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The article is devoted to the analysis of the artistic possibilities of color on the example of various graphic techniques. The widespread use of printed graphics nevertheless preserves a unique aesthetic basis and does not lose its individual style, which is directly related to the printing technique. It is emphasized that color-printed graphics, thanks to the use of color, stand out from other types of visual arts with their new, original means of expression, artistic possibilities, and artistic value. The potential possibilities of color in such techniques of printed graphics as linocut, xylography, monotype, “dry needle”, “etched stroke”, aquatint, and engraving on cardboard are considered. All of these techniques use the possibilities of color in their own way as a means of expressing a creative idea. Color can be used as an accent that focuses attention on essential elements and storylines of works of printed graphics, as well as having the main semantic load in the work. It has been found that although the color is subordinate to the drawing in color-printed graphics, it gives the composition greater expressiveness and expression, and therefore helps to convey the creative idea of the artist to the viewer. It has been proven that in each of the considered techniques of printed graphics, the artist uses color for a specific purpose because it allows for achieving one or another effect., У статті проаналізовано потенційні можливості кольору в таких техніках друкованої графіки, як лінорит, ксилографія, монотипія, «суха голка», «травлений штрих», акватинта, гравюра на картоні. Розкрито їх технологічні особливості. З’ясовано, що хоча в кольоровій друкованій графіці колір підпорядкований рисунку, саме він надає композиції більшої виразності, експресії, отже, допомагає донести до глядача творчий задум художника-графіка. Доведено, що в кожній із технік друкованої графіки митець використовує колір із певною метою, адже це дозволяє досягти того чи іншого ефекту для якнайповнішого розкриття ідеї твору.

Maestrul în arte Gheorghe Vrabie se numără printre cei care au avut un rol semnificativ în dezvoltarea atât a școlii naționale contemporane de grafică, cât și la conturarea identității simbolice a statului prin elaborarea atributelor statale și celor ale capitalei – Stema de Stat a Republicii Moldova și Stema și Drapelul municipiului Chișinău. Activând cu pregnanță în mai multe domenii – arte plastice și decorative, heraldică și vexilologie, – Gheorghe Vrabie a lăsat moștenire peste 100 de titluri de cărți ilustrate și numeroase lucrări de grafică de șevalet, remarcabile prin soluționări compoziționale de viziune postmodernistă, abordare metaforică a conținutului ideatic și manieră de stilizare sugestiv-simbolică a imaginii artistice. Potențialul creator al lui Gheorghe Vrabie s-a manifestat în ilustrarea operelor literare ale scriitorilor naționali și celor din literatura universală. Printre cele mai importante realizări sunt cele executate în tehnicile acvaforte, acvatinta pentru: „Harap Alb” de Ion Creangă (1967), „Vita nuova” de Dante Alighieri (1971), „Luceafărul” de Mihai Eminescu (1970–1974), „Vrăji” de Paul Valery (1973–1979) ș.a. Valențe artistice originale prezintă grafica de șevalet a maestrului, în particular: acvafortele „Ostașul căzut” (1968), „Santinela” (1968) și „Tragedia de la Râbniţa” (1975); ciclurile de acvaforte, acvatinta „Hipism” (1971–1979) și „Orașul contemporan” (1972–1970) ș.a.

Nastajanje završnog rada bio je dugotrajni proces smišljanja skica, promišljanja raznličitih ideja i kombiniranje tih ideja kako bi se prikazale na papiru te eventualno na otisku. Ostvaren je kroz 9 grafičkih listova na cinčanim pločama dimenzija 45 x 30cm te 7 crteža digitalno, uz to i 1 storyboard koji prikazuje ove tri grafike na opsežniji način. Papiri na kojima su radovi otisnuti su dimenzija 50 x 70cm. Grafike su rađene kombiniranim tehnikama aquatinte, reservage i bakropisom. The making of my final work was a long proces of devising sketches, contemplating various ideas and comining those ideas to be shown on paper and, eventually, on a print. It was created though 9 graphic sheets on zinc plates with dimensions of 45 x 30 cm as well as 7 digital drawings with 1 storyboard that shows these three prints more extensively. The dimensions of the papers I used for these prints are dimensions of 50 x 70cm. The graphic arts I've used for the combined technique are aquatint, reservage and etching.

������������ ������������������ ���������������������������� ������������������������ ������������ ��� III �������������������������� �������������������������� ������������������ ���������������������� ��������������, ������������������������ ������������ 2021 �������� �� ������������������������. ������������������ �� ����������������, ������������������, ����������������, ���������������������� ������������������., The article is devoted to the Novosibirsk Graphic Forum ��� the III Novosibirsk International Triennial of Modern Graphics, held in autumn 2021 in Novosibirsk. It says about the sections, the structure, the competition, the winners of the triennial.

This dissertation is a study of use of the principles of Stoic rhetoric and moral psychology in Goya’s print series, Los Caprichos. The relationship between Stoic thought and the technical aspects will be explored with regard to the effects used to support the visual conceptualizations. The function of the Caprichos as a book with chapters or parts relating particular modes of perception will be addressed. The technique of aquatint employed by Goya will also be explored. The predominance of geometric forms within the composition that reflect inter-personal relationships is also presented for consideration.

Pejzaž je izraz posebnih prostora, Genius Loci, proizvod posebnog iskustva osjećaja mjesta. Umjetnici ga često koriste kao jedno od najučinkovitijih sredstava za stvaranje posebne atmosfere umjetničkih djela i često je ogledalo umjetnikove psihe. U kulturološkim studijama krajolik također dobiva mnoge druge razine važnosti zahvaljujući problematici vizualne, kulturne, ideološke i političke sfere. Ideja o povezanosti identiteta i lokalnog krajolika ima sve više zagovornika i postaje teoretski alat za razumijevanje mentaliteta, etničkih grupa i nacija. U svom diplomskom radu iz pozicije umjetnika, kao subjekta koji materijalizacijom duha kroz likovno djelo stvara i proizvodi umjetnički rad i time svijet umjetnosti, kreiram vlastiti Genius Loci. Rad je, dakle, sadržaj individualnog ljudskog pogleda s određenog stajališta u određeno vrijeme ili vizualno i nesvjesno subjektivno prisvajanje krajolika i prostora. Putem procesa realizacije ideje u konačni grafički otisak promatram intimni odnos između duhovnog puta i neposrednog okruženja, pronalazim vlastito mjesto i razvijam odnose s njim vlastitim vizualnim rječnikom. Landscape is an expression of special spaces, Genius Loci, the product of a special experience of feeling a place. It is often used by artists as one of the most effective means of creating a special atmosphere of artwork and is often a mirror of the artist's psyche. In cultural studies, the landscape also gains many other levels of importance thanks to the problematic of the visual, cultural, ideological and political spheres. The idea of the connection between identity and the local landscape is becoming more and more advocated and is becoming a theoretical tool for understanding the mentality, ethnic groups and nations. In my diploma thesis from the position of an artist, as a subject who through the materialization of the spirit through artwork creates and produces artwork and thus the art world, I create my own Genius Loci. Work is, therefore, the content of an individual human view from a particular standpoint at a particular time, or the visual and unconscious subjective appropriation of landscapes and spaces. Through the process of realizing the idea into the final graphic print, I observe the intimate relationship between the spiritual path and the immediate environment, find my own place, and develop relationships with it through my own visual vocabulary.

Joaquim Sunyer (1874-1956) pintor i gravador català, va viure a Paris entre 1896 i 1913, integrat en el grup de pintors espanyols: Picasso, Iturrino, Canals, etc., que allà es formaven i absorbien les novetats artístiques. A la capital francesa va desenvolupar una excel·lent manera de gravar l'aiguafort i l'aiguatinta i sobretot, va experimentar l'aiguafort en color, de manera que cal situar-lo - al nostre entendre, fins aquest moment no està justament reconeguda la vàlua d'aquesta parcel·la de la seva treball- com el millor gravador català, i espanyol per extensió, de la seva època. Els gravats creats a Paris tenen en comú la representació d'aspectes de la vida quotidiana, destacant un bon grup de vistes urbanes la majoria de les quals s'han pogut identificar. Mostra els diferents ambients dels carrers i jardins públics i la varietat dels estrats socials que fluïen al Paris del canvi de segle. Representa un espai públic, de vegades de caràcter típic i popular com el París de les fotografies d'Atget, altres d'ambient més naturalista, que, en conjunt, aconsegueix sumar a la qualitat i l'impacte de l'experiència creadora mitjançant un mitjà tradicional renovat com el del gravat, un veritable testimoni social i urbà., Joaquim Sunyer (1874-1956) Catalan painter and engraver, lived in Paris between 1896 and 1913, integrated into the group of Spanish painters: Picasso, Iturrino, Canals, etc., which were formed there absorbing the artistic novelties.In the French capital he developed an excellent way to work etching and aquatint and above all, he experimented with etching in color, which is why we have to situate him - to our knowledge, until now this part of his work is not justly recognized and valued - as the best Catalan engraver, and, by extension, Spanish of his time. The engravings created in Paris have in common the representation of aspects of daily life, highlighting a good group of urban views most of which have been identified.He shows the different environments of public streets and gardens and the variety of social strata that flowed in the Paris of the turn of the century. He represents a public space, sometimes of typical and popular character like the Paris of the photographs of Atget, other of more naturalistic environment, that, altogether, manages to add to the quality and the impact of the creative experience through a renewed traditional medium like engraving, a true social and urban testimony., Joaquim Sunyer (1874-1956) pintor y grabador catalán, vivió a Paris entre 1896 y 1913, integrado en el grupo de pintores españoles: Picasso, Iturrino, Canals, etc., que allí se formaban y absorbían las novedades artísticas. En la capital francesa desarrolló una excelente manera de grabar el aguafuerte y al aguatinta y sobre todo, experimentó el aguafuerte en color, por lo que hay que situarle – a nuestro entender, hasta este momento no está justamente reconocida la valía de esta parcela de su trabajo- como el mejor grabador catalán, y español por extensión, de su época. Los grabados creados a Paris tienen en común la representación de aspectos de la vida cotidiana, destacando un buen grupo de vistas urbanas la mayoría de las cuales se han podido identificar. Muestra los diferentes ambientes de las calles y jardines públicos y la variedad de los estratos sociales que fluían en el Paris del cambio de siglo. Representa un espacio público, a veces de carácter típico y popular como el París de las fotografías de Atget, otras de ambiente más naturalista, que, en conjunto, consigue sumar a la calidad y el impacto de la experiencia creadora mediante un medio tradicional renovado como el del grabado, un verdadero testimonio social y urbano.

ions of shape and space is the theme of this thesis. These prints and drawings were created between September, 1984 and October, 1986. Emphasis was placed on developing a body of work which is expressive, spontaneous, and rhythmical. Intaglio was chosen as a major area of concentration. I experimented with soft-ground etching, hard-ground etching, machine engraving, scraping, burnishing, open bite, sugar lift, aquatint, and with several techniques for color printing. The project also involved a study of various media with the purpose of finding a technique as artistically satisfying as intaglio but less physically demanding to execute. Colored pencils and pen and ink were eventually chosen as the favored medium.

The article deals with distinctive features of the graphic arts by Dmytro Paruta created in the 90s. Genre and typological differentiation of the artworks are viewed in line with the synthesis of graphic techniques and historical circumstances. Famous and less known works of the researched period are analysed, revealing the main idea behind the creative practices of the artist.

The article deals with distinctive features of the graphic arts by Dmytro Paruta created in the 90s. Genre and typological differentiation of the artworks are viewed in line with the synthesis of graphic techniques and historical circumstances. Famous and less known works of the researched period are analysed, revealing the main idea behind the creative practices of the artist.

Joaquim Sunyer (1874-1956) pintor i gravador català, va viure a Paris entre 1896 i 1913, integrat en el grup de pintors espanyols: Picasso, Iturrino, Canals, etc., que allà es formaven i absorbien les novetats artístiques. A la capital francesa va desenvolupar una excel·lent manera de gravar l'aiguafort i l'aiguatinta i sobretot, va experimentar l'aiguafort en color, de manera que cal situar-lo - al nostre entendre, fins aquest moment no està justament reconeguda la vàlua d'aquesta parcel·la de la seva treball- com el millor gravador català, i espanyol per extensió, de la seva època. Els gravats creats a Paris tenen en comú la representació d'aspectes de la vida quotidiana, destacant un bon grup de vistes urbanes la majoria de les quals s'han pogut identificar. Mostra els diferents ambients dels carrers i jardins públics i la varietat dels estrats socials que fluïen al Paris del canvi de segle. Representa un espai públic, de vegades de caràcter típic i popular com el París de les fotografies d'Atget, altres d'ambient més naturalista, que, en conjunt, aconsegueix sumar a la qualitat i l'impacte de l'experiència creadora mitjançant un mitjà tradicional renovat com el del gravat, un veritable testimoni social i urbà., Joaquim Sunyer (1874-1956) Catalan painter and engraver, lived in Paris between 1896 and 1913, integrated into the group of Spanish painters: Picasso, Iturrino, Canals, etc., which were formed there absorbing the artistic novelties.In the French capital he developed an excellent way to work etching and aquatint and above all, he experimented with etching in color, which is why we have to situate him - to our knowledge, until now this part of his work is not justly recognized and valued - as the best Catalan engraver, and, by extension, Spanish of his time.The engravings created in Paris have in common the representation of aspects of daily life, highlighting a good group of urban views most of which have been identified.He shows the different environments of public streets and gardens and the variety of social strata that flowed in the Paris of the turn of the century. He represents a public space, sometimes of typical and popular character like the Paris of the photographs of Atget, other of more naturalistic environment, that, altogether, manages to add to the quality and the impact of the creative experience through a renewed traditional medium like engraving, a true social and urban testimony., Joaquim Sunyer (1874-1956) pintor y grabador catalán, vivió a Paris entre 1896 y 1913, integrado en el grupo de pintores españoles: Picasso, Iturrino, Canals, etc., que allí se formaban y absorbían las novedades artísticas. En la capital francesa desarrolló una excelente manera de grabar el aguafuerte y al aguatinta y sobre todo, experimentó el aguafuerte en color, por lo que hay que situarle – a nuestro entender, hasta este momento no está justamente reconocida la valía de esta parcela de su trabajo- como el mejor grabador catalán, y español por extensión, de su época.Los grabados creados a Paris tienen en común la representación de aspectos de la vida cotidiana, destacando un buen grupo de vistas urbanas la mayoría de las cuales se han podido identificar. Muestra los diferentes ambientes de las calles y jardines públicos y la variedad de los estratos sociales que fluían en el Paris del cambio de siglo. Representa un espacio público, a veces de carácter típico y popular como el París de las fotografías de Atget, otras de ambiente más naturalista, que, en conjunto, consigue sumar a la calidad y el impacto de la experiencia creadora mediante un medio tradicional renovado como el del grabado, un verdadero testimonio social y urbano.

Ilustracija se kroz povijest koristila kao slikovno objašnjenje bez upotrebe riječi. U današnje vrijeme je čest motiv unutar knjiga. Cilj joj je kroz svoje slikovne primjere pobliže opisati i dočarati priloženi tekst. U ovom radu izvedena su dva crteža ilustrativnog karaktera u tehnikama dubokog tiska. Prikazani radovi „Drvo“ i „Planina“ su spoj tehnika i znanja koja sam stekao kroz protekle tri godine studiranja. Ovim završnim radom opisao sam svoj tok misli i proces izrade grafika.

The project focuses specially on the part of the process rather than the result itself since it is unknown until the moment of its creation. The expressivity and spontaneity are the main characters of the artwork. The chosen technique for the procedure is sugar aquatint, one of the many methods of the engraving language., El proyecto se centra especialmente en la parte procesual más que en el mismo resultado, puesto que éste es desconocido hasta el momento de su creación al ser la expresividad y la espontaneidad los protagonistas de la obra. La técnica elegida para llevarla a cabo es el aguatinta al azúcar, uno de los muchos procedimientos dentro del lenguaje del grabado calcográfico.

[ES] A través de la práctica del objeto encontrado y la gráfica pretendemos reflexionar sobre el tiempo, relacionar lo fragmentado y lo diverso con intención comunicativa y constructiva. Pequeños fragmentos cerámicos, diminutas ruinas, son recogidos de las huertas de nuestro entorno más cercano para generar composiciones que nos hacen reflexionar sobre lo efímero e impermanente. Estos restos emanan una fragilidad y una belleza imperfecta. Su estado incompleto y fuera de contexto nos invita al misterio. Tenemos, por lo tanto, la intención de recuperar lo abandonado, aquello que señala que formó parte de un sistema y que nos hace pensar en su historia. En nuestra producción artística hemos introducido estos trozos encontrados dentro de un conjunto formado por ellos mismos y también por su representación, es decir, por estampas hechas a través del aguatinta, aguafuerte y offset. Otra técnica utilizada ha sido la fotografía, con ella hemos generado imágenes donde existen también vínculos entre los fragmentos de objetos., [EN] Through the use of objet trouvé and print-making we intend to reflect on time, to relate what is fragmented and diverse with a communicative and constructive intention. Small ceramic fragments as tiny ruins, are collected from the orchards of our closest surroundings to generate compositions that make us reflect on the ephemeral and impermanent. Imperfect beauty and fragility arise from these remains. Being incomplete and out of context they invite us to the mystery. Therefore our intention is to recover what is abandoned, which points out that it was part of a system and make us think about its history. Our artwork are groups of these remains with their etching, aquatint and offset renderings. Also through photography we generate pictures of these fragments where new links between them appear.

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