Graciela Machado | Faculdade de Belas Artes da Universidade do Porto (original) (raw)
Papers by Graciela Machado
Modos de Editar: arquivo em aberto, 2023
A presente publicação pretende arquivar e divulgar o resultado de um conjunto de ações que se rea... more A presente publicação pretende arquivar e divulgar o resultado de um conjunto de ações que se realizaram na e a partir da Faculdade de Belas Artes da Universidade do Porto em torno de um evento transversal que designámos de forma genérica como seminário Modos de Editar. O que apresentamos resulta de uma visão plural e partilha coletiva onde confluíram investigadores, docentes, estudantes, profissionais, artistas e público em geral de dentro e fora da FBAUP e UP, com um interesse académico e artístico comum pelos procedimentos tecnológicos da reprodução da imagem. Estes são entendidos aqui como aproximação, representação ou meio de comunicação do tangível ou do intangível, mas também como modo de produção de conteúdos polissémicos onde confluem, cruzam e reativam diferentes possibilidades técnicas, históricas e sociais, em experiências que nos permitem experienciar os procedimentos inscritos do seu passado e alargar as suas possibilidades futuras.
O editar e o reproduzir embora ações distintas confluem ao longo destas 5 edições do Modos de Editar no perspetivar e reativar de processos criativos aplicados, quer seja no design, na edição e publicação ou na prática artística. Reproduzir, porque foi nossa intenção que seminário e agora esta publicação explorassem os territórios de criação, reprodutibilidade e disseminação da imagem. Para tal, demos especial atenção a diferentes discursos, que encontraram nas diferentes ações desenvolvidas em cada seminário o seu espaço de reconstrução, reflexão, diálogo e disseminação. Com os workshops, demonstrações ou residências interessou-nos explorar as possibilidades técnicas e artísticas que os recursos tecnológicos, mesmo quando obsoletos ou anacrónicos à contemporaneidade, nos podem oferecer, nomeadamente pelas suas qualidades formais, estéticas e conceptuais na reprodução da imagem. O reativar destas tecnologias e o seu comprometimento com os territórios difusos da imagem impressa, veio reacender o modo como se pretende ainda reequacionar as suas funções e propor uma utilização futura pela comunidade da FBAUP. Em simultâneo, atribui-se um papel ativo às áreas oficinais para acolher, estimular e indicar como pode esta apropriação ocorrer, para lá do período mais ativo das atividades organizadas. Em todo o caso, estas ações, do seminário ao livro arquivo que agora se propõe, concorrem para uma compreensão mais informada das dinâmicas históricas que assistem à reprodução da imagem
Gravura Fotomecânica: Do Pós-fotográfico ao Digital na Gravura em Oco Sobre Metal, 2023
This publication results from over a decade of research and teaching on printed art within the co... more This publication results from over a decade of research and teaching on printed art within the context of the printmaking area at the Faculty of Fine Arts and the Institute of Research in Art, Design, and Society (i2ADS) of the University of Porto.
Esta publicação é resultado de mais de uma década de investigações e ensino em torno da arte impressa no contexto das oficinas de técnicas de impressão da Faculdade de Belas Artes e do Instituto de Investigação em Arte, Design e Sociedade (i2ADS) da Universidade do Porto.
IMPACT Printmaking Journal, Nov 26, 2020
This research project aims to extend the scope of fine art printing on glass using innovative pho... more This research project aims to extend the scope of fine art printing on glass using innovative photoluminescent enamels. This paper demonstrates how these newly created materials, developed by a multidisciplinary team of artists and chemists, can be used as ink to print on glass, both with direct methods and through transfer papers (decals). The methodology used involved studio-based experiments and sampling tests, aiming to verify the ease of adopting identical printing approaches to screen printing, intaglio and photopolymer techniques on paper and glass, and evaluating whether the extent of techniques and respective marks produced were compatible with the application of luminescent enamels. Photoluminescent glass inks have a very attractive aesthetic effect for their ability to change colour and re-emit light after exposure to ultraviolet radiation. This represents a unique opportunity for artists wishing to work on the fields of light, colour, perception and visuality. The unique features of light-emitting images are discussed from a conceptual and aesthetic realm in two installation projects which seek to shape visual experience, combining the visual with the haptic.
IMPACT Printmaking Journal, Nov 26, 2020
Drawing-like prints with soft-ground etching strictly depend on using paper to decal on top of a ... more Drawing-like prints with soft-ground etching strictly depend on using paper to decal on top of a special tacky ground. In the traditional manner, the resulting sheet will host both a drawing and a transfer on opposite sides of the paper, recto and verso, respectively. Considering that prints with the technique date back as early as the 17th century, papers with soft-ground transfers must have been produced throughout many generations of printmakers. However, catalogued examples are scarce and difficult to track among print collections. Used as intermediate surfaces, printmaking literature often regard these as collateral waste to the process. This apparent lack of relevance seems to be due to their processual role in etching-making. Preserved soft-ground transfers can be identified from the late 19th century onwards, showing that artists have not always perceived them as disposable. The soft-ground transfers can be a key component to learning more about the creative processes of relevant printmakers, as well as of their workshop materials, such as papers, drawings instruments and etching grounds recipes. We propose a revised new study on soft-ground transfers to increase recognition of processual objects and their role in today's practice of printmaking. NOTE TO THE READER: The technical descriptions found in the figure legends are not coherent throughout the text. As the reader will have a chance to understand, there's no consensus regarding the terminology for the procedure in question. For that reason, we decided to keep the original expressions, descriptions and terms, as found in art institutions or museums, and as provided by the artists.
Texto que integra livro de artista produzido a partir de uma compilação de vários projetos colect... more Texto que integra livro de artista produzido a partir de uma compilação de vários projetos colectivos de estudantes inscritos a unidades curriculares de gravura da FBAUP. O livro, edição limitada em calcografia e litografia, concretizou-se a partir das premissas do projeto LIDERA Diário gráfico . Neste projecto de auto-edição ensaia-se a primeira edição limitada de um diário gráfico, da autoria da comunidade académica da UP activa no ano de 2010
IMPACT Printmaking Journal
In the 19th century, the field of cartography grew exponentially when photomechanical printing be... more In the 19th century, the field of cartography grew exponentially when photomechanical printing became a stabilised procedure for the graphic arts industry. With the introduction of photomechanical processes, in the early developments of chromolithography, maps not only became a widespread product in Europe and the United States but they were also refined and became increasingly visually complex. The interaction between scientists and printmakers also changed. As photomechanical processes allowed cartographers to autonomously transfer, reduce or enlarge maps, scientists and military personnel took over the task of translating images onto the wood or copper plates - a job traditionally assigned to a skilled engraver (Cook, 2002) This has also shifted the authorship of printmaking literature to scientists and military personnel, such as captains or colonels (Twyman, 1990). Early printing techniques - such as woodcut or intaglio - are practised today within a very specific setting for p...
IMPACT Printmaking Journal
With the advancement of the ink manufacturing industry and methods in the 19th century, it has be... more With the advancement of the ink manufacturing industry and methods in the 19th century, it has been argued that artists lost intimacy with the raw materials used in almost all techniques. The composition of ingredients in even the most common drawing and printing inks, tusches, or crayons became a mystery. If, on one hand, the advancement of chemistry and industry allowed the improvement of paints and led artists to understand how to combine them, on the other hand, putting high-quality ready-to-use materials on the market pinpointed the beginning of the broken connection between artists, raw materials, and the process of their fabrication. The model of work in this research is posited in a more complex and desirable situation, such as working in situ as opposed to a well-provided printmaking workshop. To achieve a better understanding of local culture, this research aims to deepen the knowledge of the processes embodied in the use of print media and the construction of artists’ too...
International Congress on Contemporary European Painting, ICOCEP 1: abstracts book, 2017, ISBN 978-989-746-122-4, pág. 53, 2017
IMPACT Printmaking Journal
Gillotage, a relief printing method used in nineteenth century commercial industry, consists of u... more Gillotage, a relief printing method used in nineteenth century commercial industry, consists of using a lithographic transfer of an image drawn and processed on stone to a metal plate, while avoiding undercutting the raised areas of the design needed to obtain a relief printing plate. Gillotage was a first option when it came to reproducing an illustration in a commercial sphere, being a cheaper alternative to relief printing methods such as wood engraving. This article wrestles with a fundamental problem: is it possible to recreate the material conditions, interpretations and successful printing outcomes as present in original gillotage? How to contend with the unfortunate demands of historical and unfamiliar technologies of reproduction and adapt them to a contemporary practice? Can a project based on an obsolete printing technique used with letterpress printing demonstrate how to engage researchers and students in new printing approaches? Our technological reconstruction helped u...
Esta es una iniciativa del Grupo LAMP, en colaboración con la Biblioteca de Bellas Artes, donde s... more Esta es una iniciativa del Grupo LAMP, en colaboración con la Biblioteca de Bellas Artes, donde se pretende dar visibilidad a diferentes colecciones que tienen como objeto el Libro-Arte. Consiste en llevar a cabo el montaje de la exposición en las Vitrinas de la Biblioteca a la vez que se realiza la presentación de los libros, en una mesa redonda, donde son invitados a participar coleccionistas, editores, galeristas, artistas, críticos y alumnos de grados y postgrados
Modos de Editar: arquivo em aberto, 2023
A presente publicação pretende arquivar e divulgar o resultado de um conjunto de ações que se rea... more A presente publicação pretende arquivar e divulgar o resultado de um conjunto de ações que se realizaram na e a partir da Faculdade de Belas Artes da Universidade do Porto em torno de um evento transversal que designámos de forma genérica como seminário Modos de Editar. O que apresentamos resulta de uma visão plural e partilha coletiva onde confluíram investigadores, docentes, estudantes, profissionais, artistas e público em geral de dentro e fora da FBAUP e UP, com um interesse académico e artístico comum pelos procedimentos tecnológicos da reprodução da imagem. Estes são entendidos aqui como aproximação, representação ou meio de comunicação do tangível ou do intangível, mas também como modo de produção de conteúdos polissémicos onde confluem, cruzam e reativam diferentes possibilidades técnicas, históricas e sociais, em experiências que nos permitem experienciar os procedimentos inscritos do seu passado e alargar as suas possibilidades futuras.
O editar e o reproduzir embora ações distintas confluem ao longo destas 5 edições do Modos de Editar no perspetivar e reativar de processos criativos aplicados, quer seja no design, na edição e publicação ou na prática artística. Reproduzir, porque foi nossa intenção que seminário e agora esta publicação explorassem os territórios de criação, reprodutibilidade e disseminação da imagem. Para tal, demos especial atenção a diferentes discursos, que encontraram nas diferentes ações desenvolvidas em cada seminário o seu espaço de reconstrução, reflexão, diálogo e disseminação. Com os workshops, demonstrações ou residências interessou-nos explorar as possibilidades técnicas e artísticas que os recursos tecnológicos, mesmo quando obsoletos ou anacrónicos à contemporaneidade, nos podem oferecer, nomeadamente pelas suas qualidades formais, estéticas e conceptuais na reprodução da imagem. O reativar destas tecnologias e o seu comprometimento com os territórios difusos da imagem impressa, veio reacender o modo como se pretende ainda reequacionar as suas funções e propor uma utilização futura pela comunidade da FBAUP. Em simultâneo, atribui-se um papel ativo às áreas oficinais para acolher, estimular e indicar como pode esta apropriação ocorrer, para lá do período mais ativo das atividades organizadas. Em todo o caso, estas ações, do seminário ao livro arquivo que agora se propõe, concorrem para uma compreensão mais informada das dinâmicas históricas que assistem à reprodução da imagem
Gravura Fotomecânica: Do Pós-fotográfico ao Digital na Gravura em Oco Sobre Metal, 2023
This publication results from over a decade of research and teaching on printed art within the co... more This publication results from over a decade of research and teaching on printed art within the context of the printmaking area at the Faculty of Fine Arts and the Institute of Research in Art, Design, and Society (i2ADS) of the University of Porto.
Esta publicação é resultado de mais de uma década de investigações e ensino em torno da arte impressa no contexto das oficinas de técnicas de impressão da Faculdade de Belas Artes e do Instituto de Investigação em Arte, Design e Sociedade (i2ADS) da Universidade do Porto.
IMPACT Printmaking Journal, Nov 26, 2020
This research project aims to extend the scope of fine art printing on glass using innovative pho... more This research project aims to extend the scope of fine art printing on glass using innovative photoluminescent enamels. This paper demonstrates how these newly created materials, developed by a multidisciplinary team of artists and chemists, can be used as ink to print on glass, both with direct methods and through transfer papers (decals). The methodology used involved studio-based experiments and sampling tests, aiming to verify the ease of adopting identical printing approaches to screen printing, intaglio and photopolymer techniques on paper and glass, and evaluating whether the extent of techniques and respective marks produced were compatible with the application of luminescent enamels. Photoluminescent glass inks have a very attractive aesthetic effect for their ability to change colour and re-emit light after exposure to ultraviolet radiation. This represents a unique opportunity for artists wishing to work on the fields of light, colour, perception and visuality. The unique features of light-emitting images are discussed from a conceptual and aesthetic realm in two installation projects which seek to shape visual experience, combining the visual with the haptic.
IMPACT Printmaking Journal, Nov 26, 2020
Drawing-like prints with soft-ground etching strictly depend on using paper to decal on top of a ... more Drawing-like prints with soft-ground etching strictly depend on using paper to decal on top of a special tacky ground. In the traditional manner, the resulting sheet will host both a drawing and a transfer on opposite sides of the paper, recto and verso, respectively. Considering that prints with the technique date back as early as the 17th century, papers with soft-ground transfers must have been produced throughout many generations of printmakers. However, catalogued examples are scarce and difficult to track among print collections. Used as intermediate surfaces, printmaking literature often regard these as collateral waste to the process. This apparent lack of relevance seems to be due to their processual role in etching-making. Preserved soft-ground transfers can be identified from the late 19th century onwards, showing that artists have not always perceived them as disposable. The soft-ground transfers can be a key component to learning more about the creative processes of relevant printmakers, as well as of their workshop materials, such as papers, drawings instruments and etching grounds recipes. We propose a revised new study on soft-ground transfers to increase recognition of processual objects and their role in today's practice of printmaking. NOTE TO THE READER: The technical descriptions found in the figure legends are not coherent throughout the text. As the reader will have a chance to understand, there's no consensus regarding the terminology for the procedure in question. For that reason, we decided to keep the original expressions, descriptions and terms, as found in art institutions or museums, and as provided by the artists.
Texto que integra livro de artista produzido a partir de uma compilação de vários projetos colect... more Texto que integra livro de artista produzido a partir de uma compilação de vários projetos colectivos de estudantes inscritos a unidades curriculares de gravura da FBAUP. O livro, edição limitada em calcografia e litografia, concretizou-se a partir das premissas do projeto LIDERA Diário gráfico . Neste projecto de auto-edição ensaia-se a primeira edição limitada de um diário gráfico, da autoria da comunidade académica da UP activa no ano de 2010
IMPACT Printmaking Journal
In the 19th century, the field of cartography grew exponentially when photomechanical printing be... more In the 19th century, the field of cartography grew exponentially when photomechanical printing became a stabilised procedure for the graphic arts industry. With the introduction of photomechanical processes, in the early developments of chromolithography, maps not only became a widespread product in Europe and the United States but they were also refined and became increasingly visually complex. The interaction between scientists and printmakers also changed. As photomechanical processes allowed cartographers to autonomously transfer, reduce or enlarge maps, scientists and military personnel took over the task of translating images onto the wood or copper plates - a job traditionally assigned to a skilled engraver (Cook, 2002) This has also shifted the authorship of printmaking literature to scientists and military personnel, such as captains or colonels (Twyman, 1990). Early printing techniques - such as woodcut or intaglio - are practised today within a very specific setting for p...
IMPACT Printmaking Journal
With the advancement of the ink manufacturing industry and methods in the 19th century, it has be... more With the advancement of the ink manufacturing industry and methods in the 19th century, it has been argued that artists lost intimacy with the raw materials used in almost all techniques. The composition of ingredients in even the most common drawing and printing inks, tusches, or crayons became a mystery. If, on one hand, the advancement of chemistry and industry allowed the improvement of paints and led artists to understand how to combine them, on the other hand, putting high-quality ready-to-use materials on the market pinpointed the beginning of the broken connection between artists, raw materials, and the process of their fabrication. The model of work in this research is posited in a more complex and desirable situation, such as working in situ as opposed to a well-provided printmaking workshop. To achieve a better understanding of local culture, this research aims to deepen the knowledge of the processes embodied in the use of print media and the construction of artists’ too...
International Congress on Contemporary European Painting, ICOCEP 1: abstracts book, 2017, ISBN 978-989-746-122-4, pág. 53, 2017
IMPACT Printmaking Journal
Gillotage, a relief printing method used in nineteenth century commercial industry, consists of u... more Gillotage, a relief printing method used in nineteenth century commercial industry, consists of using a lithographic transfer of an image drawn and processed on stone to a metal plate, while avoiding undercutting the raised areas of the design needed to obtain a relief printing plate. Gillotage was a first option when it came to reproducing an illustration in a commercial sphere, being a cheaper alternative to relief printing methods such as wood engraving. This article wrestles with a fundamental problem: is it possible to recreate the material conditions, interpretations and successful printing outcomes as present in original gillotage? How to contend with the unfortunate demands of historical and unfamiliar technologies of reproduction and adapt them to a contemporary practice? Can a project based on an obsolete printing technique used with letterpress printing demonstrate how to engage researchers and students in new printing approaches? Our technological reconstruction helped u...
Esta es una iniciativa del Grupo LAMP, en colaboración con la Biblioteca de Bellas Artes, donde s... more Esta es una iniciativa del Grupo LAMP, en colaboración con la Biblioteca de Bellas Artes, donde se pretende dar visibilidad a diferentes colecciones que tienen como objeto el Libro-Arte. Consiste en llevar a cabo el montaje de la exposición en las Vitrinas de la Biblioteca a la vez que se realiza la presentación de los libros, en una mesa redonda, donde son invitados a participar coleccionistas, editores, galeristas, artistas, críticos y alumnos de grados y postgrados
Reserva Tecnológica n.5, 2024
Atelier NOMADE: lithography in situ, presented in january 2024, is an all-encompassing project th... more Atelier NOMADE: lithography in situ, presented in january 2024, is an all-encompassing project that brings together illustration, architecture, geology, and urban geography through the practice of lithography, allowing its participants to take part in a unique and enriching experience.
Cadernos tecnológicos I: litografia in situ. Tintas, papéis preparados e impressão Projeto Residências tecnológicas GroundLAB no âmbito do II Bienal da Ardósia de Valongo Coordenação editorial, 2023
For the 2nd Valongo Biennial (2021), a technological systematization was proposed to evaluate sla... more For the 2nd Valongo Biennial (2021), a technological systematization was proposed to evaluate slate as a support and printing matrix; unprecedented studies on the development of colored lithographic pencils (drawing instruments for small and medium scales); on-site lithography (printing from a portable printing device); studies of lithographic matrix alternatives from slate lamination and/or experimentation on "slate-paper." The adopted format: the technological residency.
Diazotipia: a começar pelo Ozalid, 2024
Ficha técnica da publicação Título Edição i2ADS-Instituto de Investigação em Arte, Design e Soci... more Ficha técnica da publicação Título Edição i2ADS-Instituto de Investigação em Arte, Design e Sociedade-i2ADS.up.pt / Faculdade de Belas Artes da Universidade do Porto Coordenação editorial