Warstwy Nr 3 (2019)
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- PozycjaIlustratorki. Analiza wybranych przykładów ilustracji artystycznie wartościowej we współczesnej polskiej książce dziecięcej(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Steliga, AnnaThe issue of illustrations in children’s books often comes up in all sorts of publications, at conferences and exhibitions. Therefore it is worth raising the topic of artistically valuable Polish illustrations, which are accessible to the child and have a positive effect on its development. Illustrations shape the aesthetic taste of the child. A properly made picture book makes an integral whole, where the text is inseparable from the image, creating unity. This gives the child an opportunity to have a fuller sense and deeper understanding of what the book is about. The article presents the works of such illustrators as: Ewa Kozyra-Pawlak, Anna Niemierko, Grażka Lange, Elżbieta Wasiuczyńska, Małgorzata Bieńkowska and Marta Ignerska, demonstrating the important role of illustrations in contemporary Polish children’s books.
- PozycjaProjektanci a zrównoważony rozwój: nastąpi ciąg dalszy czy „można zapomnieć”?(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Matos, Pedro AlexandreOur main goal is to raise designers’ awareness of the importance and urgency of including the sustainability dimension in their projects, trying to minimize the secondary effects of their designs, either in graphic, digital or other areas. Digitalization of everyday life – of social relations, economy and also in design – has been strongly induced in all occidental and capitalist societies, mostly without regarding a critical thought on the different and complex dimensions of its effects. In this process we are also conduced to tendentiously forget critical thinking about printed artefacts that many designers still work with. Taking the case of newspapers, a central medium for democracy, we have a closer look at a print prototype designed to respond to sustainability issues. Here we can find some of the possibilities designers may use to design for sustainability
- PozycjaFranciszek Prochaska. Sanocki malarz we Francji(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Banach, WiesławThe author discusses Franciszek Prochaska born on 27 June 1891 in Brzozów, a figure unacknowledged in 20th-century Polish art. The artist is not rated among eminent ones, therefore the interest in his art is slight. Few of his works are known; all the known paintings are kept at the Historical Museum in Sanok. His art works hardly ever appear on the Polish art market. There aren’t any paintings by him in any other museum than the one in Sanok. His prints are far better known; apart from Sanok, they can be found in the National Museum in Warsaw. His woodcuts and illustrations have been discussed in publications by Maria Grońska: Nowoczesny drzeworyt polski and Grafika w książce, tece i albumie.
- PozycjaNa skraju rzeczywistości. O malarstwie Mikołaja Birka(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Waniek, Henryk
- PozycjaMoje rzeczy(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Tulik, SylwiaThe article is an attempt to answer questions connected with objects, collecting and owning them, and their function. What is an object in a person’s life, how many emotions and meanings does it carry? Is it beautiful or useful and is beauty utility? Why does it define the times it was created in, and why, in the course of time, acquiring meaning, does it become timeless and everlasting? How does a collector make his way in the world of objects, what is his attitude to them? Where is the borderline between the desire to possess and the madness of possessing at all costs? Can the line be drawn? Museum exhibitions and their evaluation; exhibition correctness and viewers’ emotions.
- PozycjaLitera po literze... Projektowanie kroju pisma Europa Familiaris(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Bieniasz, KatarzynaThis article continues the theme of the author’s MA thesis titled Historical typefaces. The aesthetic qualities of the Cyrillic lettering in the author’s original typeface “Europa Familiaris”. The author discusses the questions of literary inspirations and personal motivations directly connected with the theme of the thesis, like: experience in icon-painting and studying art conservation in Lviv. The article describes major aesthetic models, situating them in historical context, and explains the manner of their transformation. The result of her designing work – the ready typeface – has been described through the angle of the structure of characters as well as major design tasks. The author also analyzes the process of designing a typeface at particular stages, considering the nuances of creative work known to any artist, referring among others to her own experience in painting. She concludes that in terms of method, designing a font does not differ from the work of art conservator, only the tools are different. The text is complete with actual examples of application of the Europa Familiaris typeface and tables showing the secrets of the design work.
- PozycjaOd feminizmu do duchowości ignacjańskiej. Sylwetka Ireny Popiołek-Rodzińskiej(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Boruta, Tadeusz
- PozycjaPo(d)stawy projektowe(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Mrowczyk, JacekThe paper discusses the problem of changes in the job of a graphic designer, with a special focus on developing design attitudes. The latter are connected with the constantly redefined tasks set before designers. Mrowczyk’s interlocutors – Tomek Bierkowski from the Academy of Fine Arts in Katowice, and Marcel Benčik from Academy of Fine Arts and Design in Bratislava, are trying to establish e.g. what has shaped their design attitudes, how education influences successive generations and what may be the role of designers in building civil society. The article includes references to among others Victor Papanek, Jorge Frascara and Bruce Mau. The article is illustrated with the works of both experienced designers and Polish and foreign students.
- PozycjaŁączenie jako naturalny wynik szukania nowych dróg fotograficznego medium(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Błoński, Tomáš AgatAn interesting phenomenon for the author is using the Instagram social networking site, known for large numbers of users presenting personal content through their art work. What is also intriguing in this aspect is combining text (poetry) with photography. The author seeks an answer to the question: what does the Internet offer to an artist? How does it change thinking in photography? What is fascinating here is the possibility of instant publication and getting instant feedback (likes) as well as advertising oneself (hashtags); to a great extent this changes motivation and artwork itself. Instagram has been used by the author to create the work lampyris_insanus as the most natural “tool” for combining visual and written art, to be specific: photography and poetry.
- PozycjaVia Crucis autorstwa Józefa Jerzego Kierskiego(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Boruta, Tadeusz
- PozycjaNierozłączny duet: socjalistyczne w treści i narodowe w formie(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Stojak, GrażynaThe paper is a reflection on the conditions in which post-war architects had to work in the third quarter of the 20th century. It was a time when the pre-war school of modernist architectural design had been done away with, and trends and achievements of modern European architecture were rejected. Instead, they were replaced with designing guidelines invented in the USSR and ready Soviet patterns. The article shows how architectural solutions of the time were used when building cultural institutions in towns, using the example of three selected culture centres in the former Rzeszów province. The first centres were built with the help of the local Communist Party activists and financial support from large factories: The Stalowa Wola Steelworks Culture Centre in Stalowa Wola (1952), Transport Equipment Factory Culture Centre in Rzeszów (1953) and Transport Equipment Factory Culture Centre in Mielec (1953). They were built from scratch according to Soviet patterns and adapted to the needs of the region.
- PozycjaRefleksje na temat „mojej” Drogi Krzyżowej(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Kierski, Józef Jerzy
- PozycjaZ Michałem Suchorą, kuratorem projektu Spragnieni piękna, rozmawia Dobrochna Minich(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Suchora, Michał; Minich, Dobrochna
- PozycjaZ Tadeuszem Gustawem Wiktorem, laureatem 17. edycji Nagrody im. Witolda Wojtkiewicza, rozmawia Joanna Warchoł(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Wiktor, Tadeusz Gustaw; Warchoł, Joanna
- PozycjaElegia dla skrzyni(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Wratny, Jerzy
- PozycjaModele zastępcze(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Woroniec jr, PiotrThe article presents a set of works which are a reflection upon and, to some extent, a summary of the author’s previous accomplishments from the period of his fascination with Constructivism, the austere anti-aesthetic variation of geometric abstraction. An important question here is spontaneity of the painter’s actions or “switching off” consciousness in the creative act, which may lead to surprising results. Correcting chance means lending it author’s qualities. Chance is an important form-creating value in art, particularly modernist art (action painting, Art Informel, Tachisme). At the stage of building the first layer, substitute models used the element of chance through the action-painting method. The spontaneous image corrected at the second stage sanctioned the randomness function of the previous layer of painting matter. Both layers in a permanent dispute formed the outer matter and could exist only as a bond between those actions. For the artist they are a picture of a changing painter’s experience, just like flowing reality changes before our eyes.
- PozycjaPowab kształtu. Zarys historii designu samochodowego(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Paczkowski, PrzemysławThe test presents the history of evolution of car design until the 1960s, when car styles became functional art of autonomous nature, unaffected by any influences outside automotive industry. The author also discusses style features of a few cars which have become icons of car design.
- PozycjaKobieta z wielkim okiem. O plakatach Patrycji Longawy(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Rabizo-Birek, Magdalena
- PozycjaZ Czesławą Frejlich o polskim wzornictwie rozmawia Tadeusz Zdzisław Błoński(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Frejlich, Czesława; Błoński, Tadeusz Zdzisław
- PozycjaO projektowaniu i sztuce(Instytut Sztuk Pięknych Uniwersytetu Rzeszowskiego, 2019-12) Błoński, Tadeusz ZdzisławBased on personal experience in designing and teaching, the author presents his long-standing fascination with product design and functional structures, describing successive areas of activity, i. e. creating form and function in visual art. The author depicts semantic characteristics of the elements of human environment. Of special interest to him is analyzing the functions of particular elements of man’s living space. The article discusses the issues of contemporary art as a specific phenomenon affected by very fast changes brought about by new technologies (digitalization and new media). New possibilities emerge in art along with digital solutions, present in all spheres of human creative activity, like music, literature and visual arts, including forms connected with movement and light.
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