Printed graphics, as a way of reproducing images, has been known since ancient times. Unlike painting, it is much more accessible, and therefore cheaper. Printed graphics became most widespread in Europe in the Middle Ages with the advent of paper and the opening of the printing press.
Important features of graphics are its ability to quickly respond to current events, ease of replication in many copies, the ability to consistently reveal the concept in a number of images. Therefore, they were originally used to illustrate religious subjects. Later, these qualities were widely used in agitational and satirical political graphics, the rapid development of which falls on the years of major historical events ("flying sheets" of the Peasant War of 1524-26 in Germany, engravings of the Great French Revolution, popular prints of the Patriotic War of 1812, posters of the Civil and Great World War II).
Despite some supporting role, printed graphics have a number of expressive virtues that made them popular among the great artists of the past.
At the same time, many techniques of printing graphics are very laborious, so the artist often gave his sketch to master engravers, who transferred this image onto a board and then printed it. The technique of lithography was especially widespread, which, with a possible large circulation without reducing the quality, made it possible to achieve maximum similarity with images made in pictorial techniques. It was at the end of the 19th-20th centuries that the artists themselves and their dealers began to widely use to popularize their work. In Europe, such lithographic workshops are common to this day.
In Russia, during the Soviet era, the communist regime was well aware of the danger of possible uncensored circulation, so lithographic workshops were under the supervision of art funds, and they mainly ensured the printing of copyright (made by the author himself) stones. This is due to the fact that today in Russia lithography, as one of the techniques of printing graphics, is practically equated with typographic reproduction and has no generally accepted artistic value.
However, in Europe, with a very high cost of original paintings, lithographic reproduced images of paintings by a popular artist can reach very high prices.
In 1994, the author of these lines organized in Riga an exhibition of 15 lithographs by Salvador Dali from the collections of French lithographic workshops, which served as illustrations for books. At that time, the cost of these lithographs reached $ 1000-2000. Today these lithographs are sold at auctions for 10-15 thousand dollars and more.
The value of printed graphics as an art form in its own right depends on many factors. First of all, on the size of the circulation and on the serial number of the print.
Today's printing technologies make it possible to achieve huge circulations with constant quality, while with old techniques such as drypoint, etching and others, the printing plate was jammed during the printing process, and the prints themselves were modified. Therefore, the prints printed first in a run are traditionally of the highest value.
To protect modern printed graphics from depreciation, special restrictions have been adopted that apply to the number of prints, as well as special rules for its attribution.
According to international rules, original prints must contain the following information.
- 19/99 is the serial number of the print, through a fraction is the total print run.
- of, litas, xyl, etc. is the abbreviated name of the performance technique.
- Name of work and year of creation.
- Original signature of the author.
Also, instead of the serial number of the print, there may be letters denoting a proof print, or an author's print.
The presence of these letter designations indicates that this option was rejected by the author and he made adjustments. However, it is not destroyed and signed.
Such prints are of the highest value among collectors, as they are one-of-a-kind and unique.
The further value of the circulation depends on the serial number of the print and, as a rule, the first 10 have the highest cost. In order not to devalue the graphics, circulation of no more than 300 copies is allowed, and for certain types of graphics, no more than 100, after which the image carrier (etching board, linoleum etc.) must be destroyed for the impossibility of subsequent prints.
Unfortunately, many graphic artists who print images on their own in their workshops do not follow these rules. For example, the well-known Latvian graphic artist Karlis Cīrulis (Kārlis Cīrulis 1925.1.IX - 1994.17.II), who created a series of amazing etchings with views of Riga, printed hundreds of his images during his lifetime, and did not put copies at all on many of them, or put unreliable ones. After his death, these views of his spouse continued to be replicated from the boards without the author's signature. With all my deepest respect for this virtuoso master of etching, who created an image for our Splendid Palas gallery for an invitation card, this has led to the fact that today his work is devalued and not worth as much as it should be.
Also known are the numerous editions of Salvador Dali created after 1981, when due to illness he could not work at all. Some researchers of his work claim that he left a huge number of signed blank sheets on which these lithographs were printed.
In the case of our exhibition of lithographs by Salvador Dali, we were dealing with lithographs created from the original illustrations by Salvador Dali, and which existed only in this technique. The lithographic workshop signed a contract with the artist for the right to print his lithographs, and Dali controlled the process of their creation, made adjustments and signed the finished edition. After that, the lithographic stone was erased, and the lithographic workshop issued a special certificate confirming the authenticity of this circulation and a description of the lithography itself, indicating the original paper size and its name.
In such cases, part of the print run, as a rule, the first prints, are handed over to the author himself, and the rest go to the disposal of the lithographic workshop, which sells them.
That is why you can still find in old European lithographic and etching workshops, often working as an art store, old graphics that have remained in the owners' collection.
Modern baguette shops often have to deal with the design of printed graphics. Often, their owners are not even aware of their possible true value. Unfortunately, the receptionists on orders and the craftsmen themselves are also not specialists, and therefore they often admit illiterate design, or even just spoil the work.
Below we will try to talk about the peculiarities of the technique of each of the printed graphics, as well as the difference between their design and other media on paper.
St. Petersburg. 2007 year
Aivar Pozharsky.
About printed graphics
Printed graphics are the joy of the process, the delight of creation. This is a unique artistic environment for any experiments in various genres of design and graphics - graphic series, illustrations, "artist's book", zines, spatial objects.
Printing graphics maintains the vital balance of analog and digital practices for creative professions, helping to improve and effectively develop many of the necessary skills: drawing, working with color, composition, materials and technologies.
About the workshop
In a printing workshop, you will have a unique experience, different from a computer class. Classes in a print studio are the materiality of creativity, which is lost in digital technologies, it is an exciting experiment in the technique of traditional printing.
The Summer Printing Workshop holds two sessions every week.
If you are just getting started with print graphics, teachers can help you develop skills in your chosen techniques. With the support of the workshop, you can also work independently on your own projects.
Printing techniques available in the workshop
- Linoleum engraving- technique of letterpress printing. Linoleum is a convenient and affordable material for any creative idea: from bookplate and book illustrations to large easel engraving.
- Etching (dry point)- traditional technique of gravure printing on metal. The printing plate is engraved with hard needles without etching. A characteristic feature of prints in this technique is the special "softness" of the stroke.
- Collagraphy (engraving-collage)- modern experimental printing technique that combines the advantages of letterpress and gravure printing. The printing plate is formed by relief from a variety of materials with a variety of textures.
- Plywood engraving- letterpress technique, close to cut woodcut (woodcut), with characteristic contrasting strokes and texture. The availability of the material allows you to create large engravings.
- Monotype- non-circulation printing technique, in which each print is unique. Interesting for the calculated "spontaneity" and random effects. Various materials from glass to aluminum are used as a printing plate.
- Chine colle- a special combined printing technique using a layer of thin paper.
- Mixed techniques- several types of printing in one print (print).
Term and cost of participation
Woodcut (woodcut)
Amaya is an ancient technique of engraving. Until the end of the 18th century, only cut, or longitudinal, woodcuts existed. A flat polished board (cherry, pear, apple tree), without fail, is cut along the grain of the tree, primed, a drawing is applied over the ground with a pen, then the lines on both sides are cut off with sharp knives, and the wood between the lines is selected with a special chisel to a depth of 2-5 millimeters. When printing, paint is applied (first with tampons, later - with a roller) on the convex part of the board, a sheet of paper is placed on it and evenly pressed down - by a press or by hand, in this way the image from the board is transferred to the paper. With cut engraving, the composition turns out to be a combination of black lines and contrasting spots.
End, or transverse woodcut. The board is cut across the trunk so that the grain of the tree runs perpendicular to the surface of the board. For end woodcuts, a dense tree (beech, boxwood) is used and cut with a special chisel - a graver, the trace of which in the print gives a white line. End woodcuts allow you to work with a thinner stroke, the different degrees of saturation of which allows you to vary the tone.
Linocut (engraving on linoleum)
It arose at the turn of the 19th and 20th centuries. Linoleum is processed with incisors that look like small curved chisels, just like in woodcut edging. The paint is applied with a roller, printed as a woodcut.
Cardboard engraving
Letterpress type. As a material for the printing plate, cardboard of various densities is used. The thickness of the cardboard must be at least 2 millimeters.
The strokes are cut with a needle or knife; tonal planes are achieved by loosening the surface of the cardboard in various ways. The artistic possibilities of cardboard engraving are limited. With a good choice, these techniques (for certain solutions) get a soft, painterly impression. The line in the engraving on cardboard is ragged, indistinct and unstable, the print run of the engraving is not large.
In-depth engraving.
In a metal plate (copper, brass, zinc, iron), mechanical or chemical methods deepen the pattern in the form of combinations of lines and dots. Then paint is driven into the recesses with tampons, the board is covered with damp paper and rolled between the rollers of the printing press. The main types of in-depth metal engraving:
Etching
It arose at the beginning of the 16th century. The board is covered with acid-resistant varnish, the drawing is scratched with a needle in the varnish, exposing the metal surface. After immersing the board in acid, the pattern is etched in the metal.
Drypoint engraving
The copper board is scratched directly with an etching needle on a metal board, without varnish or etching. When printing, ink gets stuck in scratches and barbs.
Aquatint
Invented in France in the middle of the 18th century. The heated board is evenly covered with a resinous powder, the individual grains of which adhere to the warm metal and to each other. During etching, the acid penetrates only into the pores between the grains, leaving a trace on the board in the form of a mass of individual dotted depressions. Those places that should be darker on the print are etched longer, light places after short-term etching are covered with liquid varnish.
Mezzotint
This engraving technique was performed in 1642. With a special tool - a "rocker" - numerous indentations are applied to the board so that it acquires a uniform roughness, and when printed, a thick, velvety tone is obtained. The drawing on the board prepared in this way is smoothed and sanded with a "trowel", and the more the board is smoothed, the weaker the paint adheres to it, and in the print these places turn out to be light.
Flat engraving
Lithography
The technique of lithography was invented in Germany in 1796 by A. Senefelder. Lithography exploits the ability of certain limestone rocks to not take on paint after etching with a weak acid. The process of working on lithography is as follows: a limestone plate is smoothed, polished or evenly roughened (this texture is called "root" or "root"). On the stone prepared in this way, they draw with a special pencil or pen and brush, using lithographic ink. The finished stone is etched with a mixture of acid and gum arabic. As a result of etching, the patterned areas easily accept the printing ink, while the clean surfaces of the stone repel it. The board is coated with paint using a roller and printed on thick paper in a machine. Sometimes, instead of limestone, specially prepared zinc or aluminum plates are used.
Monotype
Single impression technique. The inks are applied on a perfectly smooth surface of a printing plate that does not allow water to pass through (glass, plastic, etc.), followed by printing on a machine.
Silk screen printing (seriography, through printing, screen printing)
The stencil as a printing form was originally made very simply, a negative pattern cut out of paper was superimposed on a smooth fabric, and the resulting template was filled with solid paint, which, in places not covered with paper, resembled mothers and an image was obtained. At the same time, the fabric, which was like a sieve, contributed to the uniform distribution of the paint and obtaining an even tone.
Through printing is fraught with inexhaustible possibilities, allowing the graphic artist to work on forms not in a "mirror" image, but in a direct one: with a brush, pencil, and absolutely does not connect the artist's creative intention with the technique of execution (filling, brush stroke, stroke, point in any combinations on one form).
The print of finished images usually has a thickened layer of paint, which gives a special visual effect. Obtaining prints with a pasty character is possible only with this technique, although it requires a relatively longer drying time.
In silk-screen printing, the printing plate is made manually or mechanically (manual and mechanical methods can be combined). In the first case, those areas of the image that should remain white, as in the old days, are sealed with curly paper templates or made in some other way impervious to paint. In another case, a positive is projected onto a silk sieve covered with a photosensitive layer, as a result of which all the gaps in the image are redrawn. When rinsing with water, the uncharged places are washed off and as a result, as in the first case, a printing plate is obtained.
Are there budget places in the Master's program at the School of Design?
The School of Design has 6 Master's degree programs: Design, Communication Design, Fashion, Contemporary Art, Interior Design, and Contemporary Design in Teaching Fine Arts at School. On the "Design" program - 18 budgetary places, on the "Modern Design in Teaching ..." program - 15 quasi-budgetary places, the "Communication Design", "Fashion", "Interior Design" programs, "Contemporary Art Practices" - commercial.
Are there any benefits for people with disabilities at the HSE Master's program?
There will be no preferences for exams. But if you have a disability, you have the right to apply skip-the-line and receive a social stipend while studying.
What is the passing score for a budget place in the Design program?
I will be given a supplement to the bachelor's diploma after July 20. Will this prevent me from applying for a magistracy?
If the applicant has a diploma in hand, and the issuance of an application with grades is delayed, a diploma or a copy of it without an application may be submitted to the admissions office, followed by the application before enrollment.
Is it obligatory to register in your personal account to submit documents?
We will accept documents even if you have not registered in your personal account. But we still recommend everyone to register: this will help save a lot of time, sign up for a visit to the admissions office at a convenient time for you and not stand in a first line, and also save you from the risk of forgetting any necessary document. In addition, it is through your personal account that you can check into the hostel. Acceptance of documents is carried out at the address: Myasnitskaya st., 20, room 111.
Is it necessary to have a design education or experience in design in order to enroll in a master's program at the School of Design?
It depends on the profile. Especially for those who have no experience in the field of design, we have opened the profile “Communication design. A basic level of". It just allows people to get a new profession in 2 years without prior training in the field of design. Also, experience and special knowledge are not required for admission to the "Creating a Fashion Brand" profile.
What if I want to continue my education in design, but have not found the specialization I am interested in among the profiles?
You can apply for admission to the Design program, Art Direction profile. For students of this profile, the School of Design offers individual educational tracks in accordance with the professional ambitions, goals and objectives of the applicant: for example, there is an opportunity to develop not only as a communication designer, but also to improve their skills in the field of animation, illustration, jewelry design, etc. to discuss a possible program for your further education, be sure to tell the members of the examination committee which design direction you are interested in.
Can I apply for several profiles at once?
An applicant enters an educational program and chooses only one profile within it.
Graphics (Greek graphikз, from gra phoЇ - write, draw, draw), one of the types of fine art, including drawings and printed works of art (engravings). The word "graphics" has long stood for writing. This kind of art to this day retains a generic community with signs, symbols, ancient writings (for example, Egyptian hieroglyphs). Graphics was born from the "applied", practical needs of painters, architects, sculptors, who used drawings as preparatory sketches, architectural plans, etc. The first engravers were masters who made seals.
The concept of graphics as a form of fine art appeared only at the beginning of the 20th century.
This is, first of all, the art of drawing, the image using lines on the plane of the paper.
Its main difference from painting is as follows: the painter does not use the plane of the canvas as part of the image, he completely covers it with paints; while for a graphic artist, white or colored paper becomes an important artistic medium in the process of work - it "depicts" space and light. Artists derive various effects from the ability of paper to create an air and light environment. In graphics, especially in black and white, it is impossible to achieve the illusion of reality. This technique is airy and ethereal, but it allows you to convey the most important thing, omitting the details: to capture the transience of events and impressions. Sometimes the possibilities of graphics are greater than that of painting. It is in this form of art that exaggeration, grotesque, satire are especially expressive; there is a special genre - caricature. The graphic can convey the shape of any object, the expressiveness of the silhouette of a human figure with just a few lines or spots.
All graphic works can be divided into two large groups: drawing and printed graphics.
Drawing - any image made by hand using graphic means - a contour line, a stroke, a spot. Various combinations of these means (combinations of strokes, a combination of a spot and a line, etc.) in the drawing are achieved plastic modeling, tonal and cut-off effects. Drawing, as a rule, is done in one color or with more or less limited use of different colors.
The drawing can be a preparatory sketch or a stand-alone work of art. The drawing is always unique, it exists only in one copy.
Graphic pencil remains one of the favorite materials for drawing. It can be used to create linear or tonal images (line or stroke). More often, soft rods are used for drawings - from 2M to 6M and more. Collet mechanical pencils with thick soft graphite are pleasant in drawing. Drawing charcoal, sanguine, monochrome pastels (black, brown, gray, white) are convenient for making quick sketches.
Coal as a drawing material was used by artists in ancient times (pieces of charcoal from an extinct fire). Drawing charcoal gives a deep velvety black color, and different pressure forces can convey many tonal transitions: from weak gray to deep black. With charcoal, you can make both quick and long sketches. It is very comfortable, pliable and pleasant to work with. You can draw with charcoal on any paper: wrapping paper, wallpaper, cardboard, but it is better to use thick, rough paper. Charcoal, sanguine, chalk, pastels can be drawn with both a line and a spot, quickly covering large areas of paper. You can draw with both a sharp tip and a wide surface. This material allows you to work quickly, widely, in a variety of ways and makes it possible to create expressive drawings with rich tonal relationships (from lightest to darkest).
Charcoal goes well with other art materials - chalk, sanguine, pastel, pencil. You can lighten the charcoal pattern by simply brushing off the excess charcoal with a brush. Charcoal drawings, as well as drawings made with chalk, sanguine, pastels, must be fixed, for which a special fixer is used.
Sanguine is a free-flowing material, like coal, but the color of sanguine is reddish-brown, since it is made from different types of clay. The sanguine is formed into square and round sticks, with which you can draw the same way as with charcoal: with a line, stroke, point, spot, using the method of rubbing (shading).
Chalk, school chalk, white pastels are material from a kind of loose, crumbling material. They work with it in the same way as with coal. For chalk, tinted (dim, muted tones) rough paper is required.
Nicely combined in the image of coal, sanguine and chalk. It is advisable to draw with chalk on a dark background or on black paper.
Often, artists use the graphic material sauce - thick rods of pressed dye that has many shades of gray. The sauce can be used dry or wet, spreading it with a brush with water in places where it is necessary to emphasize a darker shade. Drawings made with sauce convey the light and shade features of nature well.
Beautiful expressive sketches can be done with various pens, both fountain pens and rod. Gel pens and capillary pens (white, black, silver shades) are good for small drawings, even though they give a uniform touch. Interesting sketches are made with ink, using either a soft brush for the image of a spot, or a pen for the image with strokes and lines. The alternation of light and dark spots in the image allows you to create different contrasting combinations.
Thick glossy paper works well for pen drawings, on which ink does not bleed.
Often, wick pencils are used in drawing - felt-tip pens, which are filled with special liquid paint (ink) of different colors. They perform both linear and tone patterns.
In watercolor, you can make both single-color and multi-color sketches with a soft brush. Using the fill technique, you can expressively convey a large spot or its silhouette.
Various materials and drawing techniques make it possible to convey the impression of what he saw, to emphasize the character of the depicted and to express one's own attitude towards it. Often, artists combine different materials to enhance the expressiveness of the drawing.
Sometimes a drawing is performed by an artist as a sketch of a future painting composition or a sketch from nature. These are also peculiar sketches - impressions of the motives of the landscape or the fixation of the characteristic features of a person. Several strokes, a flourish of a line, a picturesque spot on the background, combined in one image - all this is characteristic of a drawing.
The most typical type of pattern is linear. Even in ancient times, for such an image, silver or lead leads were used, which left a barely noticeable line. The old masters of drawing often used a pointed goose quill or a reed stick in their depictions. Their clear shading or long wriggling lines conveyed the dynamics of movement well, but required a certain skill from the artist, since the strokes were applied without preliminary pencil sketch and had to be precise and expressive.
Brush drawings are very common - ink, ink, watercolors and other liquid substances. Such patterns are characterized by the use of spots of different tonal saturation. With the help of clear-cut or blurred spots, the artist conveys space, light-air environment or the shape of an object in interaction with light.
The combination of the nervous, fast lines of the feather with light blurring spots creates an extraordinary tonal richness in the drawing. Pen and brush drawings are, as a rule, the embodiment of an energetic and dynamic principle, they have a very emotional effect on the viewer.
The artists' favorite material is soft and velvety pastels. Under this name, there are sets of colored crayons prepared from a mixture of special substances (gum arabic, dextrin, sugar, malt solution, milk, chalk, whitewash) and colored dyes in the form of dry powders.
The pastels are grouped into sets of pencils of different shades, and when drawing, the artist has in front of him, as it were, a ready-made palette.
Pastel is a covering material, since when one stroke is applied to another, the color of the predominantly top layer is visible. But you can apply strokes of different shades parallel to each other and rub them directly on the sketch. Pastel is closer to painting in terms of perception of color spots, subtlety of color, while the technique of execution (strokes, lines, spots) is closer to drawing.
A rough, tinted paper is required for drawing with pastels: a neutral (whitened or darkened) tone helps to "collect" color shades of the drawing into a general harmonic order. Sometimes the gaps of lightly tinted paper, left between the strokes of pastels, generalizing the color system, create a single flavor.
Pastels, like charcoal and chalk, get dirty, so the work must be fixed. But fixation can change the pleasant soft tone and texture of the pastel, making it brighter, more harsh in color. Therefore, it is best to cover the surface of the drawing with parchment or tissue paper, or store it under glass.
Scratching is working with a thick needle or an awl on paper previously covered with black ink. To complete the picture, you need to take thick paper or glossy cardboard. The surface of the paper is first rubbed evenly with a candle (wax), then covered with black ink and allowed to dry well. A drawing is made on a dry black surface with an ordinary pencil. It is advisable to make a preliminary sketch in advance, since you cannot use an eraser. Then lines are scratched along the contour of the pencil drawing. You need to scratch easily, without piercing the paper, but only removing the top painted layer. Light spots in the drawing are scratched with frequent small strokes or expanding lines. This technique captivates with the beauty and clarity of lines, but changing the original concept is almost impossible. You can, as in the technique of working with wax crayons, first cover paper or cardboard with watercolors. With a watercolor tint, the drawing will look even more attractive.
Mixed-media watercolor / ink requires watercolor paint, a paintbrush, black ink, and a nib pen. After completing a pencil drawing on paper, it is moistened with water and painted over with watercolors on wet. Then, on not yet dried paper, the drawing is outlined in ink, ink, spreading over a wet surface and mixing with watercolors, creates all kinds of bizarre compositions that, as if by magic, begin to change shape. In order to give the image the intended shape, it is necessary to rotate the plane of the paper in different directions.
Each graphic material, be it a pencil or charcoal, ink or pastel, has its own peculiarities of expression and methods of depiction. A spot is a plane and a shape, a line outlines a contour, highlights the main thing, a dot and a stroke not only clarify and highlight parts, but also create chiaroscuro nuances. The image, material and method of image are closely intertwined, and the solution of the problem of harmony in the composition of the picture depends on their interaction and consistency. It is known that only what is surprising and interesting is expressive.
“The simpler the lines and shapes, the more beauty and strength,” said the outstanding master of drawing Ingres. With the help of various means of artistic expression and materials, the artist can give the same image a different character or mood. For example, the image of a tree branch in a dotted drawing is perceived by us as a kind of incompleteness, unpredictability, softness, illumination; with the help of a stroke, the sharpness, clarity, directionality of the image is manifested; lines create a sense of fluidity or dynamism and activity of the drawing.
Strokes of different lengths and thicknesses, applied in different directions, help to reveal the shape of objects, convey the space and the location of various objects in the image.
A lot can be expressed graphically. For example, lightness, airiness and movement of clouds, plasticity of the body, the state of the day, sunrise and sunset, streams of light, etc. The possibilities of graphic means are practically unlimited, the artist can convey with them all shades of his feelings and experiences.
Printed graphics is an art of circulation, its works exist in many copies. These are engravings of all varieties: on wood, on metal, on linoleum, etc.
Depending on the method of processing the printing plate, a distinction is made between convex, in-depth and flat engraving.
To make a convex engraving on the surface of the printing plate, all the places that should turn out to be white in the print (background) are cut out with a sharp tool, and, conversely, future contours and spots of the drawing remain intact (convex) (woodcut - woodcut and linoleum - linocut) ...
In an in-depth engraving, the drawing is cut out on a board, the recesses are filled with paint and, using a special printing press (press), the lines are transferred to paper (incisor engraving, etching, aquatint, etc.).
Flat engraving includes lithography (stone engraving) and algragraphy (engraving on aluminum plates).
Typically, engravings are black and white (a dark pattern on a background of light paper). There is also a color engraving: a print on paper is made from several printing plates, each of which has its own color applied (Russian popular print, Japanese engraving, etc.).
The oldest type of engraving, in all likelihood, was woodcut, which appeared in ancient China in the 6th century; in Europe - only at the turn of the 14-15th centuries. As a result of the emergence of the art of engraving, it became possible for the first time to widely disseminate the visible image. The appearance of engraving in Europe contributed to the development of book printing.
Graphics often serve a variety of applications. For example, the artist's illustrations decorate a book, cartoons are found in magazines and newspapers, advertising posters - on the streets, etc. Not long ago, reproduction graphics were widespread: a picture or sculpture was "translated" into an engraving, and in this form everyone got acquainted with it. the reading public, since there were no photo reproductions then. Works of printed graphics that have an independent meaning are called prints. Prints are displayed at exhibitions, decorate the walls of residential and public buildings.
A poster is a kind of graphics, which in its effect on the viewer is akin to monumental painting. The poster should be visible from afar, “shout”, call on, powerfully stop a hurrying passer-by, drawing his eye, and act quickly and brightly.
The largest collections of drawings and prints are kept in the library of the British Museum in London, in the Parisian Louvre, in the Vatican library in Rome, the Vienna Albertina, the Engraving Office of the State Museum of Fine Arts. A. Pushkin in Moscow, the State Hermitage in St. Petersburg.
drawing contour shading
