From electrography to expanded graphics: a vision on digital printmaking today and its hybridization processes

Hortensia 1979 Mínguez García; Carles 1979 Méndez Llopis

doi:10.7238/artnodes.v0i32.408440

PDF ePUB

Google Scholar citations

DOI: https://doi.org/10.7238/artnodes.v0i32.408440

Hortensia 1979 Mínguez García

Universitat Politècnica de València

https://orcid.org/0000-0002-8531-4572

Carles 1979 Méndez Llopis

Universitat Politècnica de València

https://orcid.org/0000-0003-4401-1791

This article outlines how, with the introduction of electrographic processes, engravers have broadened their way of thinking and producing their art in relation to the concept of expanded graphic. After delimiting the term electrography and describing its historical development, the text exposes how hybrid practices have expanded the margins of graphics in a post-digital world. They have opened the way to different lines of action that have been popularizing some terms – mainly, in Spanish –, such as intangible matrix, digital print or digital printing.

In this way, we will be able to observe the expansion of these languages, their theorization and their implementation through several artworks that will show the discursive possibilities of graphics, from this extended hybridization to other fields, helping to describe different ways of understanding the creative processes of contemporary electrographic art.

Keywords

art, electrography, printmaking, digital printmaking

How to Cite

Mínguez García, Hortensia 1979; and Méndez Llopis, Carles 1979. “From electrography to expanded graphics: a vision on digital printmaking today and its hybridization processes”. Artnodes, no. 32, pp. 1-9, doi:10.7238/artnodes.v0i32.408440.

Rights

This work is licensed under a Creative Commons Attribution 4.0 International License.

(c) Hortensia Mínguez García, Carles Méndez Llopis, 2023

Copyright

For all articles published in Artnodes that are subject to a Creative Commons Attribution 4.0 International licence, copyright is retained by the author(s). The complete text the license can be consulted at http://creativecommons.org/licenses/by/4.0/. You may copy, distribute, transmit and adapt the work, provided you attribute it (authorship, journal name, publisher) in the manner specified by the author(s) or licensor(s).

Authors are responsible for obtaining the necessary licences for the images that are subject to copyright.

Assignment of intellectual property rights

The author non exclusively transfers the rights to use (reproduce, distribute, publicly broadcast or transform) and market the work, in full or part, to the journal’s editors in all present and future formats and modalities, in all languages, for the lifetime of the work and worldwide.

I hereby declare that I am the original author of the work. The editors shall thus not be held responsible for any obligation or legal action that may derive from the work submitted in terms of violation of third parties’ rights, whether intellectual property, trade secret or any other right.

Author Biographies

Hortensia 1979 Mínguez García, Universitat Politècnica de València

Born in Valencia (1979) with a Doctorate in Fine Arts from the UPV, she specializes in Recording and Stamping Systems. After fifteen years as an associate professor at the Universidad Autónoma de Ciudad Juárez (México) in the area of Visual Art and Design from a holistic and interdisciplinary point of view, as well as directing the research group Gráfica Contemporánea (2007-2021), she became a professor in the Art Department of the Universitat Politècnica de València (UPV). She has published in various editorials and journals of international renown in the UK, Peru, Spain, Mexico, Colombia, Argentina and Taiwan, particularly concerning the discourses and creative processes of graphics after post-modernity, the analysis of creative processes and discourses relating to the Artist’s Book genre and the study of the idea of the multiple as an artistic strategy. She has also been the curator of several exhibitions and directed numerous symposia, meetings and seminars in art and interdisciplinarity. She has been recognized by the National System of Researchers in Mexico (SNI-1) since 2008 and is an active member of the Seminario Interdisciplinario Bibliología (SIB-UNAM) and of the INTERNING Network (Interior Architecture Research) since 2017.

Carles 1979 Méndez Llopis, Universitat Politècnica de València

Born in Valencia (1979) and Doctor Cum Laude in Fine Arts in the area of Art (2006) from the Universidad Politécnica de Valencia in Spain. From 2007 to 2021, he was a full-time professor/researcher at the Universidad Autónoma de Ciudad Juárez, with the department of Design at the Institute of Architecture, Design and Art (IADA-UACJ). In 2022 he joined the Art Department at the Universitat Politècnica de València in Spain. Member of the National System of Researchers in Mexico (SNI-1) since 2012. His research activity is based on his collaborative work with the Gráfica Contemporánea (Contemporary Graphics) Academic Body, of which he was part from 2007 to 2021, and he became part of the Centro de Arte y Entorno at the UPV from 2022. He has published in various editorials and journals of international renown in the UK, Spain, Mexico, Colombia and Taiwan, particularly concerning the discourses and creative processes of graphics after post-modernity, the analysis of creative processes and discourses relating to the Artist’s Book genre, assembled journals and the study of the idea of the multiple as an artistic strategy.

References

Alcalá, José Ramón and Beatriz Escribano. Museo Internacional de Electrografía Centro de Innovación en Arte y Nuevas Tecnologías de Cuenca. Cuenca: Ediciones de la Universidad de Castilla-La Mancha, 2018.

Alcalà, José Ramón. “La piel de la imagen: Ensayos sobre gráfica en la cultura digital”. Fotocinema. Revista Científica De Cine Y Fotografía, no. 4 (2012, March). DOI: https://doi.org/10.24310/Fotocinema.2012.v0i4.5884

Alcalà, José Ramón and Fernando Ñíguez (Alacalácanales). Copy-Art: La Fotocopia como soporte Expresivo. Alicante: Instituto de Estudios Juan Gil-Albert, Centro Eusebio Sempere de Arte y Comunicación Visual, 1986.

Castro, Kako and Ana Soler. Impresión piezoeléctrica, la estampa inyectada. Algunas reflexiones en torno a la gráfica digital. Vigo: Editorial dx5 and Universidad de Vigo, 2006.

Castro, Kako. Mapas invisibles para una gráfica electrónica (de la huella incisa al grabado con luz). Spain: Universidad de Vigo, 2007.

Catanese, Paul and Angela Geary. Post-digital. Printmaking: CNC, Traditional and Hybrid Techniques. London: A&C Black, 2012.

Coldwell, Paul. Printmaking. A contemporary perspective. London: Black Dog Publishing, 2010.

Escribano, Beatriz. “¿Por qué llamarlo Copia, si es Original? El arte de la Copia Original o del Original Múltiple como estrategia creativa”. Interartive, no. 75, (n.d.). https://original-vs-copy.interartive.org/2015/07/copia-original-multiple

Fishpool, Megan. Hybrid prints. London: A. & C. Black, 2009.

Hays, Dan. “Colorado Snow Drifts; Experiments with Lenticular Printmaking.” In: Paul Coldwell and Barbara Rauch. (eds.). New approaches to Digital Printmaking. London: Faderesearch, 2009.

Krauss, Rosalind. “Sculpture in the Expanded Field”. The MIT Press. October, vol. 8 (1979, spring): 30-44. DOI: https://doi.org/10.2307/778224

Kushner, Marilyn. “How We See: Digital Technology and Printed Maps as Tools.” Thrust, 26th Ljubljana Biennial of Graphic Art, 2005.

LILLEMOSE, Jacaob. “Through the Electronic Doors of Perception.” In: SHERIDAN, S.L. (ed.). 2014. Art at the dawning of the electronic era. Generative Systems (2014): 5-8. Hanover: Lonesome Press.

Lowe, Adam. “Apuntes técnicos sobre diferentes procesos empleados en la estampa digital”. En: BARRENA, C. (et al.). Estampa Digital. La Tecnología Digital Aplicada al Arte Gráfico. Madrid: Real Academia de Bellas Artes de San Fernando, Calcografía Nacional, 1998.

Marcuse, Herbert. One-dimensional man. Boston: Beacon Press, 1991.

Mínguez, Hortensia. Gráfica Contemporánea. Del elogio de la materia a la gráfica intangible. México, Ciudad Juárez: Universidad Autónoma de Ciudad Juárez, 2013.

Museo Internacional de Electrográfia. Ars&Machina Electrografía artística en la colección MIDE. Santander: Fundación Marcelino Botín, 13, 1998.

Noyce, Richard. Printmaking at the edge. London: A & C Black Publishers Limited, 2006.

Pastor, Jesús. Electrografía y Grabado. Bilbao: Caja de Ahorros Vizcaína, 1998.

Pastor, Jesús. “La huella electrográfica: Topografías – Toponimias”. Revista Photovisión 28, Huellas: la memoria atrapada, (2004): 29-32. Sevilla: IG Fotoeditor S.L.

Pastor, Jesús and Fundación Torrente Ballester. Sobre la Identidad del Grabado. Ediciones del Limón, 2013.

Schneider, Michael. “Welcome to the first edition of Im:print!”. In: Schneider, M.; Mauer, Ph.; Lebzelter, G. (eds.). Im:print 2010 (2010): 15-18. Austria: Springer Wien New York.

Sheridan, Sonia Landy. (ed.). Art at the dawning of the electronic era. Generative Systems. Hanover: Lonesome Press, 2014.

Wolton, Dominique. Internet ¿y después? Una teoría crítica de los nuevos medios de comunicación. Col. El Mamífero parlante. Barcelona: Gedisa Editorial, 2000.

Zamarro, Eduardo. La tecnología de inyección de tinta como herramienta para la práctica artística. Unpublished Thesis. Madrid: Complutense University of Madrid, Faculty of Fine Arts, 2007.