EME Experimental Illustration, Art & Design - No 12 (2024)

Tabla de contenidos

Editorial

Editorial

Entrevista

Trampolín: el diseño como herramienta de transformación social

Reportajes

Del invierno de la IA al verano de la lucha por nuestros derechos de autoría
Las dos caras del mismo canto
Diseño gráfico para proyectos educativos: El Carnaval Literario de Gençana
Florencia Gavilán

Artículos de investigación

El origen de las formas: materiales para una investigación en artes
Tecnología que preocupa: de la IA a Gutenberg
Arte, género y sociedad en la trayectoria creativa de Monika Buch
La evolución del diseño posmoderno y su reflejo en la marca-país de España (1980-1992)
La ilustración editorial: de los códices iluminados a la actualidad
La nueva era de la reproductibilidad artística
Propuesta de metodología para la enseñanza del Dibujo de Figura Humana en la formación universitaria de Bellas Artes
Pieles, corazas y caparazones: la arquitectura y sus ruinas modernas en la construcción de la identidad de A Coruña
Ilustrando la ética maker: proceso experimental colaborativo en una neoartesanía
Autoras contemporáneas en el cómic español. María Medem, Ana Galvañ, Marta Cartu y Miriam Muñoz
Papel y color natural. Técnica y procesos en la producción artística sostenible a partir de la materia vegetal
Explorando el sentido háptico: narrativas digitales y nuevos procesos de creación en el grabado en madera contemporáneo
Cuando una línea sale a pasear...

Creatividad y procesos

Sentir el duelo. Modelo de subjetivación a través de la práctica del dibujo.

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/205863

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Mostrando 1 - 20 de 20

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Las dos caras del mismo canto
(Universitat Politècnica de València, 2024-05-31) Giner, Miguel Ángel
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Cuando una línea sale a pasear...
(Universitat Politècnica de València, 2024-05-31) Apolonio, Laura; Garrido-Román, Mar; Ministerio de Universidades; European Commission
[EN] In this article, we investigate the relationship between walking and drawing as actions that have multiple affinities because they reveal our spatio-temporal existential condition. They also make us realize that life is a journey, following a path and leaving a trace. From drawing as a gesture, a personal trace and witness of our interrelation with the ecosystem in which we live, to the walks of the Walking-artists where gesture becomes drawing, walking and drawing are shown as activities driven by the same desire to broaden the horizon and apprehend new territories, both physical and conceptual. Both set the body in motion and lead us to become aware of our existential uniqueness. They are gesture, jour ney, trajectory and also conquest, taking possession, delimitation. The result in both creates a line. Walk-ing and drawing are actions that, by increasing our awareness of the here and now and of our surroundings, can transform our aesthetic reflection, offering a privileged space for the formation of critical thought capable of providing ethical responses and to produce significant social change, especially in this time of climate crisis.
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Explorando el sentido háptico: narrativas digitales y nuevos procesos de creación en el grabado en madera contemporáneo
(Universitat Politècnica de València, 2024-05-31) Santín Álvarez, Eva
[EN] In recent decades, a process of updating in contemporary graphic art has unfolded, driven not only by new techniques and technologies but also by a more interdisciplinary approach that responds to the expressive needs of our time. This approach allows a deeper exploration of specific aspects of the graphic language, renewing it and showcasing its full potential. While many artists continue to employ the techniques and characteristic language of traditional graphics, a substantial shift is discernible in both the conception and technical execution of printmaking. Amidst the digital whirlwind, some artists have begun incorporating technologies that enable the creation of a printing surface on a matrix generated from the photographic support of an image or a digital file. They advocate for printmaking that transcends the digital realm, returning to the tangible and material world. The convergence of the real and the virtual emerges as the paradigm of postdigital printmaking, blending precision with materiality and advocating for the supremacy of haptic parameters in perception. This underscores the tactile sense of visual experience in contemplating artistic work, a notion deeply embedded in the foundations of printmaking.
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Papel y color natural. Técnica y procesos en la producción artística sostenible a partir de la materia vegetal
(Universitat Politècnica de València, 2024-05-31) Bordacconi, Elena; Galbis Juan, Amparo; Departamento de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] The manufacture of paper as a support is an activity that participates in the artistic and creative process and that can therefore guide us, becoming a methodology. Linked to the study and renewal of alternative techniques and materials, the current promotion of sustainable integrity in artistic production is the subject of research and testing at the Universitat Politècnica de València. In this article, starting from some vegetable raw materials, the creative processes in obtaining dyes and the artisanal manufacture of paper are modulated through a physical/experiential approach in the natural environment from which the material comes, highlighting the main advances made by this line from its organic character, observing its performance in artistic practice. This experimental perspective is based on the transformation of living matter from the place of its origin, stimulating artistic activity with concatenated reactions focused on the process itself, freed from certain aesthetic concerns during the realization of the work. With a high demand regarding the ethical and aesthetic performance of the materials, whose sensitive and processual possibilities offer at an expressive level a renewal and diversity of languages, the quality of the processes is promoted, and the specificity of this knowledge is vindicated. Through the practical appli-cation of various techniques, a procedural model that allows the methodological definition of the possibili-ties of graphic application of handmade paper as a material and creative resource in artistic production is constructed.
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Autoras contemporáneas en el cómic español. María Medem, Ana Galvañ, Marta Cartu y Miriam Muñoz
(Universitat Politècnica de València, 2024-05-31) Hernández Ávila, Marina; Muñoz Seco, Eva María
[EN] The comic created by female authors has increased in recent years in the Spanish scene, and its expressive and visual development has been boosted by specialized publishers dedicated to giving visibility and support to this type of publication. It s within the adult comic market where they have gained popularity, evolving from self-publishing alternative fanzines with small print runs to occupying top spots in Spanish bookstores. Social media platforms like TikTok and Instagram have contributed to their dissemination and impact among a youthful and international audience. Given the limited number of academic studies published on contemporary Spanish female comic authors, it has been considered to conduct research focused on the graphic work and professional trajectory of authors such as María Medem, Ana Galvañ, Marta Cartu, and Miriam Muñoz. The study aims primarily at a comparative analysis of the graphic work of these authors, as well as their aesthetic influences and visual techniques, which will demonstrate, in conclusion, their impact and influence on Spanish graphic narrative today.
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Ilustrando la ética maker: proceso experimental colaborativo en una neoartesanía
(Universitat Politècnica de València, 2024-05-31) Fanio González, Arianna Mª; Jiménez Martínez, Carlos; de la Torre Cantero, Jorge; Gobierno de Canarias; European Social Fund
[EN] The application of maker ethics and culture in face-to-face collaborative learning within traditional university design courses offers an opportunity to reassess the role of interpersonal dynamics in the use of technology in post-pandemic creative activities. This study combines these design principles with digital fabrication to support the revitalisation and valorisation of artisanal methods in the production of hydraulic tiles in a workshop case study. A community of practice is established, focusing on the graphic interpretation of eight key concepts: make, share, learn, tool up, participate, play, support, and change. These concepts not only converge in the final products, but also shape the collective experimental process. The project encourages participation, codesign, multiple graphic solutions, self-organisation and consensus-building, while creating open visual and material resources for adaptation and use, promoting cultural transmission.
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Pieles, corazas y caparazones: la arquitectura y sus ruinas modernas en la construcción de la identidad de A Coruña
(Universitat Politècnica de València, 2024-05-31) Palleiro-Sánchez, Pedro
[EN] The façade, that kind of architectural skin, takes on a multitude of forms and it is in this framework where architecture dialogues between place, identity, and history. Consequently, the city should not be approached only from a physical dimension, but it is essential to incorporate the experience of those who inhabit it. In this sense, photography not only invites us to see the city from a historical perspective, but also allows us to offer a personal and intentional representation of it with which to access expressive subjectivity. Thus, through a series of photographs of various buildings we can not only contemplate the urban and social transformation of A Coruña in the 20th century, but also propose an act of reinterpreta-tion and resignification of architectural spaces with historical and symbolic load.
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Propuesta de metodología para la enseñanza del Dibujo de Figura Humana en la formación universitaria de Bellas Artes
(Universitat Politècnica de València, 2024-05-31) Echevarria Aguirre, Maitane; Berroya Elosua, Alfonso
[EN] In university teaching of human figure drawing nowadays, some learning methodologies and study works inherited from classical training are used. However, these do not always connect with today's students, who are subject to a complex reality resulting from the overstimulation produced by social media, which in turn affects their ability to concentrate, manage frustration and continuity in learning. Therefore, students may find this frustration through the repetition of exercises without knowing the specific objectives of each one of them. Given this reality, we believe that it is necessary to reconsider the teaching methodology in the teaching of human figure drawing. For this reason, we are going to propose a teaching of the human figure drawing approach consisting of three phases: deepening in the basics of human figure drawing, study of human anatomy, and drawing of the human figure from memory. For this we will use real examples obtained at the Faculty of Fine Arts of the University of the Basque Country (UPV/EHU).
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La nueva era de la reproductibilidad artística
(Universitat Politècnica de València, 2024-05-31) Roque López, Miguel Ángel
[EN] The article contextualizes the era of technical reproducibility, described by Benjamin, with the new era of artistic reproducibility generated by artificial intelligence. The growing interaction between artists and technology is highlighted, presenting concrete examples of artists using artificial intelligence. Additionally, it focuses on the challenges that arise in the artistic conception of creativity, originality and authorship of a work of art. It seeks to establish attribution and valuation frameworks in this context, protecting the rights of human artists and preserving authenticity in a diversified artistic landscape, underscoring the importance of constantly adapting to prevent technological innovation from undermining the essence and recognition of human creativity.
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La ilustración editorial: de los códices iluminados a la actualidad
(Universitat Politècnica de València, 2024-05-31) Yoldi López, Mónica
[EN] The text presents a journey through the history of editorial illustration from Middle Ages to our days, that reflects, through leading authors in the sector, on the importance of the discipline, on its relationship with writing, with art, with creativity and with knowledge, and on some of the most common techniques used to compose illustrations, both now and in the past. In addition, the exhibition and documen-tary value of editorial illustration is analysed.
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La evolución del diseño posmoderno y su reflejo en la marca-país de España (1980-1992)
(Universitat Politècnica de València, 2024-05-31) Díaz Mesa, Haridian; Ruiz Rallo, Alfonso; Gobierno de Canarias; European Social Fund
[EN] The article analyses the evolution of postmodern design in Spain and its influence on the construction of its country-brand, popularly known as the «sun of Joan Miró». During the Franco years, Spain had occupied a generally peripheral position with respect to modernity, but the transition to democracy brought with it an atmosphere of freedom and marked the beginning of a creative explosion.This period of cultural transformation was characterised by an attitude of protest and the constant search for innovative approaches. Arguments in favour of «good design» lost relevance in favour of an «anti-design» aesthetic that rejected the formal and the conceptual, moving away from the International Style that had previously dominated. The boundaries between design and art merged, considering the designer as an artist in his or her own right. In this context, the image of Spain as a tourist destination was designed. The «Miró sun» became a milestone in the world of graphic design and left a profound mark on the promotion of tourist destinations worldwide. The main objective of this article is to explore the relationship between the birth of postmodern design in Spain and the design of its country brand. This study provides an analysis of the postmodern movement, evaluates the elements that contributed to the formation of Spain's brand image and investigates the relevance of the «Miró sun» and its influence on the design of other brands.
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Arte, género y sociedad en la trayectoria creativa de Monika Buch
(Universitat Politècnica de València, 2024-05-31) Fernández Navarro, Ainhoa; Garcia Rams, María Susana; Departamento de Dibujo; Facultad de Bellas Artes; Grupo Animación de la Universitat Politècnica de València
[EN] The under-recognition of women in the artistic field has resulted in an incomplete cultural legacy. This article focuses on one of those women, Monika Buch. Valencian by birth with Germanic roots, she was the only Spanish student at the Hochschule für Gestal-tung / HfG Ulm. Her trajectory and her life has been studied through the socio-political framework in which she lived: Spain (II Republic, Civil War, Fran-coism), Germany (post World War II) and Holland (student revolts and feminist liberation movement). Without leaving aside the gender roles and stereo-types established in each period. The aim of this study is to contribute to filling a historiographical gap, and in this way create a fairer and more equitable narrative, which will serve as a reference for future generations.
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Tecnología que preocupa: de la IA a Gutenberg
(Universitat Politècnica de València, 2024-05-31) Serrano Valverde, Ángel
[EN] There is an obvious concern about the consequences that the emergence of Artificial Intelligence will have on the work of designers and creatives in general. This article proposes to approach the problem with a historical perspective that allows us to retrace events of the past that we could define as homolo-gous or equivalent. Robotics as a substitute for human work, comput-ers equipped with design tools giving rise to digital art, photography bursting into a world in which the image is constructed only by means of paint-ing or engraving, or, most especially, the movable type printing press, which allows multicopying in a world of copyists controlled by the church, had at the time detractors who warned of the dangers of its adoption. Only the passage of time has made it possible to understand their impact on humanity, and to clarify whether the concerns they aroused were justified or not. By analysing what happened at the time, and trying to find similarities with the current event of AI implementation, we may be able to clarify what to expect, or, above all, what to watch out for, in the face of such an event. To know whether or not we should be concerned.
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El origen de las formas: materiales para una investigación en artes
(Universitat Politècnica de València, 2024-05-31) Insúa, Lila
[EN] The object of this writing is to rehearse, to make a knowledge experience, from the exhibition The Origin of Forms (OF), by artist Cristina Garrido and curated by Tania Pardo at the Centro de Arte 2 de Mayo, in Móstoles, summer 2023. This text starts with a description of the contextual framework involved in conceiving this exhibition as a case study, a knowl-edge device that deconstructs the discourses of the Great Masters of Western Painting and places in the center the biography of the artist herself as part of the binomial to think about creation-emotion, empathy. It then goes on to speculate on the relation-ship with the artistic device OF, through drawings and materials created specifically for this paper -here designated as figures-. It ends with a reflection on the use of language, its materiality and spatiality, in Garrido's installations. Specific speculations by Doreen Massey (on space) and Arlette Farge (on the archive) will serve to support some of the ideas of this research paper
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Florencia Gavilán
(Universitat Politècnica de València, 2024-05-31) Gavilán, Florencia
[ES] Perfil de la ilustradora Florencia Gavilán
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Diseño gráfico para proyectos educativos: El Carnaval Literario de Gençana
(Universitat Politècnica de València, 2024-05-31) Mestre, Pablo
[ES] El Carnaval Literario es un evento anual del Centro Educativo Gençana en Godella, València, que en su 35ª edición este 2024, sigue enriqueciendo la experiencia educativa a través de la creatividad y el contacto directo con autores y artistas. Cada edición se centra en un tema desde el inicio del curso, culminando en una semana de encuentros y actividades que promueven el disfrute de aprender. El diseño gráfico juega un papel clave en la comunicación de estas experiencias, con la creación de programas, exposiciones y material visual que reflejan la esencia de cada Carnaval. La publicación del programa de actividades ha evolucionado a lo largo de 30 años, paralelo a la carrera profesional del diseñador gráfico autor del artículo, destacando colaboraciones con importantes profesionales de la ilustración y la experimentación de nuevas formas y técnicas. Esta práctica no solo ha producido materiales didácticos y promocionales significativos sino que también ha contribuido a la memoria colectiva y cultural del centro.
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Del invierno de la IA al verano de la lucha por nuestros derechos de autoría
(Universitat Politècnica de València, 2024-05-31) Demano, Luis
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Trampolín: el diseño como herramienta de transformación social
(2024-05-31) Lleonart-García, Melani; Sanchís Gandía, Álvaro; Departamento de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[ES] Entrevista a Yvette García y Javier La Casta Vilar, creadores de Trampolín, una plataforma creativa inclusiva que emplea la metodología y el pensamiento en diseño para elaborar proyectos sociales en torno a la creatividad. Su objetivo es ayudar a empresas, entidades y colectivos a avanzar hacia nuevos modelos de colaboración creativa centrados en las personas.
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Editorial
(2024-05-31) Lleonart-García, Melani; Sanchís Gandía, Álvaro; Departamento de Pintura; Facultad de Bellas Artes; Centro de Investigación Arte y Entorno
[EN] Opening text of the twelfth issue of Eme Magazine
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Sentir el duelo. Modelo de subjetivación a través de la práctica del dibujo
(Universitat Politècnica de València, 2024-05-31) Tejedor López, Ignacio
[EN] In this article it presents a creative process based on the application of the technical operator of availability. Vinciane Despret applies this concept to refer to the way in which the living have to give space (effectiveness) to the dead in the course of their lives. From its identification in the works Diario de duelo, R. Barthes (2009); Philosophy in critical days, C. Maillard (2001); and Ritual de duelo, I. Naveran (2022), the author approaches his own mourning process from the practice of drawing.A self-generative procedure will be presented which understands drawing as a way of ordering convulsive emotions. As an emotional drawing, it aims to serve to leave thoughts in the background and to exercise subjectivity from the management of feelings, achieving that their autonomy is enhanced in delicate mental processes.To maintain consistency, this text is produced from an affective writing that coexists with academic literature, with the intention of claiming a space for emotions in the academic fields, especially when deal-ing with issues related to mental health from the arts.

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