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The paper concerning Polish digital printmaking and intermedia activities in printmaking defines the genesis of these phenomena and outlines the history of the process of recognition and inclusion of digital printmaking in art events (competitions, exhibitions). The historical outline illustrates in which extent the digital revolution has influenced the expansion of boundaries and redefinition of (not only) graphic art as a discipline. The analyses were carried out on the basis of data collected by the author of the article included in the following forms: - a chart illustrating key developments in the evolution and reception of digital graphics: A timeline sketch of the development of digital activities in Polish graphic art and key events (1980 - 2021) - a statistical overview: Percentage of prizes awarded to prints made with the use of digital techniques and intermedia activities at the International Print Triennial in Krakow in relation to overall prizes awarded (1994 - 2012). These data provided a framework for the periodisation and characterisation of the phenomenon: the dynamics of the expansion of digital printmaking. [ABSTRACT FROM AUTHOR]

This text merely signals a broader research issue on which I have been working for a long time. It is the problem of changes that a broadly understood image and imaging are subject to in the post-digital reality. The considerations presented in the article have been narrowed down to the area of artistic printmaking. Selected examples of artistic works serve to indicate the complicated nature of the technically determined creative process, as well as the meandering between tradition and modernity and the materiality and ephemerality of the image itself, which is important for post-digital culture. They are also intended to present the specific changes that the printmaking medium is currently undergoing. The works of Krzysztof Tomalski, Karol Pomykała and Darek and Filip Gajewski differ significantly from one another, yet all of them bear clear features of post-digital thinking about images. It is characterized by the free, mutual interpenetration of elements of a technical language, and the above-mentioned clear meandering between actual and virtual reality. This hybrid nature draws attention to the artists' discourse with the printing tradition and the process rudiments embedded in it. The realizations of Tomalski, Pomykała and Gajewski by looking „through” digital experiences are a perfect exemplification of building of a new awareness of the medium after the revolution which changed reality not only in the field of art, but in all our activities. This process is a part of a broader perspective of a return to the tactical and bodily awareness. [ABSTRACT FROM AUTHOR]

The printmaking oeuvre of Małgorzata Stanielewicz, an effect of city life fascination, its constant transformations and degradation, is a part of a broader phenomenon, called by some the „dot linocut”. Despite the fact that the artist herself met the name relatively late and did not identify with it, her experimentative attitude relative to linocut matrix has its roots in phenomenal Jozef Gielniak, who defined Polish printmaking after World War II. Travels to the cities marked with its history and suffering juxtaposed with the force of nature strongly resonates with Stanielewicz's inner world which she portrays through architectural transformations into organic congeries of the artificial and the natural. [ABSTRACT FROM AUTHOR]

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Th is paper is the first part of a triptych aimed at presenting the publishing history of three Cracow reissues from 1619, 1620 and 1634 of the collection of Polish proverbs Proverbiorum Polonicorum [...] centuriae decem et octo prepared by Salomon Rysiński, which was first published in Lubcz on the Neman in 1618. Th is part is devoted to the first of these renewals, which was published in Cracow in 1619 without naming the printer. However, the woodcut strips used on the title page of the collection allow us to determine the publishing house in which it was issued. It was the workshop that operated under the aegis of Jakub Sybeneicher's heirs. It was then managed by Stanisław Giermański, who was probably also the initiator and editor of the reissue. He introduced a number of significant innovations to his edition. He polonised the Latin title of the original, omitted the author's dedication, poems recommend ing Rysiński's collection, and the numeration of proverbs (turning the centauries of the first print into chapters), and removed some 80 proverbs from the Polish list, almost 30 Latin equivalents of native proverb, which Rysiński provided in the original, assuming that his work would be used by foreign paroemiologists, as well as all source annotations discussing the origins of the Polish and Latin dicta. Moreover, a number of proverbial phrases noted by Rysiński were edited by Giermański, who changed their shape into one that was better known in Cracow. Most of these changes were dictated by mercantile considerations. On the one hand, the volume presented by Giermański was reduced by 1.5 sheets, as compared to the first edition, which made it possible to reduce the printing costs and make the typographer earn more on the reedition. On the other hand, thanks to the title translated into Polish and the omitted numeration of proverbs, the collection better suited the needs of the local audiences, whose needs Giermański, a book seller, knew better than Rysiński. [ABSTRACT FROM AUTHOR]