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Artículos de revistas sobre el tema "Graphic arts"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Low, David E., and Katrina Bartow Jacobs. "Language Arts Lessons." Language Arts 95, no. 5 (2018): 322–31. http://dx.doi.org/10.58680/la201829587.

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2

Rakhimov, Khasanboy Umarjon ugli. "THE PLACE OF GRAPHICS IN THE FINE ARTS." SOLUTION OF SOCIAL PROBLEMS IN MANAGEMENT AND ECONOMY 2, no. 2 (2023): 5–8. https://doi.org/10.5281/zenodo.7601645.

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This article provides detailed information about the history of the creation of graphics, one of the types of visual arts, the use of a mixture of artistic tools in the form of images in graphic works, graphic techniques and methods.

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3

ROYLANCE. "EUROPEAN GRAPHIC ARTS." Princeton University Library Chronicle 47, no. 3 (1986): 362. http://dx.doi.org/10.2307/26404364.

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4

MARKS. "AMERICAN GRAPHIC ARTS." Princeton University Library Chronicle 52, no. 2 (1991): 267. http://dx.doi.org/10.2307/26404423.

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5

Apele, Diāna, and Ina Treiliņa. "ARTS DOMINANCE IN CALENDAR GRAPHICS DESIGN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 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 usi

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6

Xiao, Liyao. "The Literary Characteristics and Innovative Design of Chinese Taoist Graphic Arts." Pacific International Journal 6, no. 3 (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 mo

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7

Naimanov, B., and B. Ospanov. "Educating gravure art." Pedagogy and Psychology 43, no. 2 (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 th

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8

Creagh, Linda T., and Marlene McDonald. "Design and Performance of Inkjet Print Heads for Non-Graphic-Arts Applications." MRS Bulletin 28, no. 11 (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 th

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9

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

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10

Gregori, Lucia. "Calvino's Method and Graphic Arts." Italian Culture 14, no. 1 (1996): 211–23. http://dx.doi.org/10.1179/itc.1996.14.1.211.

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11

Boguszewska, Anna. "Kształcenie w zakresie grafiki w szkolnictwie artystycznym Krakowa, Lwowa i Wilna w latach międzywojennych." Biuletyn Historii Wychowania, no. 29 (February 4, 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 Departmen

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12

Guan, Jia Qing, and Jing Hu. "Analysis Artistic and Performance Applications of Oracle." Advanced Materials Research 542-543 (June 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

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13

Svitlana Botvinovska, Tatyana Nikolayenko, Alexandra Kunovskaya, and 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, no. 99 (December 17, 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 ac

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14

YAMAGUCHI, Yasushi. "Computer Graphics Education and Graphic Science Education as Liberal Arts Education." Journal of Graphic Science of Japan 41, no. 1 (2007): 25–26. http://dx.doi.org/10.5989/jsgs.41.25.

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15

Tağıyeva, Ruqiyyə, and Raziyyə Allahverdiyeva. "DRAWING IN FINE ARTS AND TECHNIQUES AND METHODS USED IN ITS APPLICATION." Scientific Works 92, no. 1 (2025): 259–62. https://doi.org/10.69682/arti.2025.92(1).259-262.

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Drawing is an image drawn by hand using graphic means such as contour lines, spots and it is one of the various fields of artistic graphics. Drawing, which is the basis of all types of artistic depiction on a flat surface (painting, graphics, etc.), is one of the important and widely developed fields of fine arts. Drawing constitutes the initial stage of development of works of fine arts and plays an important role in determining the general shape, form, volume of objects, as well as their placement in a certain area.The principles of simplicity of drawing methods and universality of construct

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16

Zebehazy, Kim T., and Adam P. Wilton. "Graphic Reading Performance of Students with Visual Impairments and Its Implication for Instruction and Assessment." Journal of Visual Impairment & Blindness 115, no. 3 (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

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17

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 produ

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18

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, no. 189 (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 vari

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19

Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA." Jurnal Budaya Nusantara 3, no. 1 (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 graph

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20

Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA." Jurnal Budaya Nusantara 3, no. 1 (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 graph

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21

Howes, J., and P. Paucker. "German Jews and the Graphic Arts." Leo Baeck Institute Yearbook 34, no. 1 (1989): 443–73. http://dx.doi.org/10.1093/leobaeck/34.1.443.

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22

Warnock, J. E. "The changing landscape of graphic arts." IEEE Computer Graphics and Applications 20, no. 1 (2000): 32–33. http://dx.doi.org/10.1109/38.814547.

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23

ADASKINA, NATALIA. "RAKhN,VKhUTEMAS, AND THE GRAPHIC ARTS." Experiment 3, no. 1 (1997): 76–124. http://dx.doi.org/10.1163/2211730x97x00107.

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24

TAKAHASHI, Yasusuke. "Graphic Arts Technology in Imformation Society." Journal of the Society of Mechanical Engineers 93, no. 857 (1990): 311–15. http://dx.doi.org/10.1299/jsmemag.93.857_311.

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25

Field, Gary G. "Color Approval in the Graphic Arts." Color and Imaging Conference 5, no. 1 (1997): 56–61. http://dx.doi.org/10.2352/cic.1997.5.1.art00011.

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26

Moore, Lee C., and Barry G. Gombert. "Cloud Computing for Graphic Arts Printing." NIP & Digital Fabrication Conference 28, no. 1 (2012): 106–8. http://dx.doi.org/10.2352/issn.2169-4451.2012.28.1.art00033_1.

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27

Sheykhi, Mohammad Taghi. "LINKAGE OF ARTS AND HUMANITIES: AN ENVIRONMENTAL APPRAISAL OF IRAN." International Journal of Research -GRANTHAALAYAH 6, no. 9 (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

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28

Dr., Mohammad Taghi Sheykhi. "LINKAGE OF ARTS AND HUMANITIES: AN ENVIRONMENTAL APPRAISAL OF IRAN." International Journal of Research - Granthaalayah 6, no. 9 (2018): 17–28. https://doi.org/10.5281/zenodo.1435201.

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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

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29

Bowen, Tracey, and M. Max Evans. "What does knowledge look like? Interpreting diagrams as contemporary hieroglyphics." Visual Communication 18, no. 4 (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 kno

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Rajbhandari, Jitendra Man. "Graphic Communications in the Context of Nepal." SIRJANĀ – A Journal on Arts and Art Education 5, no. 1 (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 ha

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31

Fănaru, Alice-Georgiana. "Arta grafică modernă a femeilor artiste din patrimoniul Muzeului de Artă Tulcea." Revista Muzeelor 1 (2022): 83–103. http://dx.doi.org/10.61789/rm.2022.07.

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The study presents the graphic works of six modern female artists that are part of the Tulcea Fine Arts Museum`s heritage. Their work, presented in the context of the modern period of development of fine arts in our country, is prefaced by a comparative analysis between feminism and the feminine in art, starting from the general understanding of the concept of feminism. The article aims to promote the graphics collection of the Tulcea museum and to provide a starting point for future analytical studies.

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32

Joshua Alahira, Emmanuel Chigozie Ani, Nwakamma Ninduwezuor-Ehiobu, Kehinde Andrew Olu-lawal, and 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, no. 3 (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

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33

Andrianova, Olena, and Svitlana Biskulova. "Technological research of Serhiy Shyshko’s graphic arts." Bulletin of Lviv National Academy of Arts, no. 52 (July 11, 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 prel

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34

Benois, Alexandre. "The Mission of the Graphic Arts (1910)." Experiment 7, no. 1 (2001): 303–12. http://dx.doi.org/10.1163/2211730x-00701016.

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35

Fassbender, William J., Margaret Dulaney, and Carol A. Pope. "Graphic Narratives and the Evolution of the Canon: Adapting Literature for a New Generation." Voices from the Middle 21, no. 1 (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 tradi

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36

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, no. 28 (December 15, 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 Ukraini

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37

Joshua Alahira, Nwakamma Ninduwezuor-Ehiobu, Kehinde Andrew Olu-lawal, Emmanuel Chigozie Ani, and Irunna Ejibe. "ECO-INNOVATIVE GRAPHIC DESIGN PRACTICES: LEVERAGING FINE ARTS TO ENHANCE SUSTAINABILITY IN INDUSTRIAL DESIGN." Engineering Science & Technology Journal 5, no. 3 (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 i

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38

Ha, Il. "Exploring the Methodological Potential of Graphic Novels as Arts-Based Qualitative Research." Korean Association for Qualitative Inquiry 10, no. 4 (2024): 1–27. https://doi.org/10.30940/jqi.2024.10.4.1.

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To fulfill the need for in-depth exploration of human experiences, arts-based qualitative research has emerged, continuously uncovering possibilities through various artistic genres. This study aims to present the potential of graphic novels, a genre of comics that values accessibility, as a tool for arts-based qualitative research to meet the demand for alternative forms of writing. Thus, the focus of this research is to analyze how graphic novels convey authenticity and overcome the limitations of representation as an alternative writing method. The research methodology involves analyzing ex

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39

Artamonova, Svetlana N. "How the collections of graphic arts in the Russian State Library serve the needs of artists." Art Libraries Journal 20, no. 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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40

Shkolna, Olga, Olga Sosik, and 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, no. 2 (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 ter

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41

Shkolna, Olga, Olga Sosik, and 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, no. 2 (2021): 291–98. https://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 over

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42

Komorowski, Wiktor. "Hard Ground-Soft Politics: The Biennial of Graphic Arts in Ljubljana and Biting of the Iron Curtain." Humanities 7, no. 4 (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 op

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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, no. 3 (2008): 7–12. http://dx.doi.org/10.18848/1833-1874/cgp/v02i03/37555.

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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, no. 3B (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, a

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Al-Fawadi, Hutham Mezaal Salih, and 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, no. 105 (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 view

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Belichko, Nataliia, and Nadiia Marchenko. "GRAPHIC LITERATURE: DEFINITIONS, HISTORY, COMPONENTS." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 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

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Verikas, A., K. Malmqvist, L. Bergman, and M. Signahl. "Colour classification by neural networks in graphic arts." Neural Computing & Applications 7, no. 1 (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, no. 1 (1998): 63–69. http://dx.doi.org/10.2352/j.imagingsci.technol.1998.42.1.art00008.

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Szczech, John, Jie Zhang, and Dan Gamota. "Printed Electronic Using Traditional Graphic Arts Printing Technologies." NIP & Digital Fabrication Conference 21, no. 2 (2005): 213. http://dx.doi.org/10.2352/issn.2169-4451.2005.21.2.art00067_3.

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Chomycz, Łesia, and Marek Wilczyński. "Zapowiedź Schulzowskich cliché-verre’ów." Schulz/Forum, no. 15 (September 24, 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 clich

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