Log in

Relevant bibliographies by topics / Graphic arts Australia History / Journal articles

Journal articles on the topic 'Graphic arts Australia History'

To see the other types of publications on this topic, follow the link: Graphic arts Australia History.

Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Graphic arts Australia History.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Jones, Stephen. "Synthetics: A History of the Electronically Generated Image in Australia." Leonardo 36, no. 3 (June 2003): 187–95. http://dx.doi.org/10.1162/002409403321921389.

Full text

Abstract:

This paper takes a brief look at the early years of computer-graphic and video-synthesizer–driven image production in Australia. It begins with the first (known) Australian data visualization, in 1957, and proceeds through the compositing of computer graphics and video effects in the music videos of the late 1980s. The author surveys the types of work produced by workers on the computer graphics and video synthesis systems of the early period and draws out some indications of the influences and interactions among artists and engineers and the technical systems they had available, which guided the evolution of the field for artistic production.

APA, Harvard, Vancouver, ISO, and other styles

2

Worden, Suzette. "Designing Australia Readings in the History of Design Michael Bogle (Editor)." Design Journal 5, no. 3 (November 2002): 68–70. http://dx.doi.org/10.2752/146069202789317735.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Triggs, T. "Designing Graphic Design History." Journal of Design History 22, no. 4 (November 23, 2009): 325–40. http://dx.doi.org/10.1093/jdh/epp041.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Jobling, P. "Graphic Design, A New History." Journal of Design History 21, no. 3 (September 1, 2008): 296–98. http://dx.doi.org/10.1093/jdh/epn019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Donnelly, B. "Locating Graphic Design History in Canada." Journal of Design History 19, no. 4 (January 1, 2006): 283–94. http://dx.doi.org/10.1093/jdh/epl023.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Howes, J., and P. Paucker. "German Jews and the Graphic Arts." Leo Baeck Institute Yearbook 34, no. 1 (January 1, 1989): 443–73. http://dx.doi.org/10.1093/leobaeck/34.1.443.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Rosenfeld, A., and M. A. Smith. "Rock-Art and the History of Puritjarra Rock Shelter, Cleland Hills, Central Australia." Proceedings of the Prehistoric Society 68 (2002): 103–24. http://dx.doi.org/10.1017/s0079497x00001468.

Full text

Abstract:

Elaborate, religiously sanctioned relationships between people and place are one of the most distinctive features of Aboriginal Australia. In the Australian desert, rock paintings and engravings provide a tangible link to the totemic geography and allow us to examine both changes in the role of individual places and also the development of this system of relationships to land. In this paper we use rock-art to examine the changing history of Puritjarra rock shelter in western central Australia. The production of pigment art and engravings at the shelter appears to have begun by c. 13,000 BP and indicates a growing concern by people with using graphic art to record their relationship with the site. Over the last millennium changes in the surviving frieze of paintings at Puritjarra record fundamental changes in graphic vocabulary, style, and composition of the paintings. These coincide with other evidence for changes in the geographic linkages of the site. As Puritjarra's place in the social geography changed, the motifs appropriate for the site also changed. The history of this rock shelter shows that detailed site histories will be required if we are to disentangle the development of central Australian graphic systems from the temporal and spatial variability inherent in the expression of these systems.

APA, Harvard, Vancouver, ISO, and other styles

8

Devine, Kit. "On country: Identity, place and digital place." Virtual Creativity 11, no. 1 (June 1, 2021): 111–23. http://dx.doi.org/10.1386/vcr_00045_1.

Full text

Abstract:

Place is central to the identity of Aboriginal and Torres Strait Islander peoples. The Narrabeen Camp Project explores the use of immersive technologies to offer opportunities to engage with Indigenous histories, Storytelling and cultural heritage in ways that privilege place. While nothing can replace being ‘on Country’, the XR technologies of AR and VR support different modalities of engagement with real, and virtual, place. The project documents the Stories, Language and Lore associated with the Gai-mariagal clan and, in particular, with the Aboriginal Camp that existed on the north-western shore of Narrabeen Lakes from the end of the last ice age to 1959 when it was demolished to make way for the Sydney Academy of Sports and Recreation. The project will investigate evolving Aboriginal Storytelling dynamics when using immersive digital media to teach culture and to document a historically important site that existed for thousands of years prior to its demolition in the mid-twentieth century. It expects to generate new knowledge about Aboriginal Storytelling and about the history of urban Aboriginals. Expected outcomes include a schema connecting Aboriginal Storytelling with immersive digital technologies, and truth-telling that advances understanding of modern Australia and urban Aboriginal people. The research should promote better mental, social and emotional health and wellbeing for Indigenous Australians and benefit all Australians culturally, socially and economically.

APA, Harvard, Vancouver, ISO, and other styles

9

KINROSS, R. "Conversation with Richard Hollis on Graphic Design History." Journal of Design History 5, no. 1 (January 1, 1992): 73–90. http://dx.doi.org/10.1093/jdh/5.1.73.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Belichko, Nataliia, and Nadiia Marchenko. "GRAPHIC LITERATURE: DEFINITIONS, HISTORY, COMPONENTS." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 29–37. http://dx.doi.org/10.33838/naoma.30.2021.29-37.

Full text

Abstract:

Abstract. The article defines for the first time the concept of graphic literature a special kind of book and magazine graphics, which has become widespread in world art practice over the past century. It emphasizes that graphic literature combines elements of fine arts, literature, and cinema. It reveals the essence of graphic literature in the narrative of history through a sequence of images. It reviews the history of formation and development of this art form in world and Ukrainian art history. It outlines the specific features of graphic literature in certain countries. It gives the names of personalities who influenced its origin and spread around the world. The article is mainly focused on the analysis of the history of graphic literature development in Ukraine. It outlines the contribution of Ukrainian artists of the 20th century to its development. It emphasizes the reasons for the negative attitude to graphic works of literature in Soviet times. It considers in detail the spread of works of graphic literature in Ukraine at the beginning of the 21st century. It names Ukrainian personalities and specialized publishing houses that actively develop modern graphic literature. It outlines the basic structure, some important elements, and technique of graphic works. It emphasizes the similarity of the design of works of graphic and fiction. It reveals the main purpose of graphic literature in the most effective way to convey the main idea of a literary work to the reader and to get him/her interested with the help of visual images. It examines the genre diversity of graphic literature in Ukraine in the last decade. It analyses the dependence of the genres of graphic works on the age restrictions of the readership. It reveals the necessity to further study and analyse such graphic works from the art point of view. Graphic literature combines publications in which the narration is conveyed through hand-drawn and textual images in a certain sequence.

APA, Harvard, Vancouver, ISO, and other styles

11

Baine, Breuna K. "Reading Graphic Design History: Image, Text, and Content." Design and Culture 13, no. 3 (September 2, 2021): 341–44. http://dx.doi.org/10.1080/17547075.2021.1973786.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA." Jurnal Budaya Nusantara 3, no. 1 (October 23, 2019): 46–51. http://dx.doi.org/10.36456/b.nusantara.vol3.no1.a2114.

Full text

Abstract:

Conventional Graphic Art is understood by academics through the history of its development.The Chinese nation is thought to have started the tradition of print as the forerunner of graphicart in its 'primitive' era, while the Romans began etching-glass techniques for portraying gladiators.Furthermore, the Japanese in the 8th century had begun their first authentic print by tracing andprinting Buddhist faces. When the Europeans used it as a printing technique as a medium forartistic expression, the word "printmaking" emerged, which was later adopted by the field of artuntil now. Later the graphic arts were increasingly used to reproduce various human needs. Inearly 1900 the Dutch introduced the technique of Graphic Printing in education at the BandungTechnical College is now the Bandung Institute of Technology. History and development ofIndonesian Graphic Arts in history began at Institute of Technology Bandung (ITB) as the firstacademic provider of formal education in the Department of Fine Arts, then now a Faculty ofFine Arts and Design (FSRD) of ITB. Conventional Graphic Printing Techniques become oneof the main areas of interest, the Graphic Arts Studio of the Fine Arts Department, then becamethe Fine Art Study Program and the Graphic Art Printing Technique until now is still the mainarea of interest and subject matter in the curriculum of the FSRD ITB Fine Arts Study Program.

APA, Harvard, Vancouver, ISO, and other styles

13

Triggs, Teal. "Graphic Design History: Past, Present, and Future." Design Issues 27, no. 1 (January 2011): 3–6. http://dx.doi.org/10.1162/desi_a_00051.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Drucker, Johanna. "Philip Meggs and Richard Hollis: Models of Graphic Design History." Design and Culture 1, no. 1 (March 2009): 51–77. http://dx.doi.org/10.2752/175470709787375724.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Emmons, Paul. "Diagrammatic Practices: The Office of Frederick L. Ackerman and "Architectural Graphic Standards"." Journal of the Society of Architectural Historians 64, no. 1 (March 1, 2005): 4–21. http://dx.doi.org/10.2307/25068122.

Full text

Abstract:

The office of Frederick Ackerman (1878-1950) was the source of the first modern architectural handbook, Architectural Graphic Standards (1932), which was intended as a radical manifesto. Basing his practice on the economic critique of "conspicuous consumption" by Thorstein Veblen (1857-1929), Ackerman was a leader of the technocratic movement. Ackerman directed his employees to develop factual architectural data. The authors of Graphic Standards, Charles Ramsey (1884-1963) and Harold Sleeper (1893-1960), worked at Ackerman's firm, and it was for Ackerman's projects that the first versions of the handbook's plates were drawn. Graphic Standards reflected Ackerman's technocratic approach to architecture, whereby he isolated functional facts from appearance, which was understood as self-expression. In its use of diagrams, Graphic Standards reflected the view that such schematic representations were the transparent rendering of facts. Yet, as seen in some of the plates of Graphic Standards, even the most reductive diagrams inevitably include expressive elements. Through many editions, Graphic Standards has been widely hailed as the "bible" of architectural practice, and it is paradoxical that Ackerman's radical practice became the basis of today's normative commercial practices. The attempt to separate functional fact from aesthetic self-expression was an impossible project, but Ackerman's efforts to achieve a modern architecture that was derived from the nature of its use and construction to replace the design of novelties remain a significant achievement.

APA, Harvard, Vancouver, ISO, and other styles

16

Parshall, Peter. "Graphic Knowledge: Albrecht Dürer and the Imagination." Art Bulletin 95, no. 3 (September 2013): 393–410. http://dx.doi.org/10.1080/00043079.2013.10786081.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Klyushina, Elena V., and Eleonora M. Glinternik. "“La Revue Blanche”: The History of Illustrating." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 127–49. http://dx.doi.org/10.21638/spbu15.2021.108.

Full text

Abstract:

The article reconstructs the illustrating history of “La Revue Blanche”, the leading French literary and artistic magazine of the fin de siècle epoch. Leaving out the analysis of literary content, the authors considers the petite revue through the prism of its most significant artistic achievements. In order to achieve this goal, a rather wide range of graphic artists who collaborated with “La Revue Blanche” at one time or another is outlined, and the conditional genre ranking of engravings published and distributed with the help of the journal is carried out. Based on the data obtained, a periodization of the short history of “La Revue Blanche” illustrating is proposed. The article attaches great importance to the stylistic and iconographic analysis of individual artworks. In the case of the ones by Vuillard, Roussel, and Bonnard, it is possible to put forward new semantic interpretations and emphasize the confessional nature of the prints created by the masters for the design of the journal’s frontispiece. In the article significant attention is given to the history of introducing the practice of publishing graphic literary portraits by Vallotton in “La Revue Blanche”, which at some point are forced to take on the utilitarian function of vignettes. Equally important is the review of the publication history of the independent illustrated supplement “NIB”, which, as is well known, has only had three issues. The authors see in “NIB”, at the same time, an artistic reincarnation of fumiste chatnoiresque satire, clearly close to Toulouse-Lautrec, Valloton and Bonnard, and a graphic revealing of the internal philosophical and aesthetic conflict that existed within the Nabis art group. In addition, the authors also describe the features of the Nathanson brothers’ publishing activity, emphasizing the direct dependence of the content of published products on the owners’ tastes.

APA, Harvard, Vancouver, ISO, and other styles

18

Green, Jennifer. "Multimodal complexity in sand story narratives." Narrative in ‘societies of intimates’ 26, no. 2 (December 31, 2016): 312–39. http://dx.doi.org/10.1075/ni.26.2.06gre.

Full text

Abstract:

In sand stories, an Indigenous narrative practice from Central Australia, semi-conventionalized graphic symbols drawn on the ground are interwoven with speech, sign and gesture. This article examines some aspects of the complexity seen in this dynamic graphic tradition, illustrating the ways that these different semiotic resources work together to create complex multimodal utterances. The complexity of sand stories provides an almost unique platform from which to investigate the rich diversity of the expressive dimensions of narrative and demonstrates what needs to be taken into account if we are to make meaningful comparisons of storytelling practices in a range of cultures and contexts.

APA, Harvard, Vancouver, ISO, and other styles

19

Broinowski, Alison. "Australia, Asia and the arts." Asian Studies Association of Australia. Review 12, no. 1 (July 1988): 18–23. http://dx.doi.org/10.1080/03147538808712535.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Browne, Ray B. "The Rough Guide to Graphic Novels: Includes Exclusive Graphic Novel by Danny Fingeroth." Journal of American Culture 32, no. 2 (June 2009): 185. http://dx.doi.org/10.1111/j.1542-734x.2009.00707_30.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Galbraith, Steven K. "The Kelmscott/Goudy Printing Press: Printing History as a Living History." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 17, no. 1 (March 1, 2016): 15–16. http://dx.doi.org/10.5860/rbm.17.1.454.

Full text

Abstract:

The arrival of the Kelmscott/Goudy press to the Cary Graphic Arts Collection at the Rochester Institute of Technology in January 2014 was a homecoming of sorts. From 1932 to 1941, the press belonged to our library’s namesake, Melbert B. Cary, Jr., director of the Continental Type Founders Association in New York City. Cary used the press to produce the whimsical publications of his Press of the Woolly Whale. In addition to its connection with the press’s past, the Cary Collection offers a home where the press can be maintained and used in support of teaching and the book arts. To . . .

APA, Harvard, Vancouver, ISO, and other styles

22

Targ, Rebecca. "Graphic Design History: A Critical Guide by Johanna Drucker and Emily McVarish." Design and Culture 2, no. 1 (March 2010): 117–19. http://dx.doi.org/10.2752/175470710x12593419555847.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

McCarthy, Steven. "After the Bauhaus, Before the Internet: A History of Graphic Design Pedagogy." Design and Culture 11, no. 3 (August 21, 2019): 361–64. http://dx.doi.org/10.1080/17547075.2019.1651119.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Mortimer, Armine Kotin. "Graphic Spaces: Veyron Illustrates Sollers." Contemporary French and Francophone Studies 15, no. 3 (June 2011): 329–37. http://dx.doi.org/10.1080/17409292.2011.577618.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Park, Seong Kuk, Eun Ju Lee, and Jin Wan Park. "Visual History with Choson Dynasty Annals." Leonardo 49, no. 4 (August 2016): 334–41. http://dx.doi.org/10.1162/leon_a_01286.

Full text

Abstract:

For this paper, the authors selected three historical events taken from the Annals of the Choson Dynasty that represent dramatic and tragic stories about parents and their sons for data visualization. By connecting names with entities indicating conductions from history books, they found interesting patterns that tell stories with embedded relations. The visualized images in this paper were mainly code-generated, based on the data of the Annals, with some graphic embellishment added.

APA, Harvard, Vancouver, ISO, and other styles

26

Moltrup, Megan. "Herstory of Graphic Design: Elaine Lustig Cohen." Collections: A Journal for Museum and Archives Professionals 15, no. 2-3 (June 2019): 167–77. http://dx.doi.org/10.1177/1550190619866179.

Full text

Abstract:

The Cary Graphic Arts Collection in Rochester, New York, manages the Graphic Design Archive of the Rochester Institute of Technology which features more than 35 collections documenting the work of many 20th-century Modernist graphic designers. Among these is the work of Elaine Lustig Cohen (1927–2016), a relatively unknown designer from New York City. Upon her marriage to the well-known designer Alvin Lustig, Elaine unknowingly started out on her path as a designer. She seamlessly transitioned from office manager to artist, but it took decades for her to receive recognition for her work. In an attempt to situate Elaine Lustig Cohen and her body of work within graphic design history and to give her body of work greater attention, I researched, handled, and disseminated knowledge of her work and her collection. Specifically, I examined and organized her collection at the Cary Graphic Arts Collection and went on to co-curate an exhibition chronicling her career as part of my capstone of my undergraduate degree in museum studies. I wanted to look at this collection in relation to the bigger picture of women in design and to the relationship between the representation of women in the history of graphic design textbooks and the availability of their work in archives.

APA, Harvard, Vancouver, ISO, and other styles

27

Ormisson-Lahe, Anu, and Kristiina Tiideberg. "CARL JULIUS SENFF (1804–1832) ALS ARCHITEKT UND GRAFIKER. ERGÄNZUNGEN ZUR BAUGESCHICHTE DER UNIVERSITÄT ZU TARTU (DORPAT)." Baltic Journal of Art History 18 (December 30, 2019): 231–48. http://dx.doi.org/10.12697/bjah.2019.18.07.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Zavala, Adriana. "Mexico and Modern Printmaking: A Revolution in the Graphic Arts, 1920 to 1950." Hispanic American Historical Review 89, no. 2 (May 1, 2009): 371–73. http://dx.doi.org/10.1215/00182168-2008-114.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Maras, Steven. "Screenwriting research in Australia: A truncated (pre)history." Journal of Screenwriting 12, no. 2 (June 1, 2021): 179–202. http://dx.doi.org/10.1386/josc_00059_1.

Full text

Abstract:

Recent years have seen a growing interest in the history of fields of study and academic disciplines. While recognizing a number of limitations, this article explores the emergence of screenwriting research in Australia. It addresses the question of what were the cultural conditions that gave rise to contemporary screenwriting research in Australia. The article discusses three key factors: firstly, long-standing policy settings around cultural identity and content in film and television; secondly, active debates around ‘screen culture’ that have given discussions of the place of culture and story special prominence and contributed to awareness of questions of cultural ‘value’, and conventional separations of production and consumption; thirdly, the rise of film studies in the 1970s, which gave ferment to research into narrative and story forms. My goal is to capture some of the contextual features that are important to an understanding of screenwriting research in this period and geography, and to suggest that screenwriting research emerged as intellectual attitude and area of interest that eventually crystallized as part of a more formalized arena of study in the later 2000s.

APA, Harvard, Vancouver, ISO, and other styles

30

PIERCE, HELEN. "ANTI-EPISCOPACY AND GRAPHIC SATIRE IN ENGLAND, 1640–1645." Historical Journal 47, no. 4 (November 29, 2004): 809–48. http://dx.doi.org/10.1017/s0018246x04004017.

Full text

Abstract:

This article examines the role of graphic satire as a tool of agitation and criticism during the early 1640s, taking as its case study the treatment of the archbishop of Canterbury and his episcopal associates at the hands of engravers, etchers, and pamphlet illustrators. Previous research into the political ephemera of early modern England has been inclined to sideline its pictorial aspects in favour of predominantly textual material, employing engravings and woodcuts in a merely illustrative capacity. Similarly, studies into the contemporary relationship between art, politics, and power have marginalized certain forms of visual media, in particular the engravings and woodcuts which commonly constitute graphic satire, focusing instead on elite displays of authority and promoting the concept of a distinct dichotomy between ‘high’ and ‘low’ culture and their consumers. It is argued here that the pictorial, and in particular graphic, arts formed an integral part of a wider culture of propaganda and critique during this period, incorporating drama, satire, reportage, and verse, manipulating and appropriating ideas and imagery familiar to a diverse audience. It is further proposed that such a culture was both in its own time and at present only fully understood and appreciated when consumed and considered in these interdisciplinary terms.

APA, Harvard, Vancouver, ISO, and other styles

31

Cellini, Giuseppina A. "The Graphic Reproduction of Rondinini’s Collection in Archival Documents (1758–1793)." Actual Problems of Theory and History of Art 10 (2020): 49–63. http://dx.doi.org/10.18688/aa200-1-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Kulpińska, Katarzyna. "Gracjan Achrem-Achremowicz: Vilnius Print-Maker, Graphic Designer, Bibliophile and Publisher." Acta Academiae Artium Vilnensis, no. 98 (December 11, 2019): 33–51. http://dx.doi.org/10.37522/aaav.98.2020.23.

Full text

Abstract:

When considering the personality and work of Gracjan Achrem-Achremowicz, a citizen of Vilnius, one must keep in mind the richness of his interests and talents: he was a painter, a printmaker, a bibliophile, a collector of antique prints, a publisher, an educator, a poet and a translator, and he knew several languages, including Hebrew and English. His passions and activities, though versatile, were most strongly associated with artistic (workshop) prinmaking, the graphic design of books, and with the printed word. In my paper, I aim to define the achievements of this artist as those of one of the few students of the Faculty of Fine Arts in Vil- nius who was committed to graphics at a time when teaching this discipline was not a priority (before 1930), and at the same time as an artist who had the opportunity of studying abroad.

APA, Harvard, Vancouver, ISO, and other styles

33

Leach, Andrew. "Review: Australia: Modern Architectures in History, by Harry Margalit." Journal of the Society of Architectural Historians 80, no. 1 (March 1, 2021): 118–19. http://dx.doi.org/10.1525/jsah.2021.80.1.118.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Soto Calzado, Inocente. "Una historia española del aguatinta = A Spanish History of Aquatint." Espacio Tiempo y Forma. Serie VII, Historia del Arte, no. 6 (December 7, 2018): 367. http://dx.doi.org/10.5944/etfvii.6.2018.20208.

Full text

Abstract:

Teodoro Miciano fue nombrado académico de Bellas Artes a punto de cumplir 70 años. Su discurso de ingreso habla con total naturalidad de práctica y teoría artística. Joven ilustrador para revistas y maduro grabador con excepcionales conocimientos y dominio técnico, su ensayo toma como eje conductor una de las técnicas más pictóricas de la calcografía, el aguatinta, trazando una breve pero ambiciosa historia. Preocupado por el devenir de las artes gráficas, plantea la problemática realidad de la obra gráfica original y del arte de las ediciones limitadas. Traza las líneas maestras del grabado europeo, describiendo profusamente la gráfica de Goya y reconociendo los hallazgos plásticos de Picasso en el mundo del grabado. Se analiza la clarividencia de sus ideas y su vigencia en la actualidad, con desarrollos en otros países que no han terminado de producirse en España.Teodoro Miciano was named Academician of Fine Arts nearing 70 years old. His Entrance speech talks with total naturalness about artistic theory and practice. Young illustrator for magazines and mature printmaker with exceptional knowledge and technical proficiency, his essay takes as the driving force one of the pictorial techniques of engraving, aquatint, tracing a short but ambitious story. Concerned about the future of the graphic arts, presents the problematic reality of the original graphic work and the art of the limited editions. He traces the lines of European engraving, profusely describing the graphic of Goya and recognizing the plastic finds of Picasso in the world of engraving. The clairvoyance of their ideas and their validity in the present is analyzed, with developments in other countries that have not finished producing in Spain.

APA, Harvard, Vancouver, ISO, and other styles

35

Bakos, Katalin. "Bortnyik und die „Műhely“ •." Acta Historiae Artium 62, no. 1 (April 7, 2022): 171–366. http://dx.doi.org/10.1556/170.2021.00010.

Full text

Abstract:

Bortnyik and the “Workshop”. The graphic design work of Sándor Bortnyik (1893–1976) and the “Hungarian Bauhaus”. In the Hungarian and international art history literature, Sándor Bortnyik is primarily known as an avantgarde artist attached to the circle of the MA (Today/Hungarian Art) periodical established by Lajos Kassák. Less well known is his role in the emergence of modernism in Hungary after 1925. From the very start, his painting and printmaking developed in parallel with and in interaction with his graphic design work. Having spent time in the milieu of the Bauhaus in Weimar between 1922 and 1924, upon his return to Hungary he continued to work not only in painting and printmaking, but also in book art and advertising, as well as photography, toy and furniture design, theatre work, and animation. The transcendence of the boundaries between genres, and even between branches of the arts, and the mutual influence between traditional art problems and processes and new media, are among the characteristic and still influential aspects of the modern culture of objects and visuality that were brought about by the twentieth-century avantgarde movements, and which continued in their wake. The work produced by Bortnyik, who believed that art played a role in shaping society, evolved in this spirit. His private graphic design school, the “Workshop” (in Hungarian: Műhely), was the representative in Hungarian visual culture of the Bauhaus concept of practice-based art training and functionalism, which fed off the ideas of Constructivism. The study provides a brief overview of the later development of his career, and his turn away from the genre of graphic design towards the direct communication of social, and later ideological content in painting and in printmaking.

APA, Harvard, Vancouver, ISO, and other styles

36

Gerasimov, A. Р., and D. Z. Izmailova. "Urban planning in Tomsk districts late in the 19th century (Tomsk Local History Museum documentation)." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 24, no. 6 (December 20, 2022): 9–21. http://dx.doi.org/10.31675/1607-1859-2022-24-6-9-21.

Full text

Abstract:

The history of town planning and architectural objects has been studied long ago through visual art. This is primarily associated with problems of their reconstruction and restoration. Architectural monuments often disappear without, and it is difficult to recreate them. Archival materials and visual aids help us to create an original architecture. At present, restorers actively use photographs of past years. But photography was invented late in the 19th century. Fine arts have been existed since the advent of man and solve the problems that predate that period. Therefore, the study of painting and graphics is important for both historians and architects-restorers.The paper focuses on the graphic works of J.F. Fleck, a painter and graphic artist, who lived in Tomsk in the 1870s. A series of his drawings published in Warsaw, offers an insight into the historical city development and the history of urbanism, that enables us to compare the past and the present. The paper analyzes architectural monuments survived to our days and shows the importance of the graphic artist in the study of contemporary architecture.

APA, Harvard, Vancouver, ISO, and other styles

37

Redies, Christoph, Anselm Brachmann, and Gregor Uwe Hayn-Leichsenring. "Changes of Statistical Properties During the Creation of Graphic Artworks." Art & Perception 3, no. 1 (2015): 93–116. http://dx.doi.org/10.1163/22134913-00002017.

Full text

Abstract:

During the creation of graphic artworks, we studied the evolution of higher-order statistical image properties (complexity, self-similarity, anisotropy of oriented luminance gradients, the slope of log–log plots of radially averaged Fourier power, and the fractal dimension). First, we analyzed two series of lithographs by Pablo Picasso, which represent transformations of highly aesthetic artworks. Second, one of the authors generated a dataset of 20 grayscale drawings using the computer as a drawing tool. The dataset comprised also the unfinished state images that were saved throughout the production process. The final states of the drawings were compared to versions of the same drawings, in which the constituent pictorial elements were shuffled, thereby diminishing the overall compositional intent of the artist. Results show that self-similarity was a property closely associated with artistic merit in the different types of images analyzed. In a psychological experiment, 20 non-expert participants evaluated the original abstract drawings as more harmonious and ordered but less interesting than the shuffled versions. Our study demonstrates that statistical image properties can be studied during the creation of artworks, if artistic and analytical processes are closely coordinated in a computer-based approach, which offers the possibility to produce appropriate control stimuli.

APA, Harvard, Vancouver, ISO, and other styles

38

Mereb, Faride. "Colophon as a Marginal Witness." ARTMargins 6, no. 3 (October 2017): 92–110. http://dx.doi.org/10.1162/artm_a_00191.

Full text

Abstract:

“Graphic design” was not a proper term until the beginning of the twentieth century. This led to confusion in credits/authorship for book covers, typography, which was exacerbated by the fact that printers, in addition to being in charge of the production process of books, were also making decisions regarding their finishings. Venezuela presents an interesting chapter in the history of publishing in the world given the hybrid character of publishing in the country in which traditional national artists, illustrators, and publicists comprised a mix of European and North American immigrants. The lack of current bibliographic material inspired me, as a researcher, to make a timeline of the political and graphic history of the country through its colophons. Colophons, which appear at the end of books and thus are often ignored, are nonetheless providers of essential information—witnesses of our progress in authorship and as a society.

APA, Harvard, Vancouver, ISO, and other styles

39

Goad, Philip. "Inconvenient Truths: Framing an Architectural History for Cold War Australia." Fabrications 31, no. 2 (May 4, 2021): 260–78. http://dx.doi.org/10.1080/10331867.2021.1930751.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Jacka, Liz. "Doing the history of television in Australia: problems and challenges." Continuum 18, no. 1 (March 2004): 27–41. http://dx.doi.org/10.1080/1030431032000180987.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Anguera, Marta. "Enric Huguet: 60 Years of the History of Catalan Graphic Design." Design Issues 34, no. 3 (July 2018): 103–4. http://dx.doi.org/10.1162/desi_r_00500.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Zeller, Sara. "Centering the Periphery: Reassessing Swiss Graphic Design Through the Prism of Regional Characteristics." Design Issues 37, no. 1 (January 2021): 64–75. http://dx.doi.org/10.1162/desi_a_00625.

Full text

Abstract:

In the literature, the history of Swiss graphic design is regularly told as a linear development from illustrative tendencies to Modernist abstraction. Recent research has shown that these narratives were constructed and disseminated by a group of Modernist graphic designers through journals and their own publications. By the mid-1950s, the Modernists themselves began dividing designers of the time into two camps: the individual or illustrative versus the abstract or Modern. This dichotomy, which established itself quickly, continues to shape the narrative of Swiss graphic design to this day. However, this article argues that the reality of graphic design practice in Switzerland in the 1950s was more diverse than previously assumed. Outside an exclusive circle of practitioners, illustration and abstraction were understood more as design methods than as attitudes. Taking this as its starting point, this article looks beyond this dichotomy by drawing on unpublished sources of the time and, thereby, challenges the traditional understanding of Swiss graphic design.

APA, Harvard, Vancouver, ISO, and other styles

43

Jiménez-Morales, Manel. "Networking commercial television in Australia." Historical Journal of Film, Radio and Television 36, no. 1 (January 2, 2016): 108–10. http://dx.doi.org/10.1080/01439685.2015.1131387.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Koch, Robert A., and James Snyder. "Northern Renaissance Art: Painting, Sculpture, and the Graphic Arts from 1350 to 1575." Art Bulletin 69, no. 1 (March 1987): 138. http://dx.doi.org/10.2307/3051090.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Hadok, John. "Performing Arts Healthcare in Australia—A Personal View." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 82–84. http://dx.doi.org/10.21091/mppa.2008.2016.

Full text

Abstract:

In 2006, as part of a national regional-arts conference, I attempted to bring together health care workers with an interest in caring for performing artists. The plan was to gather in symposium, to share ideas and expertise, and inaugurate a network of practitioners across Australia. It was a good idea—at least I thought so at the time, and the generous experts who agreed to participate for free also seemed to think so. However, the exigencies of mounting a symposium in a regional city, in a field hitherto never organised in this country, with no finance, and only one assistant (albeit very capable!—Marilyn Bliss—to whom I am forever grateful) proved too much. After much lost money and sleep, and with a feeling of crushing defeat, I cancelled the project. As sometimes happens, the momentum has continued. From that quixotic project has grown a new organization, the Australian Society for Performing Arts Healthcare (ASPAH).

APA, Harvard, Vancouver, ISO, and other styles

46

Bell, Diane. "In the Age of Mabo : History, Aborigines and Australia." American Anthropologist 99, no. 2 (June 1997): 450–51. http://dx.doi.org/10.1525/aa.1997.99.2.450.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Brantlinger, Patrick. "?Black Armband? versus ?White Blindfold? History in Australia." Victorian Studies 46, no. 4 (July 2004): 655–74. http://dx.doi.org/10.2979/vic.2004.46.4.655.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Lyman, R. Lee, Steve Wolverton, and Michael J. O’Brien. "Seriation, Superposition, and Interdigitation: A History of Americanist Graphic Depictions of Culture Change." American Antiquity 63, no. 2 (April 1998): 239–61. http://dx.doi.org/10.2307/2694696.

Full text

Abstract:

Histories of Americanist archaeology regularly confuse frequency seriation with a technique for measuring the passage of time based on superposition—percentage stratigraphy—and fail to mention interdigitation as an important component of some percentage-stratigraphic studies. Frequency seriation involves the arrangement of collections so that each artifact type displays a unimodal frequency distribution, but the direction of time's flow must be determined from independent evidence. Percentage stratigraphy plots the fluctuating frequencies of types, but the order of collections is based on their superposition, which in turn illustrates the direction of time's flow. Interdigitation involves the integration of sets of percentage-stratigraphy data from different horizontal proveniences under the rules that (1) the order of superposed collections cannot be reversed and (2) each type must display a unimodal frequency distribution. Ceramic stratigraphy is similar to occurrence seriation, as both focus on the presence-absence of types with limited temporal distributions—index fossils—but the former uses the superposed positions of types to indicate the direction of time"s flow, whereas occurrence seriation does not.

APA, Harvard, Vancouver, ISO, and other styles

49

Smith, Bernard. "The Preference for the Primitiveand on writing art history in Australia." Third Text 18, no. 5 (September 2004): 513–16. http://dx.doi.org/10.1080/0952882042000251697.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Thomson, Ellen Mazur. "Alms for Oblivion: The History of Women in Early American Graphic Design." Design Issues 10, no. 2 (1994): 27. http://dx.doi.org/10.2307/1511627.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!