| SUBJECT 2
Machines to draw/print: record without affecting and print without pressure. *Redefinicións Of the contact by impression.
IT- *Dixitalidade and analogy in the creation of images for impression. Original and copy.
*B- Discrepancies, resolution *y *acutancia in the catchment and *escaneamento of originals.
*C- Machineries and useful applicable to the work of contemporary graphic art.
*D- Profiles *cromáticos, *espectrofotometría, plotted, analysis of colour and separations *tonais, *fotolitos,etc.
And- The work with archives, *interpolación, treatment, *compresores and digital extensions stop his impression.
*F- You bear for impression: composition and *enfebrado, *coatings, *sizings, devices. Coefficients of *absorción. Influence of the *recubrimento in the profiles *cromáticos.
*G- *Tinturas. *Dyes, *water base, *ecosolvent. *Solvent. ROM. *Ultraviolet. *H- Post-production. Reread, *cuños, preparations and final protections. |
SUBTEMA 2
The derivative thought of the *maquinismo. Evolution of the tool to the machine. The impression of the light. Derivative methods of the photovoltaic action regarding the chemical impression. The systems *alfanuméricos and the *colorimetría. Analysis of the colour-light and the colour *impresa. You bear *lumínicos and bear material in the current #graphics. |
| SUBJECT 3
The multiple how artistic project.
IT- Reproduction, similarity, imitation, *seriación, *escalabilidade.
*B- The multiple original. *Monoprint And *Monotype. |
SUBTEMA 3
*Especularidade and *direccionalidade. The only work *reproducible. Aesthetics of the multiple and the *imprimible. Originality multiplied. The sense of the complexity. |
| SUBJECT 4
aesthetic Ideas related with the concepts of emblazons digital, original and copy. *Redefinicións And *cuestionamento of the authorship (*Copy-*Left) in the multiplication and *difusión of the work of art *impresa by digital means.
IT- *Infografía and graphic art. Digital and graphic maps *vectoriais. The art of the emblazons and the new means *expositivos. The art how show/consumption and the multiplicity how *difusión/*tridimensionalidade of the impression. The #graphics of the big formats.
*B- The book illustrated and the book of artist in the era of the *reprodutibilidade mechanical. The edition of emblazon and artwork in bear digital.
*C- *Collage And *photomontage digital/analog. Resources of *fotocomposición, *alternancia and duplication. |
SUBTEMA 4
*Estruturalismo and thought serial. The *deconstrución how starting point of the *desauratización. Gilles *Deleuze and the aesthetics of the disseminations. Rosalind Krauss and the field expanded of the art. Main theorists of the meant of the work of current multiple art: Walter Benjamin, *Marshal *McLuhan, Alan *Sokal, Humberto *Ecco. |
| SUBJECT 5
Illustration, *collage, appropriation. Exploration of the extreme sculptural of the graphic fields. The graphic thought and his relation with the *perpetuación of the memory.
IT- Installations, cutback, half stickers and *lumino-transparent.
*B- The recorded @dixital on metallic materials, plastic and *pétreos. Creation of matrices no destined to the *estampaxe. |
SUBTEMA 5
Applications of the numerical methods in the creation of works of art *impresas. The multiple original and the production. Creative procedures of the repetition, *repetibilidade and *iteración. |
| SUBJECT 6
Resources of *estampaxe mixed on distinct bear.
IT- Tolerances and interactions go in bear/inks of impression. Relief and *gofrados. Indirect methods and *recubrimento and preparation of bear for *multiestampaxe and *reposicionamento. |
SUBTEMA 6
Production and mixed systems of *estampaxe. Impression mechanized. *Reposicionamento And incompatibilities of the bear final. *Cuños And *decoupées. |
