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Familial album, reticence and memorial.A personal experimentation near the expressivity of the mezzotint in the artist’s book

Thesis

<http://hdl.handle.net/10251/128243>
KeywordsTriple Keywords
Languages
Language and languages
Foreign languages
Pictures
Iconography
Pictorial representations
Ontology
Being
Graphics
Arts, Graphic
Graphic arts
Art, Graphic
Graphic design (Graphic arts)
Etching
Etchings
Erudition
Learning and scholarship
Scholarship
Concepts
Concept formation
Franchise
Elections
Polls
Electoral politics

Abstract

[ES] In my Final Grado Work I intend to investigate and experiment about the expressive skills and characteristics of the Mezzotinto technique and the processes that make up and surround it, as well as its use within a personal artistic discourse, embedded in the languages of the contemporary graphic. I am interested in Grabado as a field of experimentation because of its procedural nature, which allows me to work and reflect on the process of creating an image. I am not interested in the conceptions of recording as a means of reproduction of other works, or as a technique dependent on or subsidiary to other artistic means of expression. My decision to focus my work on a single procedure is not due to a conception of engraving as a universe of watertight drawers, and I therefore intend to experiment with a mixture of black with other traditional processes such as acute, acute, dry tip or even sweet size, as well as with more experimental ones such as photogravure or sugar acuatics. However, the search for experimentation close to the direct process of creating the image, specific to the Mezzotinto, is the backbone of the work, and that procedure must therefore be the centre of the resulting work. The interest in the Mezzotinto procedure emerged during my Erasmus stay in Porto last year, where I attended an introductory course to the calcographic engraving, the exercises of which were very easy for me to carry out because I managed to some extent the techniques and procedures provided. This together with free access to workshops led me to experiment with techniques with which I had not worked until then. I had a single engraving of Mezzotinto, the result was a very photorrealistic image, that exercise liked me because it had served me to know and start operating the procedure, but seen the result, he asked me whether the same technique could be used to achieve more expressive results in line with other languages I felt more comfortable with. This was the germ that would lead me to try to experiment with Mezzotinto’s own processes. The choice of the Grabado camp requires us to pre-define what we understand as such. I have decided to abide by the conception of the engraving taken from a trial on engraving (at the end of the 20th century) in which Juan Martínez Moro defends the use of the term Graphic, printed and serious work. Far from being obvious, this term delimits us to the margins of our experimentation, limiting the field of work to those procedures that allow a series of replication. As we said at the outset, the aim of this work is to experiment closely with the expressive skills of the Mezzotinto technique and its procedures. To this end, I am interested in working with the creation of images that could be found in the ambiguous universe between the images we call abstract and the figurative calls, because the dialogue between these two languages, in theory antagonistic, results in extremely suggested images Cruza Huete, J. (2019). Familial album, reticence and memorial.Personal experimentation near the expression of the mezzotine in the artist’s book. http://hdl.handle.net/10251/128243

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