Graphic Arts Research Articles

Constructing digital assets through blockchain technologies? Unpacking the techno-economic configuration of non-fungible tokens.

Non-fungible tokens (NFTs) are novel techno-economic configurations underpinned by cryptocurrency ledgers that transform digital files like graphic art, music, videos, etc. into digital assets. NFTs are often framed as a way for artists and other creators to profit from their activities, transforming 'experiences' into something for sale. As such, NFTs raise some questions pertinent to science and technology studies and political economy. We focus on analysing how NFTs are constructed as digital assets by unpacking the practices, devices, relations, and rights implicated in their construction. We use the concept of 'assetization' to examine the contingencies, problematics, and implications of NFTs and the claims, practices, and entitlements that configure them as a new type of asset. We undertake this analysis through a research-creation process by summarizing and discussing the process of creating and submitting an NFT to a specialized marketplace.

CREATION AND DEVELOPMENT OF THE FUND OF THE DIRECTORATE OF ART EXHIBITIONS OF UZBEKISTAN

The establishment of the Fund of the Directorate of Art Exhibitions of Uzbekistan was historically linked to the creation of the Academy of Arts of the USSR. In 1947, the All-Russian Academy of Arts was transformed into the Academy of Arts of the USSR in order to promote the development of fine arts in the USSR. The main tasks of the Academy were to ensure the sustainable growth and development of Soviet fine arts in all its forms, to actively support the development of artists' creativity, to work out issues of art theory and history, to develop Soviet fine arts, and to train and educate creative specialists (painters and graphic artists).

Copyist or Creative? The Emergence of the Woman Fashion Artist in Britain, 1880–1920

Abstract The period between 1880 and 1914 was a critical time for the redefinition of high fashion as a form of art, with couture garments displayed at international exhibitions and couturiers like Paul Poiret claiming the legal protection applied to artworks for his fashion designs. At the same time, a massive expansion in illustrated journals and catalogs selling mass-produced garments offered new possibilities for graphic artists, including women trained in the applied arts by public and private colleges. These trends intersected in the figure of the female “fashion artist,” who conceived new designs or presented them to the public—but did not stitch them. In some cases, this person was a designer working for a dressmaking firm or sample house, while others were copyists of existing garments. This article will analyze surviving documents produced by British women fashion artists; examine the life cycle of fashion artists, as revealed in census data; analyze the pathways for training and career development; and consider the ways in which fashion artists were discussed in women’s magazines, both as role models for employment and as fashion mediators.

VI Tournament of Architectural Graphics “Line of Thought” 2024

On 23 May 2024, the VI Tournament of Architectural Graphics “Line of Thought”, established by the Iakov Chernikhov International Foundation in 2018, was held within the framework of the XXIX International Exhibition of Architecture and Design ARCH MOSCOW. The aim of the Tournament is to support the art of hand-made graphics. The prize is a Silver Stylus.

PENINGKATAN KREATIVITAS PESERTA DIDIK MELALUI TEKNIK MENCETAK DENGAN MEDIA PELEPAH PISANG DI DESA TRUNAMANGGALA

Art is one part of the world of education that can be a means that can be used to develop the creativity of students. graphic arts is one form of encouraging students' creativity in art such as using banana leaf as a form of utilizing natural materials around in making students creative to create a graphic art such as batik. this is one of the importance of implementing a program to increase students' creativity through printing techniques with banana leaf media. The purpose of this community service is to utilize natural resources and improve creativity skills for students. This community service method uses a community education model through a graphic arts education approach. The results of this community service show the enthusiasm of students towards community service activities at elementary schools in Trunamangga Village, Cimalaka District, Sumedang Regency, where students when doing art activities printing banana leaf media show a very good and pleasant response.

Computer Models Assist Innovative Design of Graphic Arts

In order to study the theory and application of computer aided design (CAD) related to the composition of art, the theory of symbolic matrix was introduced to realize the purpose of the study of the interaction between perceptual and rational problems. In this paper, the original image was extracted from the design object, and the transformation between the original image and the symbol matrix was realized by the correspondence with the elements in the matrix. Based on the research route, four kinds of mathematical models were established, namely random distribution, symmetric distribution, central diffusion, and reorganization. By applying the mathematical model constructed in this paper, the picture was transformed, the combination of various styles of graphics was added, and how to put the simple image picture into a meaningful integrated image picture was discussed. The computer-aided design method of the existing verification examples was summarized in this paper, and the design method was accurate and effective. Compared with traditional graphic art design methods, the computer-aided design method mentioned in the paper has the following advantages. Computer-aided design can quickly process and analyze images, convert and combine them through mathematical models and algorithms, greatly saving designers time and energy. By introducing symbol matrix theory and establishing various mathematical models, computer-aided design can provide diverse graphic combinations and style transformations, helping designers explore more innovative design solutions.

Visualization of Fashion in European Engravings of the 16th — Early 18th Century

Images of people from different countries in their traditional costumes as a genre emerged in the second half of the 16th century and actively existed in the form of prints until the first fashion magazines appeared in the late 18th century. The article attempts to build a chronology of iconic examples of costume prints of the 16th — early 18th century on the basis of a number of sources of theoretical, historical and pictorial nature. The functions it fulfilled as a kind of graphic art in its time and artistic and technological features of its creation are defined. The study considers the works of artists and engravers from Germany, the Netherlands, England and France, since it is in these countries that the art of costume engraving was most developed. Not being for the most part highly artistic works of art, having no portrait resemblance to the depicted characters, protomod illustrations did not attract close attention of art history, which regarded them as one of many ordinary sources, as elements of applied creativity, which largely prevented their detailed analysis. However, these numerous costume prints (woodcuts and etchings) are worthy of attention as examples of graphic art that give an idea of the fashion of the time. The decline in the popularity of costume prints in the middle of the 18th century, despite the development of printing technologies and the growth of population in cities, which implies the demand for products of this kind, is connected, in our opinion, with the absence of a descriptive part — text as an explanation to the picture. For in the epoch of the formation of fashion journalism in the 18th century, costume engravings were revived as part of women’s magazines, acquiring the form of fashionable pictures-illustrations that would exist throughout the 19th — first half of the 20th century.

Oleksandr Ivakhnenko and Oleksandr Danchenko are the Illustrators of Oleksandr Dovzhenko

The article is dedicated to the illustrations of the prominent Ukrainian graphic artists Oleksandr Ivakhnenko and Oleksandr Danchenko for the prose of Oleksandr Dovzhenko, as well as the issue of the existence of auto-illustrations by the filmmaker himself. Oleksandr Dovzhenko (also known as Alexander Dovzhenko) is not only a world-renowned filmmaker but also an outstanding artist – a painter and a graphic artist. Besides his painted portraits and thematic paintings, graphic caricatures, cartoons, and portraits, his drawings for films («Arsenal» – late 1920s, «Shchors» – late 1930s, «Michurin» – 1940s, «Poem on the Sea» – 1950s) are well-known. However, the topic “O. Dovzhenko is the Illustrator of His Own Literary Works” has hardly been explored by researchers of the master’s heritage, although the drawing Little Sashko which is both a portrait of the author in childhood and an image of the hero of the film story The Enchanted Desna, inspires further archival search in the filmmaker archives. V. Yevdokymenko (1967), M. Kompanets (1973), V. Yefymenko (1976), T. Kushch (2006), and others are among the illustrators of O. Dovzhenko’s prose. Oleksandr Ivakhnenko’s etchings for the film story The Enchanted Desna (1975–1976) have become a notable phenomenon in Ukrainian graphics during the period of the so-called “silent protest” (the 1970s–1980s). Having chosen a favourite graphic technique of that period, the artist, however, remained indifferent to the extremely popular “de-booking” technique of the 1970s–1980s. The Enchanted Desna is a book that is well-thought-out and coherent. In terms of space, the illustrations occupy as much space on the page as the printed text, and in shape, they are very elongated horizontally, thus creating a kind of pictorial “film strip”, logical and natural for a “film story”. Oleksandr Danchenko’s cycle of etchings for the collection of stories Unforgettable. 1941–1943 (1980) is another example. The artist has addressed frequently the theme of World War II tragedy (Koriukivka. March 1, 1943 (1971), Adzhimushkai (1985), a cycle of illustrations for O. Honchar’s novel Standard-Bearers (1989)). At the same time, his illustrations for O. Dovzhenko’s stories are internally connected with O. Danchenko’s series The Liberation War of the Ukrainian People of 1648–1654 (1954) and Chornobyl (1988–1990), as well as with the etchings for Dante Alighieri’s Divine Comedy (1990–1992). All these works are based on the combination of documentary with epic, where elevation and poeticism arise precisely as a result of such a combination. The construction of the illustration as a frame, sometimes even a freeze-frame, is an artistic tribute to the creativity of the outstanding filmmaker.

What should be the specifi city of the works of quantum artists?

In this article, the author relies on the provisions of the Quantum Art Manifesto, created in 2008 by Roberto Denti, an Italian theorist, architect, artist, computer graphic artist and designer. The ideas of the Manifesto were logically continued in the creation of the International Group of Artists Quantum Movement in 2012, which was then transformed into the International Academy of Arts and Quantum Science IAMAQ-Italy in 2020.

Особенности формирования профессиональных компетенций у будущих художников-графиков

Introduction. There are a number of contradictions in education when the knowledge, skills and abilities obtained at an educational institution do not satisfy the labor market. In general, training in the specialty “Graphic Artist (easel graphics)” can be interesting and useful for those who want to work in the field of art. To be successful in the labor market, it is necessary to develop not only your abilities, but also marketing skills, job promotion and order search. The article analyzes the competencies of future graphic artists with specialization no. 1 “Graphic artist (easel graphics)”. The analysis of the contingent of art and pedagogical institutions leads to the conclusion that the specialty is in little demand. Theoretical analysis of the problem of professional competence formation of future graphic artists identified components and indicators of professional readiness of future graphic artists. Conclusion. In conclusion, it can be noted that the peculiarities of the formation of professional competencies is a multifaceted process. These peculiarities may be related to the individual characteristics of students, the specifics of the profession, as well as the peculiarities of the educational process. An individual approach to students, the use of modern teaching methods and orientation to the real needs of the labor market will help to effectively form professional competencies of future specialists in any field.

Ink Drawing Technique: Prescriptions from the Nineteenth-Century Art School According to Gustave Frepon

Continuing its series of articles on drawing techniques, Secreta Artis presents an abridged and adapted translation of a unique text from a manual on ink drawing methods, accompanied by a commentary. The text and illustrations, which outline and demonstrate three pen techniques: lining, hatching, and dotting (extremely rare and methodologically valuable information), were published in 1897 in the French artist Gustave Fraipont's book "L'art d'appliquer ses connaissances en dessin: fusain, crayon, plume, eau-forte, lithographie, execution des dessins pour la photogravure et la gravure sur bois, l'art de prendre un croquis". Fraipont's comprehensive work explores a wide array of graphic arts, including charcoal, pencil, etching, lithography, woodcut, and more.However, despite the popularity of G. Fraipont's works in the latter half of the 19th century, including seven manuals on watercolor painting, composition, drafting, and sketching that were translated and published in Moscow and St. Petersburg between 1893 and 1895, his work on ink drawing techniques was not translated into Russian. This material is highly relevant for studying the history of 19th-century graphics, the academic art school of that era, and for mastering drawing techniques.

COLLECTIVE ETHNOGRAPHY OF PRINT MAKING IN YOGYAKARTA: A THEORETICAL STUDY OF ART AND SOCIETY

The research entitled ‘Ethnography of Graphic Printmaking Collective in Yogyakarta: A Theoretical Study of Art and Society’ aims to analyse the institutionalisation process of two graphic print art collectives in Yogayakarta, namely: Grafis Minggiran and Krack! Printmaking Studio, and its influence on the art scene. The method that will be used in this research is ethnographic method with data collection techniques in the form of interviews and literature studies. This method was chosen in order to obtain a detailed depth of data from the experiences of the two graphic printmaking collectives. The results of this research are: (1) Both printmaking collectives endeavour to respond to art conventions (especially about techniques) in their art practices; (2) The formation of the collective is an on-campus tradition that spreads out; (3) Krack! Printmaking consistently makes the screen printing technique as a medium of expression in the realm of graphic printing art; (4) Krack! Printmaking then made the phrase ‘Ojo Wedi Mbleset’ (‘Don't be afraid to miss’) as their credo in carrying out the practice of silk screen/screen printing; (5) Grafis Minggiran makes the introduction of a wealth of techniques as its vision in art; (6) Grafis Minggiran is known as one of the (non-campus) graphic collectives that emerged the earliest and at the same time the initiator of the Yogyakarta Graphic Arts Week event.

Love in Grief

Love in Grief is a timestamped lyrical triptych depicting three distinct exchanges between four Black women, one of whom was dying. The Manhattan’s chart-setting single, "Kiss and Say Goodbye," which hailed number one on the Billboard R&B Chart in 1976, set the stage for this tribute. In the first stanza, called The Song, the author channels a message from her friend, Georgiana Pickett, through Winfred Lovett’s intro: “This has to be the saddest day of my life.” The interdimensional exchange between the author and Pickett, transmitted by radio frequencies, demonstrates a common tension in grief—wretched desperation that guts and immobilizes in conflict with a distressing fight to overcome the inevitable. In this stanza, the author frantically tries to get back to New York in time to see Pickett still breathing despite feeling the cavernous pain of loss. The first timestamp is logged. In the second stanza, the author captures the moment when she has to say goodbye to Pickett over the phone while on the runway of a taxiing plane. In this surrealist still, another sister-friend demonstrates how Black women often hold space for others in grief despite their pain. It is a cultural practice. In this case, a mutual sister-friend held space for the distant author. This scene captures love, loss, pain, sorrow, and bridging through space and time. It is named The Call, which records the second timestamp. The third lyrical moment, dubbed The Embrace, shuttles the reader from The Call’s distant hold to a three-dimensional embrace between the author and another sister-friend. After seeing the group that gathered at the hospital, the author beelined into the arms of a friend like a beacon, and she held her. This embrace became the glue that kept the author from collapsing under grief. The third timestamp is logged in this hug, and the triptych is complete. Love in Grief is dedicated to Lisa Yancey’s dear friend, Georgiana Pickett (December 15, 1968 - February 5, 2024), and the Black women who made these memories. The Song (Georgiana Pickett), The Call (Anna Glass), and The Embrace (Okwui Okpokwasili). Passage and metamorphosis thread throughout this tribute. Lynnette Kaid of "Kaid-N-Kolor" created the graphic art accompanying Love in Grief.

Technological research of Serhiy Shyshko’s graphic arts

Technological research of Serhiy Shyshko’s graphic arts

Graphic Histories of Solidarity, in Solidarity

Revolutionary experiments require building revolutionary relationships. This praxis of material and social creativity to reorganise power dynamics and weave connections across weaponised divides, are evident in the content, the form and the backstory woven into Janet Biehl's Their Blood Got Mixed: Revolutionary Rojava and the War on ISIS. Written and illustrated by Janet Biehl, it is a graphic memoir that can be read as both an historical narrative and a blueprint of a contemporary revolutionary experiment that combines political theory and graphic art to tell the story of how ISIS has been driven back in Northern Syria by people fighting for a society based on principles of direct democracy, political secularism, gender equality, and ecological sustainability. Whereas in the past, after the liberation of Rojava in 2012, Biehl spent time interviewing leadership, this book relays her interviews with women across the region and across the various projects of reorganising and defending social, political, cultural and economic life in 2019 after four years of warfare against ISIS and the Turkish state. Reflecting on the relationships that make revolutionary history, and that produce artistic histories of revolutionary experiments, this review article considers the history in this book and of this book, in conversation with recently published graphic non-fiction, and draws on engaged scholarship concerned with the politics of collective knowledge production in and for movements of solidarity urgently needed in the face of the imploding crisis of colonial borders.

GraphicsAssist: Visual Artist’s Assistant for Narration-to-Illustrative Graphic Composition

Storytelling is an art that very few can carry with ease, putting in proper context the feelings and emotions of the characters, their setting, interactions, etc. This work attempts to recreate storytelling to form a graphic illustration for users so that the essence of the story is not lost in transference from one person to another, from storyteller to graphic illustration reader/user. ‘GraphicsAssist’ is an artist assistance system for graphic artists to help them generate certain options for usage as graphic frames. Text analysis has been exploited to understand contextual requirements or storytelling. Natural language-based learning has been applied to this requirement. The transfer-learning-based model is used to find suitable matches for the characters and visual environment settings. Illustrative drawings and their tags are considered a part of the frame database. Once the narration entities of the story are extracted, they are matched with the drawing tags and presented to the designer for framing and then panelling of graphic illustration. The chosen frames are displayed in panels in grid format. In its current form, manipulation of the selected drawings for the task of forming frames is, as yet, restricted. The aesthetic transition from frame to frame is yet lacking and may be integrated into later works. The work of this artist’s assistance system is validated by the test group, which gave feedback on some pre-defined parameters. Though the system has its drawbacks, it is the first step towards such a system that provides a computational translation model for translating a textual narration to a set of visual composition frames. This work aims to capture the nuances, characters, emotions, story setting, etc., from textual narration as an input of the story and convert it to the graphic illustration in 2D form by incorporating illustrative drawings as its visual translation.

Dampak Negatif Rokok sebagai Ide Penciptaan Seni Grafis Stencil Print

This final work aims to visualize the negative impact of smoking in graphic artworks using the stencil print technique. The idea of this work is the visualization of the negative impacts caused by smoking, ranging from health, environmental, and social impacts. The method in the process of making this graphic art work goes through several stages, namely: preparation, elaboration, synthesis, concept realization, and completion. Each work has a size of 40cm x 52cm with the title of the work, "nesting", "withering", "wasted coins", "the old", "claustrophobic and trapped", "smoke factory", "burning time", "burning self", "not a part", "irreplaceable". .

КНИЖНАЯ РЕАЛЬНОСТЬ. ИЛЛЮСТРАТОР ВЛАДИМИР САЛЬНИКОВ (1948-2015)

Moscow artist Vladimir Salnikov, who would have been 75 in 2023, had a reputation of a remarkably versatile artist known not only for his works in easel painting and graphic art but also as a book designer and illustrator. From the early 1980s he had actively worked with such major publishing houses as Khudozhestvennaya Literatura (Literary Fiction), Sovetsky Pisatel (Soviet Writer), Detskaya Literatura (Children’s Literature), Progress, Kniga (Book), Malysh (Tiny Tot), to name a few. All in all, he had designed and illustrated some twenty books by Russian and foreign authors, including Saltykov-Schedrin, Mayakovsky, Beranger, Neruda, and many more. Salnikov’s illustrations are invariably distinguished for their high craftsmanship, inventive use of the entire range of monochrome and colorful techniques, a fine sense of visual art styles, and a deep perception of the literary text.

Contemporary graphic art via Artificial Pixler Illustrator

تسهم برامج أنظمة الذكاء الاصطناعي في ابتكار الأفكار والبرامج والأساليب من خلال جهاز الحاسوب والمتحققة من ناحية الأهداف فعليا، يناقش هذا البحث أثر تطور مجالات الفنون ومنها فن الرسم الجرافيتي المعاصر عبر مصور بيكسلر الرقمي وعليه يتألف من الفصل الاول من مشكلة البحث وهدف البحث وحدوده ومصطلحات هذه الدراسة، أما الفصل الثاني فيتألف من المبحث الأول بعنوان نظام التوليد في برامج الذكاء الاصطناعي، والمبحث الثاني برامج الذكاء الاصطناعي في الرسم الجرافيتي المعاصر ومن ثم مؤشرات البحث. أما الفصل الثالث والذي تألف من إجراءات البحث ومنهجيته ومجتمع البحث وأسباب اختيار العينات وصولا الى التحليل الوصفي الذي يتوافق مع هدف البحث ,أما الفصل الرابع تأتي فيه النتائج والتي ارتبطت بمشكلة البحث والاستنتاجات والمصادر والمراجع وقد جاءت أحد نتائج البحث ,إن خاصية برنامج بيكسلر خاصية تنقسم فيها صورة النموذج الأصلي الى عدة لقطات مختلفة تصل الى عشر شرائح من أصل اللقطة الواحدة ومن ثم تتحول الى مقترح تطبيقي تعاد من خلاله صيغة الطباعة اليدوية ضمن آلية هذا البرنامج الاصطناعي .

Beardsley Movement in Russian Silver Age Culture

This article dwells on the phenomenon of Russian Beardsleism, which was formed by the influence of the works and personality of the English graphic artist Aubrey Beardsley on the Russian intelligentsia at the turn of the twentieth century. As the brightest representative of English aestheticism and Art Nouveau, Aubrey Beardsley became a champion of the ideas of new art for Russia. In his homeland, Aubrey Beardsley managed to usher in a real revolution in the field of illustration and book graphics, turning them into independent elements of creativity and raising the art of graphics to a completely new, unprecedently high level. No less revolutionary was the artist’s behaviour – Aubrey Beardsley turned his life into art, postulating innovative aesthetic and philosophical aspirations by his very appearance. The worth of his personality was undoubtedly comparable to the worth of his works, and one became inseparable from the other. Thus, the very image of Aubrey Beardsley became a symbol of the Art Nouveau era, containing numerous complex concepts. No wonder, therefore, that the sphere of his influence in Russia was extremely wide – not limited to the field of graphic art, it extended from new artistic methods to lifestyle and demeanor. The significance of Beardsleism in the Russian artistic life of the turn of the twentieth century is also indicated by its scope – the most prominent figures of the Silver Age, such as Sergei Diaghilev, Léon Bakst, Nikolai Feofilaktov, and the rather obscure Aleksandr Silin, Anatoly Arapov and Modest Durnov – both these and others experienced the significant influence of Aubrey Beardsley on their works and life.