone engraving.
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Linocut, engraving on linoleum.
I. V. Golitsyn. "In the morning at V. A. Favorsky's." Engraving on linoleum. 1963.
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Etching, metal engraving, there are several different techniques: mezzotint, aquatint, drypoint.
T.n. Master of playing cards. "Lady with a Mirror" Chisel engraving on copper. Mid 15th century
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Mezzotint
The pre-polished surface of a metal board is subjected to graining - it is covered with the help of a “rocker” (cutting machine) with many tiny depressions, acquiring a characteristic roughness. Graining is a long and very labor-intensive process. When printed, such a board (“blank”) produces a solid black tone. There are other methods of graining boards, including through etching.
In places corresponding to the light parts of the picture, the board is scraped and smoothed, achieving gradual transitions from shadow to light. Mezzotint engravings are distinguished by their depth and velvety tone, richness of light and shade shades. Mezzotint is also used for color printing.
An example of a mezzotint engraving by the Flemish artist Vallerant Vaillant
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Aquatint
An engraving print in this manner resembles a drawing with water paints—watercolors; This similarity determined the origin of the name. The essence of this technique comes down to the fact that before etching, an acid-resistant resin is applied to the printing plate - rosin, asphalt or other powder or powder, which, in the process of heating the printing plate, melts and forms a coating on the surface of the board, through the smallest gaps between the particles of which the metal is etched onto different depths, which creates different tonal planes on prints during printing, consisting of many dots; Thus, the size of the granules of resin powder or dust, its dispersion, affects the texture and tonal characteristics, which are the main purpose of this auxiliary type of metal engraving.
Jean-Claude Richard, Abbot de Saint-Non (from the original by Hubert Robert). View of the park at Villa Madama near Rome. 1765. Aquatint
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Drypoint is a metal engraving technique that does not use etching, but is based on scratching strokes on the surface of a metal board with the tip of a hard needle. The resulting image board is a form of intaglio printing.
A distinctive feature of prints from a form engraved in this way is the “softness” of the stroke: the needles used by the engraver leave deep grooves on the metal with raised burrs - barbs. The strokes also have a thin beginning and ending, as they are scratched with a sharp needle.
Jean-Michel Mathieux-Marie
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About the course
Printmaking, engraving, woodcut, linoleum, cardboard and other traditional and modern methods of hand printing.
The smell of paint, the tactile sensations of the materiality of a print on thick, textured and thin, printable paper - an incomparable pleasure.
Many famous artists, including such geniuses as Durer, Rembrandt, Goya, Degas and Picasso, created outstanding works of art using a variety of printing techniques. It is difficult to imagine Rembrandt’s work without etchings filled with classical power or Goya’s work without the passionate sheets of “Caprichos”.
Linocut and etching, collagraphy and monotype – printing techniques are so diverse and so wide that they allow each listener to develop his own individual technique that most fully expresses his creative preferences.
What benefits does studying printing technology give? Classes in the print studio provide the materiality of creativity that digital technologies have deprived us of; it is an exciting experiment in traditional printing techniques.
Through printmaking classes, students acquire:
- Comprehensive development of various creative skills: drawing, working with color, composition, the ability to choose techniques and techniques necessary to realize the idea.
- Methods of working with various materials and technologies, understanding their features and capabilities.
Program
ENTRY LEVEL (1 month)
A crash course covering basic techniques and allowing students to experiment and produce their first prints.
- Engraving on linoleum (1 lesson)
- Etching (Drypoint) (1 lesson)
- Monotype (1 lesson)
- Collagraphy (engraving-collage) (1 lesson)
BASIC LEVEL (5 months)
- Engraving on linoleum. Colored linocut using the single board method (4 lessons). Letterpress printing technique. Linoleum is a convenient and affordable material for any creative ideas: from bookplates and book illustrations to large easel engravings.
- Etching (Drypoint) (4 lessons). Traditional intaglio printing technique on metal. The printing plate is engraved with hard needles without the use of etching. Characteristic feature Prints in this technique are characterized by a special “softness” of the stroke.
- Collagraphy (engraving-collage) (4 lessons). Contemporary experimental printing equipment, combining the advantages of letterpress and intaglio printing. The printing plate is formed by relief from a variety of materials with varied textures.
- Plywood engraving (4 lessons). Letterpress printing technique, close to cut woodcut (wood engraving), with characteristic contrasting strokes and texture. The availability of the material allows you to create large-sized engravings.
- Monotype (4 lessons). Non-circulation printing technique, in which each print is unique. Interesting due to its calculated “spontaneity” and random effects. Used as a printing form various materials from glass to aluminum.
ADVANCED LEVEL (4 months)
- Mixed techniques. Chine colle (chincolle). Combining printing with various engraving techniques (4 lessons). Mixed techniques allow you to combine several types of printing in one print (stamp). Chine colle is a special combined printing technique using a layer of thin paper.
- Printing on fabric in various techniques(4 lessons). Printing techniques for production prints on fabric, including clothing (T-shirts, T-shirts) and various accessories.
- Artist's book (8 lessons). An author's publishing project using selected printing techniques.
Duration and cost of training
Graphics Graphics
(Greek graphike, from grapho - I write, draw, draw), a type of fine art that includes drawing and printed works of art (many different types engravings), based on the art of drawing, but with their own visual means and expressive capabilities. The term "graphics" was originally used only in relation to writing and calligraphy. It received a new meaning in late XIX- early 20th century in connection with the rapid development of industrial printing and the spread of calligraphically clear, contrasting linear designs, most convenient for photomechanical reproduction in books and magazines. Then graphics was defined as an art based on line and the contrast of black and white. This understanding of graphics was later expanded. In addition to the contour line, the graphics use a stroke and a spot, which also contrasts with the white (less often colored or black) surface of the paper - the main material of the graphics. The combination of the same means can create tonal nuances. Graphics do not exclude the use of color. The most common distinctive feature of graphics is the special relationship of the depicted object to space, an important role in the recreation of which is played by the background of paper or, in the words of the Soviet graphic artist V. A. Favorsky, “the air of a white sheet.” The spatial sensation is created not only by the areas of the sheet not occupied by the image, but often (for example, in watercolor drawings) by the background of the paper appearing under the colorful layer. In this case, associated with the plane of the sheet graphic image is to a certain extent flat in nature. Not having such complete capabilities as painting in creating spatial illusion real world, graphics vary the degree of spatiality and flatness with great freedom and flexibility. Graphics may be meticulous volumetric-spatial constructions, interest in storytelling, detailed study of nature, identifying the structure and texture of the subject. But a graphic artist can limit himself to a quick impression, a conventional designation of an object or, as it were, a hint of it, turning to the viewer’s imagination. Incompleteness and laconicism serve as one of the main means artistic expression. The capacity of the image in graphics is often achieved by economy and concentration of artistic means, figurative and expressive metaphors. Therefore, in graphics, along with completed compositions, full-scale sketches, sketches of works of painting, sculpture and architecture (drawings by Leonardo da Vinci, Michelangelo, L. Bernini in Italy, Rembrandt in Holland, V. I. Bazhenov, A. A. Ivanov) have independent artistic value , Val. A. Serov in Russia, N. Poussin, A. Watteau, E. Degas, O. Rodin in France and many others). The ability of graphics to sharply sharpen an image led to the widespread development of graphic satire and grotesque (etchings by F. Goya in Spain, J. Callot in France, lithographs by O. Daumier in France, drawings by J. Gros in Germany, Kukryniksy in the USSR, etc.). An active role in graphics is played by the texture of materials, the specifics of graphic techniques and techniques (picturesque and “velvety” etching, creating rich spatial and light-and-shadow transitions, clarity and flexible contrast of woodcuts, soft light-and-shadow nuances of lithography, decorative catchiness of linocuts, etc.). A special place in graphics is occupied by non-figurative elements - purely decorative motifs, ornamental text, which is a system of graphic signs. Graphics have a wide range of functions, types, genres, and artistic means, which together create unlimited possibilities for depicting and imaginatively interpreting the world, expressing the artist’s feelings and thoughts. The ways in which the viewer communicates with graphic works are also different - from the mass impact of a poster to the intimate perception of a sketch, illustration, or miniature. Important Features graphics are its ability to quickly respond to current events, the possibility of replication in many copies, sequential disclosure of the concept in a number of images (series of engravings and drawings by the French Callot and Daumier, the Englishman W. Hogarth, the Belgian F. Maserel, the Pole T. Kulisiewicz, Soviet graphic artists I . I. Nivinsky, A. I. Kravchenko, V. I. Kasiyan, A. F. Pakhomov, B. I. Prorokov, E. A. Kibrik, D. A. Shmarinova, L. A. Ilina, etc.) . These qualities were widely used in propaganda and satirical political graphics, the rapid development of which fell on the years of major historical events("flying sheets" of the Peasant War of 1524-26 in Germany, popular prints Patriotic War 1812 in Russia, engravings from the revolutions of 1830 and 1848 in France, Soviet posters of the era Civil War 1918-20 and the Great Patriotic War of 1941-45, numerous works of anti-fascist graphics of the 30s - early 40s. in Europe). In the 20th century graphics are developing as a democratic art with great social impact, addressed to the mass audience. Special significance political newspaper and magazine graphics are acquired, taking an active part in the revolutionary, national liberation struggle of peoples.
Based on technology, graphics are divided into drawing and printed graphics. The most ancient and traditional type of graphic art is drawing, the origins of which can be seen in rock paintings of the Paleolithic era, ancient vase painting, where the basis of the image is a line, a silhouette, a spot of color.
Drawing, with its inherent constructive-visual and artistic-expressive capabilities, flexibility and endless variety of techniques and forms, is one of the main means of graphics (as well as other types of fine arts), serving as an eternal way of creative communication between the artist and nature, its artistic knowledge, a person's direct response to the world around him. The tasks of drawing have much in common with the tasks of painting, and the boundaries between them are conditional: watercolor, gouache, pastel, tempera can be used to create both pictorial and graphic works. Drawing is similar to painting due to its uniqueness, while works of printed graphics can be distributed in many copies of equal value. The engraving has been known since the 6th-7th centuries. in China, from the XIV-XV centuries. in Europe (originally woodcut and engraving, later etching). Lithography arose only in the 19th century. Before the advent of photomechanical reproduction, printed graphics served to reproduce paintings and drawings.
By purpose, easel, book, newspaper and magazine, applied graphics and posters are distinguished. Easel graphics have become widespread mainly since the Renaissance. She has long been turning to traditional genres of fine art - thematic composition (engravings by A. Durer in Germany, Callot in France, Rembrandt in Holland, Hogarth and F. Brangwyn in Great Britain, Goya in Spain, K. Kollwitz in Germany, F. Maserel in Belgium , lithographs by E. Delacroix, Daumier, T. Steinlen in France, works by members of the “Folk Graphics Workshop” in Mexico, engravings and drawings by I. E. Repin in Russia), portraits (drawings by F. Clouet, J. O. D. Ingres in France, O. A. Kiprensky, Val. A. Serov, engravings by N. I. Utkin in Russia, M. Shvabinsky in the Czech Republic, S. Wyspiansky in Poland, drawings by N. A. Andreev, G. S. Vereisky in the USSR ), landscape (engravings by Katsushika Hokusai in Japan, I. I. Shishkin in Russia, drawings and engravings Soviet artists A. P. Ostroumova-Lebedeva, P. V. Miturich, N. N. Kupreyanov, etc.), still life (drawings by M. A. Vrubel in Russia, A. Matisse in France, engravings by D. I. Mitrokhin in the USSR) . Easel works of printed graphics (prints), due to their circulation and, therefore, greater availability, as well as decorative qualities, are widely used to decorate interiors. Specific mass types are popular prints in easel graphics, and caricatures in newspaper and magazine graphics. One of the main areas of application of graphics is books. Drawings and miniatures are largely associated with the handwritten book of antiquity and the Middle Ages, and engraving and lithography with the printed book. Book font is also associated with the art of graphics, since the letter is a graphic sign. Book graphics (W. Morris in Great Britain, V. A. Favorsky, V. V. Lebedev, S. M. Pozharsky, L. M. Lisitsky, S. B. Telingater in the USSR, V. Klemke in the GDR, K. Svolinsky , J. Hlavsa in the Czech Republic, V. Hloznik, A. Brunovsky in Slovakia, R. Kent in the USA, etc.) includes illustrations, creation of a font design, general design and design of the book. A relatively young area of graphics is the poster, which modern forms developed in the 19th century. as a type of trading and theater posters(works by artists J. Cheret and A. Toulouse-Lautrec in France), and then began to carry out tasks of political agitation (posters by D. S. Moor, V. V. Mayakovsky, A. A. Deineka in the USSR, T. Trepkovsky in Poland, etc.). In addition to the drawing, the poster also uses photomontage techniques, which were also used in the book and magazine (works by J. Heartfield in Germany, G. G. Klutsis in the USSR). Applied, including industrial, graphics (Lisitsky, A. M. Rodchenko in the USSR) acquires a wide range of functions, introducing artistic origin in the design of printed and industrial products ( postage stamps, bookplates, trademarks, labels, various types of packaging, etc.). Communication of graphics with modern life, the opportunities opened up for it by the development of printing create the conditions for the emergence of ever new types of graphic art.
Literature: M. Klinger, Painting and drawing, (translation from German), St. Petersburg, 1908; P. Kristeller, History of European engraving. XV-XVIII centuries (translation from German), M., 1939; A. A. Sidorov, Drawings by old masters. Technology, theory, history, M.-L., 1940; his, Drawing of old Russian masters, M., 1956; his, Drawing by Russian masters. (Second half of the 19th century). M., 1960; his, Graphics of the first decade. 1917-1927. (Album), M., 1967; his, Russian graphics of the early 20th century, M., 1969; V. A. Favorsky, About graphics as a basis book art, in the collection: The Art of Books, in. 2, M., 1961; (E. Levitin), Modern graphics capitalist countries of Europe and America. (Album), M., 1959; B. R. Vipper, Graphics, in his book: Articles on Art, M., 1970; A. D. Chegodaev, Russian graphics... 1928-1940, M., 1971; R.V. Garayeva, N.L. Maltseva, Ways of development of Soviet graphics, M., 1980; V. M. Polevoy, Twenty years of French graphics, M., 1981; Bock E., Geschichte der graphischen Kunst..., V., 1930; Magnus G. H., DuMont's Handbuch für Grafiker, Koln, 1980.
