Auswahl der wissenschaftlichen Literatur zum Thema „Monotype (engraving), technique“

The article is devoted to the analysis of the artistic possibilities of color on the example of various graphic techniques. The widespread use of printed graphics nevertheless preserves a unique aesthetic basis and does not lose its individual style, which is directly related to the printing technique. It is emphasized that color-printed graphics, thanks to the use of color, stand out from other types of visual arts with their new, original means of expression, artistic possibilities, and artistic value. The potential possibilities of color in such techniques of printed graphics as linocut, xylography, monotype, “dry needle”, “etched stroke”, aquatint, and engraving on cardboard are considered. All of these techniques use the possibilities of color in their own way as a means of expressing a creative idea. Color can be used as an accent that focuses attention on essential elements and storylines of works of printed graphics, as well as having the main semantic load in the work. It has been found that although the color is subordinate to the drawing in color-printed graphics, it gives the composition greater expressiveness and expression, and therefore helps to convey the creative idea of the artist to the viewer. It has been proven that in each of the considered techniques of printed graphics, the artist uses color for a specific purpose because it allows for achieving one or another effect.

Nowadays the problem of improving the artistic and technical features of the lithographic manner of mixed technique has matured already. The author of this study expanded and supplemented the ways of combining a variety of manners of lithographic techniques through practical experiments to achieve positive results in this area. Mixed technique is one of the types of lithography, in which a certain combination of lithographic manners engraving on stone with pencil, blurring ink, root paper, color lithography is used on one stone depending on the intent of the author, his artistic taste and possession of a large number of techniques in lithography, such as shading, sketching, blurring ink, pen, prints of cloth and other textures and the like. Lithography got the greatest spread in France, the gifted artists on stone included T. Géricault, Antoine-Jean Gros, Claude Joseph Vernet, Nicolas-Toussaint Charlet, O. Raffet, Ferdinand Victor Eugène Delacroix, Louis-Léopold Boilly, Paul Gavarni, Henri Grévedon, A. Toulouse-Lautrec and many others. Famous Ukrainian artists, namely M. Deregus, M. Popov, S. Yakutovich, and others worked in lithographic mixed technique. In particular, N. Popov in the creation of graphic works used the author's manner of execution of lithographs – drawing with acid. In artistic creativity to the main lithographic technique artists add elements of other graphic techniques: combine with etching, woodcut, monotype and other techniques. The program of teaching lithography in National Academy of Fine Arts and Architecture in methodical terms is designed so that the student of the specialty "Free graphics, design and illustration of the book", mastering lithographic technique and getting acquainted with her manners, could be able to do on this basis a mixed lithographic technique. Mixed technique is the final task, in which the student is given the opportunity to choose and combine the manners of lithography. Senior students improve their knowledge in the field of technical and technological capabilities of lithography. Due to the rich, original technique lithography has unlimited visual possibilities. It met the requirements of different artists, despite the difference in styles, language and artistic techniques. Lithography makes it possible to solve the composition in black and white, dashed, tonal, color techniques through the use of different manners.

En esta investigación se muestra un proyecto interdisciplinar que enlaza competencias, valores y contenidos a partir de la unión de enseñanzas artísticas y medioambientales. El objetivo principal es crear un método didáctico basado en la interacción del arte con espacios naturales destacados, teniendo el grabado, el color y las materias naturales como principales vehículos técnicos del proceso de enseñanza aprendizaje. Estas materias, tales como hojas, tallos e incluso frutos, no suelen ser aprovechadas por los agricultores o por los responsables de mantener en buenas condiciones las zonas medioambientales protegidas. El contexto se sitúa en la formación universitaria y plantea un discurso de innovación unificando los conceptos de educación artística y educación ambiental a través de una educación transversal para trabajar diferentes áreas del currículo. La línea de trabajo está denominada “planificaciones artísticas ecológicas”. Todo ello enfocado para alumnos del grado de Educación Primaria, futuros maestros, que a través de salidas de campo y experimentación en el aula con técnicas grafico-plásticas de grabado como el monotipo, llevan a cabo un método de construcción y relación de elementos del lenguaje visual y plástico con materiales extraídos del propio entorno natural, sin alteraciones del mismo. En dicho trabajo se analizan, los contenidos y el proceso como estrategias instrumentales de la competencia artística, que han de adquirir los alumnos para su futura labor docente. Los resultados del experimento se reflejan en forma de vivencias y creación de composiciones plásticas muy diversas, construidas individualmente, pero realizadas al unísono por todos los participantes en un clima de diálogo entre los integrantes y el propio entorno. Finalmente, en pleno contacto con la naturaleza, los hallazgos plásticos y curriculares son tratados en una asamblea con los trabajos expuestos. In this study we aim to show an interdisciplinary project that links competences, educational values and content from artistic and environmental teaching. The main objective is to create a teaching method based on the interaction of art with outstanding natural areas; taking engravings and colours and natural materials as the main vehicles of the teaching-learning process. These materials, including leaves, stems and even fruits, are not usually used by farmers and workers in charge of keeping protected natural areas. The context of the study is university education and we propose an innovative project that transversally couples the concepts of artistic and environmental education with a view to working with different areas of the curriculum. The line of work is called "ecological artistic planning." The project is aimed at primary education students, future teachers, that through field trips and classroom experimentation with graphic-art techniques such as monotype printmaking construct and relate elements of visual and plastic language with materials extracted from the natural environment without altering it. In this article we analyse content and processes as instrumental strategies of the artistic skills that students should acquire for their future teaching. The results of the experiment are reflected in experiences and different plastic compositions which, despite being built individually, all the students did at the same time in an atmosphere of dialogue among them and the environment. Finally, in full contact with nature, the plastic compositions are displayed and curricular findings are discussed in an assembly.