TEACHING UNIT 1. METHODOLOGY OF THE GRAPHIC ART PROJECT IN THE CREATION OF ORIGINAL GRAPHIC ART
The original graphic art project:
– The need for a project in the creation of original graphic art
– The role of the project in the creation of original graphic works
– Characteristics specific to a project for original graphic works
The phases of the project in the creation of original graphic works:
– Analysis prior to carrying out the project for original graphic works
– Documentation and compilation of data and materials for a project for original graphic works
– Differences between graphic and non-graphic material in a project for original graphic works
Characteristics of the process and project for an original graphic work:
– Creativity and freedom of execution as the cornerstones of the creative process
– Third-party projects: intervention in the production of others’ images
The framework of the project in the creation of original graphic art:
– Formats
– Texts
– The project as a whole
Defining the commission for an original graphic art project:
– Needs analysis
– Purpose of the project: corporate gift, commemorative edition, private edition, exhibitions, fairs, collaborations
– Distribution channels: galleries, fairs, collectors, publishers
– Establishing the idea to be conveyed
– Defining the project’s aesthetic
– Selecting the communication medium
– Study of how the work integrates into a specific space
Physical and contextual components of an original graphic work:
– Form
– Technical considerations
– Financial considerations
– Cultural and historical aspects relevant to the project
TEACHING UNIT 2. ANALYSIS OF THE AESTHETIC AND CONCEPTUAL ELEMENTS OF AN ORIGINAL GRAPHIC WORK
Formal, conceptual, and aesthetic characteristics of the graphic work to be created:
– Assessment of significant formal and conceptual elements
– Aesthetic, stylistic, conceptual, and symbolic elements that make up the original graphic work
– Study of the artist’s conceptual characteristics
– Study of the style(s) of the artist’s original work
The image:
– Nature and typology.
– Interpretations and analysis of the artistic image
– New uses and consumption of the aesthetic
– The image and communication
– Communicative functions of the image
– The media
– The graphic image: concept and cultural and historical-artistic significance
Typography:
– Typefaces: form, parts of the letter, spacing, size
– Families and styles: classification, function
– Text: the word, line spacing, tonal value, typometry, legibility
Page structure:
– Formats
– Proportions, scales, grids
– Composition
Definition of format:
– The print
– The portfolio of engravings
– The artist’s book
– The book as object
TEACHING UNIT 3. EVALUATION OF TECHNIQUES AND MATERIALS FOR CREATING PLATES AND PRINTING ORIGINAL GRAPHIC WORKS
Factors to consider when selecting techniques for creating plates and printing graphic works:
– Technical characteristics of original graphic works
– Technique(s) used by the artist
– The technical process, analysis, and evaluation of the process as a determining factor – Evaluation of materials for original graphic works: Analysis of the most suitable materials for each project
– Optimization of resources
– Continuity and rupture in execution
Appropriate selection of technical processes to be used; considerations:
– Criteria to consider when selecting techniques for creating printing plates
– Criteria to consider when selecting techniques for printing from plates
– Evaluation based on complexity and execution difficulties
– Definition of the desired results
– Terms of the commission
– Alignment with formal, aesthetic, and conceptual values
– Integration of text
Analysis of the defining material elements of graphic art matrices:
– Analysis of material suitability
– Analysis of size suitability
Analysis of the defining material elements of printmaking in graphic art
– Analysis of the edition
– Analysis of the support
– Analysis of the format
– Analysis of the inks
TEACHING UNIT 4. APPLICATION OF GRAPHIC TECHNIQUES
Intaglio Projects:
– Aesthetic, formal, and conceptual concepts of intaglio
– Line techniques and tonal value in intaglio
– Tones and continuous shading in intaglio techniques
– Intaglio techniques and illustration. Project
Lithography Projects:
– Aesthetic, formal, and conceptual concepts of lithography
– Distinctive characteristics of the lithographic image
– Lines and tones in the lithographic image
– Use of transparencies
– The lithographic technique and illustration. Project
Woodcut Projects:
– Aesthetic, formal, and conceptual concepts of woodcut
– Adapting the technique to the support; the subtractive nature of the woodcut technique
– The woodcut technique and illustration. Project
Screen Printing Projects:
– Aesthetic, formal, and conceptual concepts of screen printing
– Adapting the technique to the substrate; characteristics of the screen printing technique
– The screen printing technique and illustration. Project
Digital Techniques Projects:
– Aesthetic, formal, and conceptual concepts of digital techniques
– Adapting the technique to the medium; the nature of the digital technique
– The digital technique and illustration. Project
Selection of the process and organization of the various techniques, constraints, and possibilities:
– Specific case studies
– Combination of intaglio and relief
– Combination of intaglio and lithography
– Combination of intaglio and screen printing
– Other combinations
Analysis of technical characteristics:
– Plates: copper, zinc, aluminum, stone, screen, and wood
– Inks: intaglio, screen printing, lithographic, relief, typographic, and water-based
– Substrates: paper, plastic, leather, cardboard, fabric, cork, wood, and new substrates
– Suitability of post-processing treatments such as chrome plating
TEACHING UNIT 5. INVOLVEMENT OF OTHER PROFESSIONALS
Coordination of work among professionals involved in the processes of Original Graphic Art:
– Analysis of the needs and roles of each professional
– Review of the services they offer
– Capacity for collaboration
– Communication protocols. Accurate transmission of information among professionals
– Communication framework. Identification and selection based on the recipient.
Identification of professionals based on the needs of the process:
– Bookbinders. Fields of bookbinding
– Materials handlers. Types of materials and processes
– Image creators. Techniques and processes
– Typographers. Designers and printers
TEACHING UNIT 6. ANALYSIS OF PROPOSALS, ORGANIZATION, AND PROJECT TIMELINE
Feasibility of implementation
Deadlines
Time optimization
Space optimization
Commitments to quality and results:
– General guidelines for quality and control of outsourced work
– Consistency in publishing
– Suitability and alignment with the planned materials and finishes
Collaboration management:
– Economic factors
Contract types
TRAINING UNIT 2. PROJECTS FOR THE CONSERVATION, RESTORATION, AND REPRODUCTION OF PLATES AND ORIGINAL GRAPHIC WORKS
TEACHING UNIT 1. METHODOLOGY FOR THE CONSERVATION, RESTORATION, AND REPRODUCTION OF ORIGINAL GRAPHIC ART PRINT BLOCKS.
The project for the conservation, restoration, and reproduction of printing plates:
– The need for the project in the conservation, restoration, and reproduction of printing plates
– The role of the project in the conservation, restoration, and reproduction of printing plates
– Characteristics specific to a project for the conservation, restoration, and reproduction of printing plates
The Phases of a Project for the Conservation, Restoration, and Duplication of Printing Plates
– Preliminary Analysis Prior to Implementing the Project for the Conservation, Restoration, and Duplication of Printing Plates
– Documentation and Collection of Data and Materials for a Project for the Conservation, Restoration, and Duplication of Printing Plates
– Differences between graphic and non-graphic material in a project for the conservation, restoration, and duplication of matrices
– Photoreproduction techniques for the duplication of matrices
Characteristics of the process of conservation, restoration, and duplication of matrices:
– Scientific/technical factors
– Factors related to reproduction and fidelity to the original
– Reproduction or interpretation, needs assessment, and evaluation of results
Statement of the scope of work for the conservation, restoration, and duplication of printing plates:
– Analysis of the end user
– Economic analysis
– Technical analysis
– Historical/cultural analysis
Artistic and stylistic definition of the matrices to be restored:
– Historical context of the work
– Formal characteristics of the period and their impact on the work’s constituent elements: type of linework, techniques used
– Conceptual and stylistic analysis
TEACHING UNIT 2. ANALYSIS OF CONSERVATION, RESTORATION, AND REPRODUCTION NEEDS FOR ORIGINAL PRINTMAKING PLATES
Analysis of the State of Preservation of Print Plates:
– Assessment of the condition of the plates
– Evaluation of the material to be treated. Degree of deterioration. Analysis of the causes of deterioration
– Analysis of the condition based on intended use: exhibition, storage, reprinting
– Tools: magnifying glass or other optical magnification devices
– Observation and documentation of types of damage and defects
– Types of damage: wear and tear, dirt, oxidation, creases, folds, dents, scratches, holes
Research on printing plates: provenance and historical identification:
– Assess the historical qualities of the printing plates
– Assess the artistic qualities of the printing plates
– Analysis of previous prints
TEACHING UNIT 3. DETERMINING PROCEDURES FOR THE CONSERVATION, RESTORATION, OR REPRODUCTION OF DETERIORATED PLATES
Criteria to consider when selecting techniques for the conservation, restoration, and duplication of printing plates:
– Analysis of the complexity and difficulty of carrying out the interventions – Definition of the plate’s intended purpose and possible end use: exhibition, storage, reprinting
– Analysis of the physical or chemical conditions of the matrix to preserve its integrity and ensure its potential for printing.
Assessment of the actions to be taken: conservation, restoration, or duplication of matrices:
– Chemical treatment of the matrices: neutral, harmless, and non-damaging materials (solvents),
– Physical treatment of the matrices: suction, heat, controlled burning, laser
– Duplication of the matrices: photographic techniques, manual tracing, pantograph
– Proposals for preservation treatments. Chemical and physical agents
TRAINING UNIT 3. BUDGETING AND DOCUMENT MANAGEMENT IN AN ORIGINAL GRAPHIC ART PROJECT
TEACHING UNIT 1. METHODOLOGY FOR PREPARING DOCUMENTATION FOR AN ORIGINAL GRAPHIC ART PROJECT
Project documentation:
– Technical specifications document: functions, components
– Project technical data sheet: production conditions, tests, editorial elements, technical elements
– Color schemes
Preparation of the project report:
– Graphic documentation, cost analysis
– Visual documentation: photographs, infographics, sketches, and drafts
TEACHING UNIT 2. ARCHIVING GRAPHIC AND VISUAL DOCUMENTATION
Archiving and preservation of generated documents:
– Digitization of documents and images
– Creation of databases
Management of the generated documents:
– Data management software. Digital text file formats: .txt, .pdf, .html; structured data formats: .xml; graphics: .jpg, .tif; vector formats: .dwg, .cdr
– Organization of analog documents: filing, classification, creation of a data file, organization within the filing system—why and for how long they should be preserved –
– Management of digital documents: files, databases, websites, migrations to new formats, storage media—DVD, CD-ROM, hard drive, USB flash drive, network server—
Protection and handling of documents:
– Establishing criteria for preservation or disposal
– Storage in containers: flat file cabinets
– Protective materials: pH-neutral paper, folders
– Environmental conditions: light, humidity, temperature
– Protective treatments: disinfection and pest control
TEACHING UNIT 3. PREPARING BUDGETS FOR ORIGINAL GRAPHIC ART PROJECTS
General financial aspects to consider:
– Price indexes and standard rates
– Cost of materials involved. Quality. Possible treatments
– Cost of implementing techniques
– Supplier catalogs and price lists
– Use of accounting and invoicing software
Specific economic aspects to consider:
– Cost assessment of resources: matrices, inks, substrates, special treatment for engraving plates, cleaning materials
– Economic assessment of processes, their optimization, and quality: process chemicals, cleaning products, machinery depreciation, drying agents
– Economic assessment of collaboration with other professionals: bookbinders, typesetters, printers…
