Journal articles: 'Graphic arts'

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ROYLANCE. "EUROPEAN GRAPHIC ARTS." Princeton University Library Chronicle 47, no. 3 (1986): 362. http://dx.doi.org/10.2307/26404364.

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MARKS. "AMERICAN GRAPHIC ARTS." Princeton University Library Chronicle 52, no. 2 (1991): 267. http://dx.doi.org/10.2307/26404423.

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Apele, Diāna, and Ina Treiliņa. "ARTS DOMINANCE IN CALENDAR GRAPHICS DESIGN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 593. http://dx.doi.org/10.17770/sie2020vol5.5145.

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Art, in a way, is a form of communication, which allows the artist to express their view to the world, show their interpretation and let others see the world through the eyes of the artist. Calendars are the most popular and long-term means of advertising, which is why their design requires a lot of attention. It is important that it does not only look good, but also provides information, fulfils the function of a promotional souvenir and creates an image throughout the entire year ahead. Graphic design is a form of visual communication whose purpose is to solve visual and graphic problems using artistic approaches provided by typography, different printing technologies, or image processing techniques, mechanical or analogue methods, or digital, with the aim to create a graphic design work or solve a graphic problem. Graphic design is more like a visual intermediary between the message and its recipient and a way of delivering the message to the recipient. The Aim of the Article: study graphics as the dominant feature of art in the design of calendars created by modern Latvian artists and analyse expert interviews to find out the opinions of specialists in the field about the significance of the content and design of artistic calendars nowadays. The research results were obtained using theoretical research methods: the study, analysis and evaluation of scientific and journalistic literature and Internet sources, which reveals the essence of the problem in question; expert interviews were carried out as well, which are empirical research methods.

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Gregori, Lucia. "Calvino's Method and Graphic Arts." Italian Culture 14, no. 1 (January 1996): 211–23. http://dx.doi.org/10.1179/itc.1996.14.1.211.

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Naimanov, B., and B. Ospanov. "Educating gravure art." Pedagogy and Psychology 43, no. 2 (June 30, 2020): 105–11. http://dx.doi.org/10.51889/2020-2.2077-6861.14.

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The article tells about the art of gravure, which is a part of the art of graphic, as well as about artists who have devoted themselves to the study of this type of art and the study of aspects of this area of fine art, as well as the study of art in the works of these artists. For a deeper understanding of graphic arts, visual material is needed. Gravure in the field of graphics occupies one of the main positions in the visual arts. With the help of this simple black-and-white graphic, artists achieve mastery by depicting and expressing what they saw in life in their works, and in doing so they develop fine arts. The article also says that gravure has specific features as one of the types of production activity, a unique way of creative activity.

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Creagh, Linda T., and Marlene McDonald. "Design and Performance of Inkjet Print Heads for Non-Graphic-Arts Applications." MRS Bulletin 28, no. 11 (November 2003): 807–11. http://dx.doi.org/10.1557/mrs2003.229.

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AbstractInkjet print heads have become the dominant printing element for home and office printers; they have been a key driver forthe digitization of wide-format graphic arts printing and other printing areas as diverse as addressing and carton coding. In the past few years, inkjet print heads have begun to have an impact in areas outside the graphics arts. In these applications, the inkjet print head may be considered a manufacturing tool; this implies that it will differ in design depending on the application. Also, standards forreliability, consistency, and dependability will differ from those in graphic arts areas. Even though non-graphic-arts applications differ widely in their details, there are general considerations in terms of the systems that are required. Each nontraditional application has specific goals for manufacturing, and a unique inkjet print head designed to meet these goals may be required. This article focuses on a specific piezo-based inkjet print head that has been engineered to meet the manufacturing requirements for flat-panel displays basedon light-emitting polymeric materials.

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YAMAGUCHI, Yasushi. "Computer Graphics Education and Graphic Science Education as Liberal Arts Education." Journal of Graphic Science of Japan 41, no. 1 (2007): 25–26. http://dx.doi.org/10.5989/jsgs.41.25.

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Svitlana Botvinovska, Tatyana Nikolayenko, Alexandra Kunovskaya, and Victoria Bolbotenko. "USE OF MODERN PEDAGOGICAL TECHNOLOGIES IN THE COURSE OF DESIGN GRAPHICS FOR STUDENTS OF THE SPECIALTY "FINE ARTS"." APPLIED GEOMETRY AND ENGINEERING GRAPHICS, no. 99 (December 17, 2020): 28–42. http://dx.doi.org/10.32347/0131-579x.2020.99.28-42.

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The paper presents the main advantages of using the project method during distance work of students when they execute a graphic project in the discipline "Engineering Design Graphics". Students study in the specialty "Fine Arts." It is known that high-quality education can be only when theoretical knowledge can be applied in practice. Therefore, it is the use of the project method in the study of graphic disciplines that can become the basis for the training of design specialists. The use of the project method in the study of graphic disciplines leads to an increase in student activity, the acquisition of teamwork skills, the expansion of students' worldview and the acquisition of professional competencies.The capacity of the project method is confirmed by high-quality student works that were submitted to the competition. In the process of creating the group logo, project participants gained research skills, consolidated their knowledge and skills in graphic description of existing images. The information received in the course "Engineering Design Graphics" allowed the contest participants to qualitatively express their thoughts, demonstrate their creative ideas, and provide the project with high-quality graphic images. The use of the project method allowed teachers to identify the research skills of first-year students, recognize among them those who are able to think independently make non-standard decisions and critically evaluate their work.During the project, students, working in groups, learned to combine the knowledge gained during training, became interested in information about graphic images and methods of their execution, learned to correlate the obtained theoretical material with the solution of the problem of geometric modeling of the emblem of the group. According to the results of the competition, it is possible to draw conclusions that students of the Project Graphics course demonstrated the ability to think independently, make interesting decisions, demonstrated the ability to qualitatively perform two-dimensional graphic images of various complexity when solving various engineering tasks and during design projects.

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Fluda-Krokos, Agnieszka. "Matryce Stanisława Dawskiego (1905–1990) w zbiorach Biblioteki Naukowej PAU i PAN w Krakowie." Rocznik Biblioteki Naukowej PAU i PAN 66 (2021): 107–29. http://dx.doi.org/10.4467/25440500rbn.21.008.16090.

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The matrices by Stanisław Dawski (1905–1990) in the Scientific Library of PAU and PAN in Krakow collection The article is a preliminary research on the body of bookplates by Stanisław Dawski (1905–1990) – an artist, graphic designer, painter, professor and the rector of the State College of Fine Arts in Wrocław (currently the Academy of Fine Arts). The Graphic Collections of the Scientific Library of PAU and PAN keeps 383 plates (some of them used two-sidedly) with 409 matrices used for graphics, mostly bookplates; Dawski produced c. 505 bookplates. The collection was donated to the Library in 2009 by Lech Kokociński

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Guan, Jia Qing, and Jing Hu. "Analysis Artistic and Performance Applications of Oracle." Advanced Materials Research 542-543 (June 2012): 1357–61. http://dx.doi.org/10.4028/www.scientific.net/amr.542-543.1357.

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Oracle as an aesthetic element in the Chinese cultural system, it contains double genes of abstract characters and concrete graphics. According to oracle, we can understand ancient's life style and mental state more intuitive. It gives modern graphic design some inspirations: speaking in graphics, there is no more redundant characters to explain. Moreover, combining the characters and graphics of tradition and design concept is a trend of modern design development, only the national art can last permanent. Therefore, to comprehensive and profound understand oracle's plastic arts, thinking mode and explanation meaning have a far-reaching influence on modern graphic design.

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Boguszewska, Anna. "Kształcenie w zakresie grafiki w szkolnictwie artystycznym Krakowa, Lwowa i Wilna w latach międzywojennych." Biuletyn Historii Wychowania, no. 29 (February 4, 2019): 85–100. http://dx.doi.org/10.14746/bhw.2013.29.6.

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Training in graphics in the artistic education of Cracow, Lvov and Vilnius during the interwar years (1918–39)The beginnings of art education in Poland are connected with the cities of Cracow, Vilnius and Warsaw in the 18th and 19th centuries. In the interwar period (1918–39), in addition to the most powerful graphics education center in Warsaw, this discipline of art developed intensively in the art schools in Lvov, Cracow and Vilnius. The development of graphics in the Cracow Academy is related to the artistic and educational activities of Józef Pankiewicz. In 1923, the independent Department of Graphic Arts was established, conducted by John Wojnarski in collaboration with Andrzej Jurkiewicz and Jan Rubczak. The next outstanding teachers are Ludwik Gardowski and Konrad Strzednicki. Graphics education in the Municipal School of Art Industry (Miejska Szkoła Przemysłu Artystycznego) in Cracow is headed by Witold Chomicz. Graphics education in Lvov is linked to the activity of such artists as Ludwik Tyrowicz and Maria Rużycka. Ferdynand Ruszczyc, Bonawentura Lenart introduce the study of graphics into the curriculum of the Faculty of Fine Arts at Stefan Batory University in Vilnius. Since 1930, Jerzy Hoppen started the graphics workshop. In the 1930s, the graphic arts established a permanent and significant position in Polish art education.

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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.

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Warnock, J. E. "The changing landscape of graphic arts." IEEE Computer Graphics and Applications 20, no. 1 (2000): 32–33. http://dx.doi.org/10.1109/38.814547.

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ADASKINA, NATALIA. "RAKhN,VKhUTEMAS, AND THE GRAPHIC ARTS." Experiment 3, no. 1 (1997): 76–124. http://dx.doi.org/10.1163/2211730x97x00107.

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TAKAHASHI, Yasusuke. "Graphic Arts Technology in Imformation Society." Journal of the Society of Mechanical Engineers 93, no. 857 (1990): 311–15. http://dx.doi.org/10.1299/jsmemag.93.857_311.

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Zebehazy, Kim T., and Adam P. Wilton. "Graphic Reading Performance of Students with Visual Impairments and Its Implication for Instruction and Assessment." Journal of Visual Impairment & Blindness 115, no. 3 (May 2021): 215–27. http://dx.doi.org/10.1177/0145482x211016918.

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Introduction: The ability of students to engage with graphical materials supports learning in science, technology, engineering, arts, and mathematics areas. For students with visual impairments, understanding the factors that contribute to the effective interpretation of graphics can promote meaningful access to the curricula. Methods: Forty students with visual impairments completed multiple-choice question tasks for five types of graphics presented in their medium of choice and provided difficulty ratings. The teachers of students with visual impairments rated the students on several factors. Statistical analyses investigated the relationship between performance differences and teacher-rated factors. Results: Significant differences in performance between print and tactile graphics users were found for bar graph, map, and total correct responses on all tasks. For some tasks, perceived difficulty by tactile graphic users did not align with actual performance. Teachers’ ratings of students who had Individualized Education Program goals for graphics, independence in using graphics, problem-solving ability, mathematics ability, and frequency of engaging with graphics contributed to significant differences in performance across total correct and most individual graphic results. Discussion: Although medium type was a significant contributor across graphic types, some teacher-rated variables appeared to mitigate the importance of medium on student performance. Depending on the graphic type, experience, content knowledge, skills with graphics, and confidence and motivation can all affect student performance when interpreting graphics. Implications for practitioners: Teachers should provide students with early and frequent opportunities to engage with graphics and support their problem-solving abilities regarding how to engage with different graphic types to enhance their independent use of graphics.

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Danowska, Ewa. "Darczyńcy i ich dary dla Towarzystwa Naukowego Krakowskiego, Biblioteki AU, Biblioteki PAU oraz Biblioteki Naukowej PAU i PAN." Rocznik Biblioteki Naukowej PAU i PAN 66 (2021): 97–130. http://dx.doi.org/10.4467/25440500rbn.21.007.16089.

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Donors and their donations to the Academic Society of Krakow, the Library of the Academy of Learning, the Library of PAU and the Scientific Library of PAU and PAN in Krakow. The article is a preliminary research on the body of bookplates by Stanisław Dawski (1905–1990) – an artist, graphic designer, painter, professor and the rector of the State College of Fine Arts in Wrocław (currently the Academy of Fine Arts). The Graphic Collections of the Scientific Library of PAU and PAN keeps 383 plates (some of them used two-sidedly) with 409 matrices used for graphics, mostly bookplates; Dawski produced c. 505 bookplates. The collection was donated to the Library in 2009 by Lech Kokociński.

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Сherkasov, Volodymyr. "Model of formation of readyness of future teachers of fine arts for use of computer graphics in professional activity." Academic Notes Series Pedagogical Science 1, no. 189 (August 2020): 85–90. http://dx.doi.org/10.36550/2415-7988-2020-1-189-85-90.

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The model of formation of readiness of future teachers of fine arts to use computer graphics in professional activity in the context of a subject field of our research contains three blocks, namely: methodological and target (the purpose, tasks, approaches, principles); content-procedural (stages, content, forms, methods, technologies); diagnostic and effective (criteria, indicators, levels of readiness). Сomputer graphics are used in almost all areas of human life, and above all, in art education, in the creation of images and processing of visual information obtained during the study of various arts, communication with various arts. With this approach, we consider it appropriate to determine the essence of computer graphics in the scientific environment and its place in the system of disciplines. At present, it is worth noting that computer graphics is a component of computer science and is studying the means and methods of creating and processing graphic images using computer technology. Computer graphics is a scientific discipline that develops a set of tools and techniques for automating coding and decoding graphic information. Computer graphics studies the methods of digital synthesis and processing of visual content. Our proposed model of forming the readiness of future teachers of fine arts to use computer graphics in professional activities contains three blocks: methodological-target, content-procedural and diagnostic-effective. For liquidity of research and experimental work the purpose is defined, tasks are developed, approaches and principles of the specified phenomenon of research are substantiated. The second block proposes the stages, content, forms, methods and technologies of forming the readiness of future teachers of fine arts to use computer graphics. In addition, at the diagnostic and effective stage of the experimental study, the criteria, indicators and levels of readiness are motivated. In addition, we have proposed pedagogical conditions aimed at improving the effectiveness of this phenomenon, including: purposeful motivation of future teachers of fine arts to use computer graphics in professional activities in the study of professional disciplines; mastering by future teachers of fine arts theoretical knowledge about the essence, content of computer graphics and methods of its use; improving practical skills and abilities to form the readiness of future teachers of fine arts to use computer graphics in professional activities.

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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.

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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.

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Sheykhi, Mohammad Taghi. "LINKAGE OF ARTS AND HUMANITIES: AN ENVIRONMENTAL APPRAISAL OF IRAN." International Journal of Research -GRANTHAALAYAH 6, no. 9 (September 30, 2018): 17–28. http://dx.doi.org/10.29121/granthaalayah.v6.i9.2018.1201.

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Graphic signs and symbols could largely affect the changing environment by the youth and within the youth in the present societies with special reference to the developing Iran. Transfer of young cohorts to cities in search of better income and higher quality of life has extensively impacted the urban environment through more emissions, more transportation, more consumption and the like. Increasing understanding of ecological system, promoting efforts to prevent damage to the environment, declaring national policies to the encourage productive and enjoyable harmony between man and environment and improving understanding among the families and the youth in association with the natural and built- environment, all could be supervised and controlled by graphic informatics. Graphics as a theoretical paradigm explores the relationship between human culture and the natural environment. In the present survey, some 419 youth of the both genders were interviewed through designed questionnaires.

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Bowen, Tracey, and M. Max Evans. "What does knowledge look like? Interpreting diagrams as contemporary hieroglyphics." Visual Communication 18, no. 4 (May 20, 2018): 475–505. http://dx.doi.org/10.1177/1470357218775127.

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A significant challenge in interpreting and analyzing graphic representations is to understand the many reference points a graphically depicted object may have across its producer’s personal and cultural experiences. An individual’s exposure to socially constructed representations drives his or her propensity to use specific shared graphic objects, especially when attempting to articulate complex or abstract concepts. This multidisciplinary research study focuses on interpreting graphic representation types and analyzing the graphic objects individuals use to depict the abstract concept of knowledge. A sample of 833 individuals aged 5–65 participated in the study by constructing a drawing to answer the question, ‘What does knowledge look like?’. Engelhardt’s Language of Graphics (2002) graphic representation taxonomy was used to identify grouping and linking diagrams in the drawings. Next, graphic objects were coded and categorized within the drawings to identify the common representations, shared symbols, and non-depictive elements used to group and link. Using drawings fitting Engelhardt’s grouping and linking graphic representation types, and Tversky’s theories for constructing meaning through diagrams, this article examines how study participants combine and arrange common graphic objects to depict the concept of ‘knowledge’. The results illustrate that individuals organize and arrange common graphic objects into groupings to communicate taxonomies or hierarchies based on spatial proximity; or connect and link them together using glyphs (e.g. arrows, dotted or straight lines) to communicate causal relationships. The findings also demonstrate how individuals employ common socially constructed graphic representations (or objects) as a visual communication tool and, through the exercise of drawing, as a tool for meaning or sense making. The graphic objects possess a shared meaning that the participants have seen circulating within their culture. The common ground that emerges from sharing graphic objects suggests a form of contemporary hieroglyphics that communicates meaning both inside and outside the community.

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Benois, Alexandre. "The Mission of the Graphic Arts (1910)." Experiment 7, no. 1 (2001): 303–12. http://dx.doi.org/10.1163/2211730x-00701016.

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Rajbhandari, Jitendra Man. "Graphic Communications in the Context of Nepal." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (December 1, 2018): 50–57. http://dx.doi.org/10.3126/sirjana.v5i1.39743.

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Graphic communication, a powerful tool for conveying information through visual aids has undergone a radical change since its early application by cave artists of Paleolithic age. With the development of print technology, both the scope and significance of graphic technology have been expanding. In the context of Nepal, graphic communication has received an attention since the advent of printing press. Several artists, illustrators and graphic designers have made great contributions on the development of this form of Applied Arts. Since the last few years the Fine Arts institutions in Nepal have been introducing Graphic Communications into their curriculum which is sure to uplift the quality of graphic design in promotion of the products and services in the Nepali market.

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Graham, Lisa M. "Sustainable Graphic Design: The Ecologically-Friendly Graphic Design Studio." Design Principles and Practices: An International Journal—Annual Review 2, no. 3 (2008): 7–12. http://dx.doi.org/10.18848/1833-1874/cgp/v02i03/37555.

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Solovei, Oles. "FEATURES OF THE BOOK GRAPHICS OF NIKOLAI STOROZHENKO OF THE 1958–1970S." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 142–48. http://dx.doi.org/10.33838/naoma.28.2019.142-148.

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The article considers specific features of the book graphic arts of Mykola Storozhenko of the 1958– 1970s, and also investigates and analyzes the stylistic and compositional features of individual works in the context of evolution of his own artist’s style. At the current time, the subject of the book graphic arts of Mykola Storozhenko remains understudied in Ukrainian art, and the problem of the artist’s creativity in the period of the 1958–1970s has not been practically investigated. Mykola Storozhenko’s book graphic arts, like his monumental works, make a significant contribution to Ukrainian art, and therefore require deep and well-grounded study. By using the method of comparative, formalistic and compositional analysis of the works of Mykola Storozhenko’s book graphic arts of the 1958–1970s, the article reveals the approach of the artist to the form and sculpturesque means of visual and graphic arts as the factors of the experimental space. On the example of illustrative series of works of the certain period it is shown that all means of artistic expression are directed by the artist to create a coherent, emotional and metaphoric space. The issues of visual perception, aesthetic influence and artistic self-sufficiency of each individual illustration were put by the master in a number of priorities, at the level of issue of whole book design.The article emphasizes that Mykola Storozhenko directed the search for new technologies and techniques ofwork in traditional and rarely used graphic arts techniques to create an original, expressive in style of publication, with maximum compliance with the content and contemporary art form.The author considered Mykola Storozhenko’s book graphic arts of the 1958–1970s in the broader art historical context of the stylistic landmarks of his age and issues of his own self-identification.As a result of the study, the author of the article proves that all the means of artistic expression, stylistic and compositional features of each of the stages of Mykola Storozhenko’s creativity in the field of book graphic arts of the 1958–1970s are organic components of the process of evolution of the artist’s own style.All materials of this analytical study are quite important in theoretical and practical application directly in the creative process: to improve the curriculum of composition, as well as an auxiliary methodological material for students of creative specialties and student — art experts.

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Artamonova, Svetlana N. "How the collections of graphic arts in the Russian State Library serve the needs of artists." Art Libraries Journal 20, no. 2 (1995): 28–30. http://dx.doi.org/10.1017/s0307472200009342.

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Use made of the graphic arts collections of the Russian State Library demonstrates the value of art libraries, and especially of collections of graphic arts and of pictorial materials, to artists. Among the artists who are most likely to benefit are illustrators and graphic designers, who are themselves engaged in the production of publications, and film makers. Conservators of buildings and of works of art also use art libraries. Libraries such as the Russian State Library can promote their collections by mounting exhibitions.

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Verikas, A., K. Malmqvist, L. Bergman, and M. Signahl. "Colour classification by neural networks in graphic arts." Neural Computing & Applications 7, no. 1 (March 1998): 52–64. http://dx.doi.org/10.1007/bf01413709.

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Shkolna, Olga, Olga Sosik, and Alla Buigasheva. "Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 291–98. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246856.

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The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced. Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades. If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.

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Komorowski, Wiktor. "Hard Ground-Soft Politics: The Biennial of Graphic Arts in Ljubljana and Biting of the Iron Curtain." Humanities 7, no. 4 (October 9, 2018): 97. http://dx.doi.org/10.3390/h7040097.

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In 1955, the Ljubljana Biennial of Graphic Arts was founded. It was the first curatorial initiative that aimed to link graphic artists working around the world and with those divided by the Cold War. The Ljubljana Biennial became a major success and its model quickly spread worldwide, augmenting the international circulation of prints and exchanges of artistic concepts. Over the next twenty years similar exhibitions were established in Krakow, Tallinn, San Juan, Santiago de Chile, Cali, Tokyo, Cairo, Fredrikstad, Frechen, Sofia and Bradford. The Ljubljana Biennial of Graphic Arts offered an opportunity for artists from Yugoslavia, Eastern Europe and Latin America, such as Andrzej Lachowicz, Mauricio Leib Lasansky, Adolfo Quinteros and Aleš Veselý, to exhibit their works alongside the protagonists of the western contemporary graphic art circuit such as Robert Rauschenberg, Antonio Segui, Yozo Hamaguchi, Max Bill and Victor Vasarely. The network of exhibitions that followed the example set by Ljubljana Biennial of Graphic Arts became a window into the world not only for printmakers, but also for a number of artists who were affected by Cold War cultural exclusion. The network of dedicated international print exhibitions created favourable conditions for an emerging third space, which became a platform for communication between the cultures divided by the Iron Curtain. This article focuses on the curatorial assumptions that brought the Biennial of Graphic Arts in Ljubljana to life and questions its position as a cultural cornerstone for the Non-Aligned geopolitical order.

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Portnova, Tatiana Vasilevna. "A. Benois and a ballet theatre at the turn of the XIX–XX centuries (aspects of creative interaction)." LAPLAGE EM REVISTA 7, no. 3B (September 20, 2021): 158–67. http://dx.doi.org/10.24115/s2446-6220202173b1529p.158-167.

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The study’s goal is to give reasons and scientific credence for Benois’s creation in context of synthesis with fine arts and graphics in Ballet Theater of the end of XIX–beginning of XX century. The study objectives are to reveal phenomenon of arts synthesis in Benois’s method of work on performances and roles on ballet stage, to analyze peculiarities of poetics of a visual image in easel and stage works devoted to dance and created for ballet. The paper investigates artist’s creative method, defines techniques underling most of his works and revealing specific features of artistic, graphic, and theatrical heritage.

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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.

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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.

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Shuhratovich, Ismatov Ulfat. "Technologies of Working on Graphic Materials in Fine Arts Classes." Journal of Asian Multicultural Research for Educational Study 1, no. 2 (November 9, 2020): 1–4. http://dx.doi.org/10.47616/jamres.v1i2.46.

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This article discuses technology used to develop graphic material in fine arts classes. The purpose of fine arts classes is to teach students to draw on a variety of graphic materials; to teach them to see, comprehend, understand and appreciate the beauties of being and art; to develop aesthetic and artistic taste, to expand the scope of artistic thought; to develop artistic creativity and imagination, to help them find their own style, their own way of creativity.

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Tibbitts, Susie, and Roberto Ventura. "Graphically Speaking: Integrating Graphic Design with Interior Design Studio and Graphics Coursework." International Journal of Design Education 16, no. 1 (2021): 67–79. http://dx.doi.org/10.18848/2325-128x/cgp/v16i01/67-79.

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Al-Fawadi, Hutham Mezaal Salih, and Tverdokhlebova Yanina Nikolaevna,. "CONCEPTUAL MODEL OF DIDACTIC SYSTEM OF GRAPHIC-ART PREPARATION FOR FUTURE TEACHERS OF THE FINE ART." journal of the college of basic education 25, no. 105 (December 1, 2019): 1–19. http://dx.doi.org/10.35950/cbej.v25i105.4748.

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The article reveals the essence of the content of the conceptual model of artistic and graphic preparation of future teachers of the fine arts. Based on a review of scientific studies on this issue are marked new conceptual ideas, pedagogical views of scientists on the theory and practice of art education of students in pedagogical universities. Sub-theoretical construct performs scientific and educational potential of art pedagogy and its component - art didactics. Construct model of didactic conditions of artistic and graphic preparation of future teachers of fine arts in the article is viewed as structural and logical system of artistic and educational interaction between teacher and students. Regarding the nature of cognitive and practical ways of graphic activity of students, the author designed a didactic system that is purposeful on the decision of educational problems of vocational training in the field of graphic arts. Designated article mechanisms of cognitive and creative activity of students in the field of graphic art are due to the basic psycho-pedagogical and didactic regularities of the process of "cognition - teaching – learning - creativity". A priority area in the contemporary socio-economic, spiritual and cultural development of Ukraine, which is part of the European democratic community, is education. Areas of the state policy in the sphere of education are defined by the Constitution of Ukraine Logical-semantic content of the conceptual model of artistic and graphic preparation of future teachers of fine arts combines multiple components in a designated process expedient didactic design with its methodological features.

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Ferreiro, Alberto. "Graphic Tango." Leonardo 33, no. 5 (October 2000): 437. http://dx.doi.org/10.1162/002409400552775.

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Jones, Phil. "The Graphic Thing." Design and Culture 6, no. 2 (July 2014): 203–17. http://dx.doi.org/10.2752/175470814x14031924627149.

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Chomycz, Łesia, and Marek Wilczyński. "Zapowiedź Schulzowskich cliché-verre’ów." Schulz/Forum, no. 15 (September 24, 2020): 220–23. http://dx.doi.org/10.26881/sf.2020.15.12.

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A commentary on E. Menar’s essay “Sztuki graficzne. Z okazji odbyć się mającej wystawy grafiki oryginalnej w Borysławiu” that announced Bruno Schulz’s exhibition in Borsyław in March 1921. It is a brief account of the historical development of graphic arts. The author explains the essence and significance of graphics, including woodcut, etching, and lithography. The most attention he paid to the etching which, in his opinion, was the most sophisticated and difficult, allowing the artist to use a variety of materials. One of the most interesting aspects of the essay is the emphasis on the cliché-verre technique, rarely used in Poland but preferred by Schulz. Menar’s essay is of a high quality, perhaps surprising in a paper sponsored by and addressed to oil industry clerks. It seems that the author’s task to attract the reader (both the future spectator and the potential buyer) by an accessible introduction to the graphic arts and its tradition was fully accomplished. However, no information concerning E. Menar has been found and his identity remains unknown.

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Green, Michael J. "Graphic Medicine—The Best of 2022." JAMA 328, no. 24 (December 27, 2022): 2379. http://dx.doi.org/10.1001/jama.2022.20141.

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This Arts and Medicine feature reviews 2 books published in 2022: a clinical ethics graphic medicine casebook illustrating how ethical dilemmas in clinical practice play out in real situations; and a graphic public health comics anthology showing how comics meet the needs of risk communication and health promotion.

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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.

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Adi, Sigit Purnomo, Pande Made Sukerta, M. Dwi Marianto, and Sri Hadi. "EARTH'S CREATION STIMULUS: CREATION OF GRAPHIC ARTS WITH USED PLYWOOD MEDIA." ARTISTIC : International Journal of Creation and Innovation 2, no. 1 (November 23, 2021): 33–41. http://dx.doi.org/10.33153/artistic.v2i1.3634.

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Natural phenomena, especially climate change, are increasingly worrying lately. Graphic art can be used to express concern for the environment in response to climate change. The creation of this graphic art work uses the concept of the earth's creation stimulus. The creative methods used include: experimentation, contemplation, and formation. Abstract Expressionism was chosen as the style of personal expression in the creation of this work. The creative technique used is high printing technique with used plywood media. The results of the creation process show that the visualization of the concept of the earth's creative stimulus produces the forms of circles and lines. These forms are the main motif in the creation of graphic art with the stimulation of this earth's creativity

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Johannessen, Christian Mosbæk. "The challenge of simple graphics for multimodal studies: articulation and time scales in fuel retail logos." Visual Communication 17, no. 2 (December 21, 2017): 163–85. http://dx.doi.org/10.1177/1470357217746811.

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This article suggests that a Multimodal Social Semiotics (MSS) approach to graphics is severely challenged by structurally very simple texts. Methodologically, multimodal studies favour the level at which elements from discrete modes are integrated grammatically into texts. Because the tradition has this focus, the analytical description of the expression plane of many modes is underdeveloped. In the case of graphics, there is no descriptive or explanatory readiness for graphic form. The author aims to remedy this problem by combining (i) a small inventory of formal dichotomies for graphic shape features at a general level of delicacy with (ii) a fractal-derived understanding of composition as a nested hierarchy of traces from articulatory events on different time scales. In combination, the two approaches cast a light on the meaning potential of texts that are too simple to specify lexico-grammatical meaning potential as typically understood by MSS. In order to demonstrate the usefulness of the approach, the article carries out a comparative reading of two logos for Scandinavian fuel retail companies: Norwegian Statoil Fuel and Retail ASA, and Swedish Preem AB.

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Paasio, Antti, Robert G. Picard, and Timo Einari Toivonen. "Measuring and Engineering Personnel Productivity in Graphic Arts Industry." Journal of Media Economics 7, no. 2 (April 1994): 39–53. http://dx.doi.org/10.1207/s15327736me0702_4.

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T. S., Sudheer Kumar, Ciji Pearl Kurian, Kumara Shama, and Shailesh K. R. "High Dynamic Imaging for Photometry and Graphic Arts Evaluation." Journal of The Institution of Engineers (India): Series B 99, no. 4 (May 7, 2018): 383–89. http://dx.doi.org/10.1007/s40031-018-0327-7.

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Makihara, Jun. "Report of 2006 TAPPI Coating and Graphic Arts Conference." JAPAN TAPPI JOURNAL 60, no. 10 (2006): 1547–53. http://dx.doi.org/10.2524/jtappij.60.1547.

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Kawashima, Masanori, Hideaki Yamada, and Mitsutaka Kondo. "Report on 2007 TAPPI Coating & Graphic Arts Conference." JAPAN TAPPI JOURNAL 61, no. 11 (2007): 1347–54. http://dx.doi.org/10.2524/jtappij.61.1347.

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Sojka, Nancy. "What is the Graphic Arts Collection at the DIA?" Bulletin of the Detroit Institute of Arts 80, no. 1-2 (March 2006): 4–15. http://dx.doi.org/10.1086/dia23183101.

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Verikas, A., K. Malmqvist, L. Malmqvist, and L. Bergman. "A new method for colour measurements in graphic arts." Color Research & Application 24, no. 3 (June 1999): 185–96. http://dx.doi.org/10.1002/(sici)1520-6378(199906)24:3<185::aid-col5>3.0.co;2-1.

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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.

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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.

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Kargon, Jeremy. "The Logic of Color: Theory and Graphics in Christine Ladd-Franklin's Explanation of Color Vision." Leonardo 47, no. 2 (April 2014): 151–57. http://dx.doi.org/10.1162/leon_a_00517.

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In the years after 1870, two theories of color vision vied for primacy: the “trichromatic” theory and a four-color theory, also known as an “opponent” theory of color vision. Among scientists who participated in this debate, mathematician Christine Ladd-Franklin (1847–1930) made special use of graphics as a rhetorical template for reasoning and explanation. Her later work included figures modeled upon novel graphic representations of logical relationships to describe chemical reactions fundamental to visual processes. These and other illustrations demonstrate, in retrospect, how innovation in graphic notation can underlie shifts in the practice and perception of science.

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Purik, Elsa E., Mars L. Akhmadullin, and Marina G. Shakirova. "Tradition and Innovation in the Work of Bashkir Artist Talgat Masalimov." ICONI, no. 1 (2019): 147–56. http://dx.doi.org/10.33779/2658-4824.2019.1.147-156.

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The article is devoted to the artistic legacy of Merited Artist of the Republic of Bashkortostan Talgat Masalimov — painter, graphic artist and master of decorative applied art. his work is examined in the article in the context of the processes taking place in the contemporary visual arts, marked with an exploration of new plastic means. The authors regard the legacy of Masalimov as a vivid example of the simultaneous influence of folk art, its symbolism and graphic structure, Eastern (Turkic) traditions and those of the Russian avant-garde with its aspiration towards primitive, laconic, conditional forms. The article cites examples among works of the artist created in the technique of graphics, pastel and artistic felt. At the core of the creation of these works lies the knowledge of principles of construction of the composition and depictive techniques characteristic for the Russian avant-garde and Early Russian icon-painting and Iranian miniatures, with an absence of direct associations with any concrete epoch or artistic direction. The authors see in the work of the artist a vivid example of the preservation and expansion of the heritage of the past, its development and enrichment by means of contemporary plastic arts.

Journal articles on the topic 'Graphic arts'

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