Engraving Projects and Printing Techniques

TEACHING UNIT 1. METHODOLOGY OF THE GRAPHIC PROJECT IN THE CREATION OF ORIGINAL GRAPHIC WORKS
The original graphic design project:
- The project’s role in the creation of original graphic works
- The role of the project in the creation of original graphic works
- Characteristics specific to an original graphic art project
The stages of the project involved in creating original graphic artwork:
- Analysis prior to the creation of the original graphic design
- Documentation and collection of data and materials for an original graphic art project
- Differences between graphic and non-graphic material in an original graphic design project
Characteristics specific to the process and design of an original graphic work:
- Creativity and freedom of expression as the cornerstones of the creative process
- The other’s project: intervention in the production of others’ images
The project’s support for the creation of original graphic works:
- The formats
- The texts
- The project as a whole
Terms of reference for the commission of an original graphic work:
- Needs analysis
- Purpose of the project: corporate gifts, commemorative editions, private editions, exhibitions, trade fairs, collaborations
- Promotion channels: galleries, art fairs, collectors, publishers
- Setting out the idea to be conveyed
- Defining the project’s aesthetic
- Selection of the communication log
- Study of how the artwork fits into a specific space
Physical and contextual components of an original graphic work:
- The shape
- Technical checks
- Financial checks
- Aspects of the cultural and historical context relating 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 produced:
- Assessment of significant formal and conceptual elements
- Aesthetic, stylistic, conceptual and symbolic elements that constitute the Original Graphic Work
- A study of the artist’s conceptual characteristics
- Study of the style(s) of the artist’s original work
The image:
- Nature and types.
- Interpretations and analyses of the artistic image
- New uses and consumption of the aesthetic
- Image and communication
- The communicative functions of images
- The media
- The graphic image: concept and cultural and historical-artistic significance
Typography:
- Characters: shape, parts of the letter, spacing, size
- Families and styles: classification, function
- The text: the word, line spacing, tonal value, typometry, legibility
The structure of the page:
- Formats
- Proportions, scales, grids
- Composition
Definition of the format:
- La Estampa
- The Portfolio of Engravings
- The artist’s book
- The book as an object
TEACHING UNIT 3. EVALUATION OF TECHNIQUES AND MATERIALS FOR CREATING PRINTING PLATES AND PRINTING ORIGINAL GRAPHIC WORKS
Factors to bear in mind 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 assessment of the printing process as a determining factor. - Assessment of materials for original graphic works: analysis of the most suitable materials for each project
- Optimisation of resources
- Continuity and discontinuity in implementation
Appropriate selection of the technical processes to be used; considerations:
- Criteria to be taken into account when selecting matrix generation techniques
- Criteria to be taken into account when selecting die-stamping techniques
- Assessment based on complexity and difficulties in implementation
- Definition of the desired outcomes
- Terms and conditions of the commission
- Conformity with formal, aesthetic and conceptual values
- Text integration
Analysis of the defining material elements of Graphic Works matrices:
- Analysis of the suitability of the material
- 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
- Ink analysis
TEACHING UNIT 4. PROJECTION OF GRAPHIC TECHNIQUES
Intaglio print projects:
- Aesthetic, formal and conceptual aspects of intaglio printing
- Line techniques and tonal values in intaglio printing
- Tones and continuous shading in intaglio techniques
- Intaglio printing and illustration. Project
Lithography Projects:
- Aesthetic, formal and conceptual aspects of lithography
- Distinctive features of the lithographic image
- Lines and spots in the lithographic image
- Use of transparencies
- Lithography and illustration. Project
Woodcut Projects:
- Aesthetic, formal and conceptual aspects of woodcut printing
- Adapting the technique to the medium; the subtractive nature of woodcut printing
- Woodcut and illustration. Project
Screen-printing projects:
- Aesthetic, formal and conceptual aspects of screen printing
- Adapting the technique to the substrate; the nature of the screen-printing technique
- Screen printing and illustration. Project
Digital technology projects:
- Aesthetic, formal and conceptual aspects of digital techniques
- Adapting the technique to the medium; the nature of digital techniques
- Digital techniques and illustration. Project
Selection of the process and organisation of the various techniques, constraints and possibilities:
- Specific case studies
- A combination of recesses and raised areas
- A combination of intaglio and lithography
- A combination of cut-out and screen printing
- Other combinations
Analysis of the technical specifications:
- Moulds: sheets of copper, zinc, aluminium, stone, mesh, wood
- Inks: intaglio, screen-printing, lithographic, relief, letterpress and water-based
- Media: paper, plastic, leather, cardboard, fabric, cork, wood, new media
- Suitability for subsequent treatments such as chrome plating
TEACHING UNIT 5. INVOLVEMENT OF OTHER PROFESSIONALS
Coordination of work amongst professionals involved in the processes relating to Original Graphic Art:
- Analysis of the requirements and roles of each professional
- Analysis of the services they offer
- Ability to work collaboratively
- Communication protocols. Ensuring the correct transmission of information between professionals
- Communication framework. Identification and selection based on the target audience.
Identification of professionals according to the requirements of the process:
- Bookbinders. Areas of bookbinding
- Material handlers. Types of materials and processes
- Image creators. Techniques and processes
- Typographers. Designers and printers
TEACHING UNIT 6. ANALYSIS OF PROPOSALS, ORGANISATION AND TIMELINE OF THE PROJECT
Feasibility of implementation
Delivery times
Time optimisation
Optimisation of spaces
Commitments to quality and results:
- General guidelines on quality and the monitoring of external work
- Consistency in editing
- Suitability and compatibility with the planned materials and finishes
Collaboration management:
- Economic factors
Types of contract
TRAINING MODULE 2. PROJECTS FOR THE CONSERVATION, RESTORATION AND REPRODUCTION OF MATRICES AND ORIGINAL GRAPHIC WORKS
TEACHING UNIT 1. METHODOLOGY FOR THE CONSERVATION, RESTORATION AND REPRODUCTION OF ORIGINAL GRAPHIC ART PRINTS.
The project for the conservation, restoration and duplication of master copies:
- The need for the project in the conservation, restoration and duplication of master copies
- The project’s role in the conservation, restoration and duplication of master copies
- Characteristics specific to a project involving the conservation, restoration and duplication of master copies
The stages of the project involving the conservation, restoration and duplication of matrices
- Analysis prior to carrying out the project for the conservation, restoration and duplication of master copies
- Documentation and collection of data and materials for a project involving the conservation, restoration and duplication of master copies
- Differences between graphic and non-graphic material in a project involving the conservation, restoration and duplication of matrices
- Photoreproduction techniques for duplicating master copies
Characteristics specific to the process of preserving, restoring and duplicating master copies:
- Scientific/technical factors
- Reproduction factors and fidelity to the model
- Reproduction or interpretation, needs assessment and evaluation of results
Statement of the terms of reference for the preservation, restoration and duplication of matrices:
- Analysis of the end recipient
- 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 elements that make it up: type of line, techniques used
- Conceptual and stylistic analysis
TEACHING UNIT 2. ANALYSIS OF THE NEEDS FOR THE CONSERVATION, RESTORATION AND REPRODUCTION OF ORIGINAL GRAPHIC WORKS
Analysis of the state of preservation of matrices from ‘Obra Gráfica’:
- Assessment of the condition of the dies
- Assessment of the material to be restored. Degree of deterioration. Analysis of the causes of deterioration
- Analysis of the condition based on its intended use: display, storage, reprinting
- Tools: magnifying glass or other optical magnifying devices
- Observing and recording the types of damage and defects
- Types of damage: wear and tear, dirt, rust, bends, creases, dents, scratches, holes
Research into matrices: provenance and historical identification:
- To assess the historical significance of the matrices
- Assess the artistic qualities of the plates
- Analysis of previous prints
TEACHING UNIT 3. DETERMINING PROCEDURES FOR THE CONSERVATION, RESTORATION OR REPRODUCTION OF DETERIORATED ORIGINALS
Criteria to be taken into account when selecting techniques for the conservation, restoration and duplication of master copies:
- Analysis of the complexity and difficulty of implementing the interventions - Determination of the intended purpose and possible end use of the matrix: display, storage, re-editing
- Analysis of the physical or chemical properties of the matrix to ensure its integrity and suitability for stamping.
Assessment of the actions to be taken: conservation, restoration or cloning of parent plants:
- Chemical treatment of matrices: neutral, harmless and non-damaging materials (solvents),
- Physical treatment of the matrices: suction, heat, controlled burning, laser
- Reproduction of plates: Photographic techniques, manual tracing, pantograph
- Proposed preservation treatments. Chemical and physical agents
TRAINING MODULE 3. BUDGETING AND DOCUMENT MANAGEMENT IN AN ORIGINAL GRAPHIC DESIGN PROJECT
TEACHING UNIT 1. METHODOLOGY FOR PREPARING DOCUMENTATION FOR AN ORIGINAL GRAPHIC DESIGN PROJECT
Project documentation:
- Technical specifications document: functions, components
- Project specifications: production conditions, testing, editing aspects, technical aspects
- Approaches to colour
Preparation of the report:
- Visual documentation, cost analysis
- Visual material: photographs, infographics, sketches and drafts
TEACHING UNIT 2. ARCHIVE OF VISUAL AND FINE ART DOCUMENTATION
Filing and retention of documents produced:
- Digitisation of documents and images
- Database development
Management of generated documents:
- Data management programmes. Digital text file formats: .txt, .pdf, .html; structured data formats: .xml; graphics: .jpg, .tif; vector formats: .dwg, .cdr
- Organisation of paper documents: filing, classification, creation of a data file, organisation within your filing system – why and for how long they should be kept –
- Digital document management: files, databases, websites, migrations to new formats, storage media – DVD, CD-ROM, hard drive, USB stick, network server –
Document protection and processing:
- Establish criteria for retention or disposal
- Storage in containers: flat filing cabinets
- Protective materials: pH-neutral paper, folders
- Environmental conditions: light, humidity, temperature
- Protective treatments: disinfection and pest control
TEACHING UNIT 3. DRAWING UP BUDGETS FOR ORIGINAL GRAPHIC ART PROJECTS
General financial considerations to bear in mind:
- Indices and typical prices
- Cost of the materials involved. Quality. Possible treatments
- Cost of developing the techniques
- Supplier catalogues and price lists
- Use of accounting and invoicing software
Specific financial considerations to bear in mind:
- Cost assessment of resources: matrices, inks, substrates, special treatment for the engraving plate, cleaning materials
- Economic assessment of processes, their optimisation and quality: process products, cleaning products, depreciation of machinery, desiccants
- Financial assessment of collaboration with other professionals: bookbinders, typesetters, printers, etc.