Artículos de revistas: "Graphic arts"

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Low, David E. y Katrina Bartow Jacobs. "Language Arts Lessons". Language Arts 95, n.º 5 (1 de mayo de 2018): 322–31. http://dx.doi.org/10.58680/la201829587.

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ROYLANCE. "EUROPEAN GRAPHIC ARTS". Princeton University Library Chronicle 47, n.º 3 (1986): 362. http://dx.doi.org/10.2307/26404364.

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MARKS. "AMERICAN GRAPHIC ARTS". Princeton University Library Chronicle 52, n.º 2 (1991): 267. http://dx.doi.org/10.2307/26404423.

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Apele, Diāna y Ina Treiliņa. "ARTS DOMINANCE IN CALENDAR GRAPHICS DESIGN". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (20 de mayo de 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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Xiao, Liyao. "The Literary Characteristics and Innovative Design of Chinese Taoist Graphic Arts". Pacific International Journal 6, n.º 3 (28 de septiembre de 2023): 77–83. http://dx.doi.org/10.55014/pij.v6i3.410.

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Taoism is the purest native religious sect in China, and one of the most representative aspects of Taoist culture is graphic art. In this paper, we trace and analyze the origin of Taoist culture and art, and summarize its characteristics; from the aesthetic perspective, we classify Taoist graphic art by subject matter, analyze the classic patterns of Taoist graphics, and summarize their artistic meanings and connotations, and then express the aesthetic implications of Taoist graphics; from the perspective of the development and use of graphics, we first analyze the use of Taoist graphics in modern clothing, and propose the concept of pattern From the perspective of the development and application of graphics, we first analyze the use of Taoist graphics in modern clothing, and put forward the concept of secondary design for traditional Taoist graphics, and then make creative use of pattern design in clothing design.

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Naimanov, B. y B. Ospanov. "Educating gravure art". Pedagogy and Psychology 43, n.º 2 (30 de junio de 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. y Marlene McDonald. "Design and Performance of Inkjet Print Heads for Non-Graphic-Arts Applications". MRS Bulletin 28, n.º 11 (noviembre de 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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Gregori, Lucia. "Calvino's Method and Graphic Arts". Italian Culture 14, n.º 1 (enero de 1996): 211–23. http://dx.doi.org/10.1179/itc.1996.14.1.211.

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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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YAMAGUCHI, Yasushi. "Computer Graphics Education and Graphic Science Education as Liberal Arts Education". Journal of Graphic Science of Japan 41, n.º 1 (2007): 25–26. http://dx.doi.org/10.5989/jsgs.41.25.

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Boguszewska, Anna. "Kształcenie w zakresie grafiki w szkolnictwie artystycznym Krakowa, Lwowa i Wilna w latach międzywojennych". Biuletyn Historii Wychowania, n.º 29 (4 de febrero de 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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Svitlana Botvinovska, Tatyana Nikolayenko, Alexandra Kunovskaya y 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, n.º 99 (17 de diciembre de 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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Guan, Jia Qing y Jing Hu. "Analysis Artistic and Performance Applications of Oracle". Advanced Materials Research 542-543 (junio de 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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Zebehazy, Kim T. y Adam P. Wilton. "Graphic Reading Performance of Students with Visual Impairments and Its Implication for Instruction and Assessment". Journal of Visual Impairment & Blindness 115, n.º 3 (mayo de 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, n.º 189 (agosto de 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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Howes, J. y P. Paucker. "German Jews and the Graphic Arts". Leo Baeck Institute Yearbook 34, n.º 1 (1 de enero de 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, n.º 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, n.º 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, n.º 857 (1990): 311–15. http://dx.doi.org/10.1299/jsmemag.93.857_311.

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Field, Gary G. "Color Approval in the Graphic Arts". Color and Imaging Conference 5, n.º 1 (1 de enero de 1997): 56–61. http://dx.doi.org/10.2352/cic.1997.5.1.art00011.

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Moore, Lee C. y Barry G. Gombert. "Cloud Computing for Graphic Arts Printing". NIP & Digital Fabrication Conference 28, n.º 1 (1 de enero de 2012): 106–8. http://dx.doi.org/10.2352/issn.2169-4451.2012.28.1.art00033_1.

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Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA". Jurnal Budaya Nusantara 3, n.º 1 (23 de octubre de 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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Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA". Jurnal Budaya Nusantara 3, n.º 1 (23 de octubre de 2019): 46–51. http://dx.doi.org/10.36456/jbn.vol3.no1.2114.

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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, n.º 9 (30 de septiembre de 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 y M. Max Evans. "What does knowledge look like? Interpreting diagrams as contemporary hieroglyphics". Visual Communication 18, n.º 4 (20 de mayo de 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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Rajbhandari, Jitendra Man. "Graphic Communications in the Context of Nepal". SIRJANĀ – A Journal on Arts and Art Education 5, n.º 1 (1 de diciembre de 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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Benois, Alexandre. "The Mission of the Graphic Arts (1910)". Experiment 7, n.º 1 (2001): 303–12. http://dx.doi.org/10.1163/2211730x-00701016.

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Andrianova, Olena y Svitlana Biskulova. "Technological research of Serhiy Shyshko’s graphic arts". Bulletin of Lviv National Academy of Arts, n.º 52 (11 de julio de 2024): 4–18. http://dx.doi.org/10.37131/2524-0943-2024-52-1.

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Technological research of eight Serhiy Shyshko’s drawings from the artist's family was carried out. The technique of graphic arts and the composition of the paper supports were identified by optical and physics-chemical methods. The degradation level of drawings’ paper due to the natural aging and storage conditions was established. All the drawings were made with a graphite pencil by combining the techniques of working with the tip and the side surface of the pencil with shading. It was shown that ultraviolet fluorescence examination of drawings’ support could be useful method for making preliminary conclusions about the fiber composition of the paper and the presence of fillers. It was figured out that prolonged storage of drawings in the picture-framing mats caused paper destruction due to the influence of backing board material. The pulp fiber composition and binder of the Serhiy Shyshko’s drawing supports as well as the type of fillers, and the mineral coating composition were determined by optical microscopy, X-ray fluorescence analysis, and Fourier transform infrared spectroscopy. It was established that most of the drawings are created on drawing paper made of cotton pulp. The paper of the three drawings is made mainly of wood pulp. Rag fibers were found in the paper composition of 1930s–early 1940s drawings. Gum glue was identified as a binder of paper supports. It was determined that kaolin is the main filler of paper’s pulp and coating. The composition of the drawings’ supports was analyzed. It was demonstrated the necessity of an integrated approach using physical and chemical methods for the determination of the chemical elements’ origin in particular titanium, in the paper composition. The results of Serhiy Shyshko’s drawings’ technological research are introduced into scientific circulation for the first time. This article fills the gaps in the study of Shyshko's heritage and encourages further comprehensive research of his graphic arts. The composition changes in the paper support of different chronological periods were established. These data are important for dating graphic works of unknown creation time and clarifying the attribution of Ukrainian artists’ drawings.

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Joshua Alahira, Nwakamma Ninduwezuor-Ehiobu, Kehinde Andrew Olu-lawal, Emmanuel Chigozie Ani y Irunna Ejibe. "ECO-INNOVATIVE GRAPHIC DESIGN PRACTICES: LEVERAGING FINE ARTS TO ENHANCE SUSTAINABILITY IN INDUSTRIAL DESIGN". Engineering Science & Technology Journal 5, n.º 3 (17 de marzo de 2024): 783–93. http://dx.doi.org/10.51594/estj.v5i3.902.

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The intersection of graphic design and sustainability presents a dynamic arena for eco-innovative practices, particularly in the realm of industrial design. This review explores the integration of fine arts principles within graphic design to enhance sustainability initiatives in industrial design processes. The essence lies in leveraging the creative potential of graphic design to foster ecologically conscious solutions, thus contributing to the broader ethos of sustainable development. Eco-innovative graphic design practices encompass a range of strategies aimed at minimizing environmental impact while maximizing aesthetic and functional value. Drawing inspiration from fine arts disciplines, such as painting, sculpture, and photography, designers infuse their work with elements that reflect ecological awareness and responsibility. By integrating themes of nature, conservation, and sustainable living into visual communication, graphic designers play a pivotal role in raising awareness and inspiring action towards sustainable practices. In the context of industrial design, the collaboration between graphic designers and product developers yields innovative solutions that prioritize environmental sustainability. Through thoughtful consideration of materials, production processes, and end-of-life disposal, eco-innovative graphic design practices contribute to the creation of products that are both visually compelling and ecologically sound. Whether through the use of recycled materials, minimalist packaging designs, or biodegradable components, graphic designers harness their artistic prowess to redefine the parameters of sustainable design. Moreover, eco-innovative graphic design practices extend beyond the realm of physical products to encompass digital experiences and branding initiatives. Through digital platforms, designers have the opportunity to promote sustainability messaging, advocate for environmental causes, and encourage behavior change towards more eco-conscious consumption patterns. In conclusion, the integration of fine arts principles within graphic design serves as a catalyst for enhancing sustainability in industrial design. By leveraging creativity, innovation, and visual communication, designers have the power to shape a more sustainable future where ecological considerations are central to the design process. Embracing eco-innovative graphic design practices is not merely a stylistic choice but a conscientious commitment towards harmonizing human creativity with the imperatives of environmental stewardship. Keywords: Eco-Innovative, Graphic Design, Fine Arts, Industrial Design, Sustainability, Review.

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Joshua Alahira, Emmanuel Chigozie Ani, Nwakamma Ninduwezuor-Ehiobu, Kehinde Andrew Olu-lawal y Irunna Ejibe. "THE ROLE OF FINE ARTS IN PROMOTING SUSTAINABILITY WITHIN INDUSTRIAL AND GRAPHIC DESIGN: A CROSS-DISCIPLINARY APPROACH". International Journal of Applied Research in Social Sciences 6, n.º 3 (17 de marzo de 2024): 326–36. http://dx.doi.org/10.51594/ijarss.v6i3.890.

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In contemporary design discourse, the intersection of fine arts with industrial and graphic design emerges as a pivotal avenue for promoting sustainability. This paper explores the evolving relationship between fine arts and design disciplines, highlighting their collaborative potential in addressing environmental challenges. By adopting a cross-disciplinary approach, it investigates how incorporating principles of fine arts into industrial and graphic design practices can foster sustainable solutions. The paper begins by contextualizing the current environmental crisis and the imperative for sustainable design interventions. It then delves into the fundamental principles of fine arts, emphasizing its emphasis on creativity, expression, and aesthetic sensibility. Through a comparative analysis, it elucidates how these principles can complement the technical aspects of industrial and graphic design to imbue products and visuals with sustainability-driven narratives. Furthermore, the paper examines case studies and examples where fine arts techniques and philosophies have been integrated into design processes to enhance sustainability. These include practices such as upcycling, biomimicry, and eco-conscious visual communication strategies. Additionally, it explores the role of fine arts education in nurturing a mindset that prioritizes environmental stewardship within design professionals. The findings suggest that by embracing a cross-disciplinary approach that embraces fine arts principles, designers can transcend traditional boundaries to create innovative, sustainable solutions. This synthesis of art and design not only enriches the aesthetic appeal of products and visuals but also instills a deeper consciousness of environmental responsibility. Ultimately, this paper advocates for a holistic integration of fine arts within industrial and graphic design practices as a means to promote sustainability in the face of global challenges. Keywords: Fine Arts, Graphic Design, Cross-Disciplinary, Industrial, Sustainability, Reviews.

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Fassbender, William J., Margaret Dulaney y Carol A. Pope. "Graphic Narratives and the Evolution of the Canon: Adapting Literature for a New Generation". Voices from the Middle 21, n.º 1 (1 de septiembre de 2013): 19–25. http://dx.doi.org/10.58680/vm201324175.

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Graphic narratives have been slowly trickling into English language arts classes throughout the United States, but few educators regard them as academic works with much value in the middle school classroom. This article explores the questions I had as a teacher when implementing graphic narratives for the first time in my classroom, such as: What is the best method to teach graphic narratives? What are the benefits/pitfalls of teaching outside of the traditional canon? What will middle level students think about reading a differentiated text? Do graphic narratives have a place within the traditional canon? With the guidance of Dr. Meg Dulaney, we studied the effects of graphic narratives with 25 eighth-grade honors language arts students.

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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, n.º 28 (15 de diciembre de 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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Graham, Lisa M. "Sustainable Graphic Design: The Ecologically-Friendly Graphic Design Studio". Design Principles and Practices: An International Journal—Annual Review 2, n.º 3 (2008): 7–12. http://dx.doi.org/10.18848/1833-1874/cgp/v02i03/37555.

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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, n.º 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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Shkolna, Olga, Olga Sosik y 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, n.º 2 (13 de diciembre de 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, n.º 4 (9 de octubre de 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, n.º 3B (20 de septiembre de 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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Verikas, A., K. Malmqvist, L. Bergman y M. Signahl. "Colour classification by neural networks in graphic arts". Neural Computing & Applications 7, n.º 1 (marzo de 1998): 52–64. http://dx.doi.org/10.1007/bf01413709.

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DeBoer, Charles. "Laser Thermal Media: The New Graphic Arts Paradigm". Journal of Imaging Science and Technology 42, n.º 1 (1 de enero de 1998): 63–69. http://dx.doi.org/10.2352/j.imagingsci.technol.1998.42.1.art00008.

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Szczech, John, Jie Zhang y Dan Gamota. "Printed Electronic Using Traditional Graphic Arts Printing Technologies". NIP & Digital Fabrication Conference 21, n.º 2 (1 de enero de 2005): 213. http://dx.doi.org/10.2352/issn.2169-4451.2005.21.2.art00067_3.

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Belichko, Nataliia y Nadiia Marchenko. "GRAPHIC LITERATURE: DEFINITIONS, HISTORY, COMPONENTS". Research and methodological works of the National Academy of Visual Arts and Architecture, n.º 30 (9 de diciembre de 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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Al-Fawadi, Hutham Mezaal Salih, y 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, n.º 105 (1 de diciembre de 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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Chomycz, Łesia y Marek Wilczyński. "Zapowiedź Schulzowskich cliché-verre’ów". Schulz/Forum, n.º 15 (24 de septiembre de 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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Shuhratovich, Ismatov Ulfat. "Technologies of Working on Graphic Materials in Fine Arts Classes". Journal of Asian Multicultural Research for Educational Study 1, n.º 2 (9 de noviembre de 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 y Roberto Ventura. "Graphically Speaking: Integrating Graphic Design with Interior Design Studio and Graphics Coursework". International Journal of Design Education 16, n.º 1 (2021): 67–79. http://dx.doi.org/10.18848/2325-128x/cgp/v16i01/67-79.

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Ferreiro, Alberto. "Graphic Tango". Leonardo 33, n.º 5 (octubre de 2000): 437. http://dx.doi.org/10.1162/002409400552775.

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48

Stanimirović, Ivana Žiljak, Darko Agić y Jana Žiljak Vujić. "Hidden infrared image in a uniform CMYK separation hue". Journal of Graphic Engineering and Design 3, n.º 2 (diciembre de 2012): 8–11. http://dx.doi.org/10.24867/jged-2012-2-008.

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Extended colour management is introduced for integrating the colorants visual characteristics in the visual, but also in the near infrared spectrum (NIR). Many conventional graphic inks are such that their light absorption in the visual (V) and NIR specter can be very well measured, and we are using this for our goal which is the following:firstly to create a double condition of graphic reproduction - invisible graphics to the human eye, but allowing to be registered by instruments measuring in the NIR area. The second goal is to design graphic elements that are not recognized in the NIR specter, but are visible so that we can see them. And thirdly: to produce a “double image” with conventional graphic inks, but in such a way that each image is recognized only in the previously set wavelengths.This approach introduces modified learning on graphic arts separation where two independent images are joinedin creating CMYK printing channels. The second image as a gray record is the desired black component (K) in the first visible spectrum image. The standard colour management ends in the visible space (1) but with the help of inks management, a second hidden image can be developed in the NIR space. Channel K acquires a new meaning. It is the carrier of its own information in image and text form.

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Jones, Phil. "The Graphic Thing". Design and Culture 6, n.º 2 (julio de 2014): 203–17. http://dx.doi.org/10.2752/175470814x14031924627149.

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رنا حازم سعيد. "Contemporary techniques of graphic art and its representations". Basrah Arts Journal, n.º 27 (30 de noviembre de 2023): 43–52. http://dx.doi.org/10.59767/2023.11/27.3.

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The research tagged (Representations of Contemporary Technologies in Graphic Art) deals with the dialectical relationship between the diversifications of technologies within their temporal developments and the structure of graphic work, especially in our current era and the huge openness of digital technologies and their cultural influences in thought and their functional deliberations in life and their aesthetic representations in art. This faces a cognitive tangle and questions represented in: 1. What is the cognitive space of graphic techniques between the primitive and contemporary edges? 2. How did reproduction replace the original in contemporary circulation? The importance of the research is represented in the following points: 1. The research deals with one of the forms of arts whose historical presence has indicated through time and space. 2. The research seeks to seriously explore the roots of an artistic phenomenon seeking to innovate manifestations of the beautiful always. 3. The research monitors and analyzes the phenomenon of archaeological transition from immanent to transcendental. The boundaries of the research receded between the early days of the spread of digital technologies in the visual arts, including graphics, and the researcher chose the year 1970 to the year 2023 to contain the research problem from its beginnings to its conclusions. Therefore, to the basic indicators reported in the third chapter, which dealt with three distinct models as a research sample, and concluded from its analysis to the results of the research that were discussed in the fourth chapter, and the researcher drew conclusions from them and identified recommendations and proposals.

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