论绝版水印版画分析-美术学专业论文.docxVIP

论绝版水印版画分析-美术学专业论文.docx

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II II 云南艺术学院硕士毕业论文 Abstract The exploration of the creation of one-time watermark prints comes from the thinking of the combination of traditional watermark prints technique and contemporary creative prints. It absorbs the media and superb technique of traditional watermark prints, at the same time, learns from the creative method of engraving and printing of one-time oil printing with colors, in such a way, forms a new creative method of watermark printing. The creative method of one-time watermark prints is to combine drawing, engraving and printing altogether, with the same piece of wood, engraving and printing takes place en switch, during the process of which the wood is destroyed naturally to complete one-time-for-all the required number of works. The smooth process of engraving and printing on the same wood can omit the useless and so-called unchangeable process of the creation of watermark printing in the past. As a result, the creation process is more simple, more quickly, using less wood helping the authors reduce theirs burden. After several years of exploration work, I have initially formed the process of the creation of one-time watermark printings. The one-time watermark prints continue the materials and printing skills of traditional watermark printing, maintaining its strong oriental artistic style, at the same time, absorb the new creative method of one-time oil colorful printing, such as engraving and printing en switch, destruction of wood naturally, etc. therefore, the one-time watermark prints not only have the traditional cultural style, but also have the uniqueness of free creation of modern prints. In this article, there is a detailed introduction of the practice and related theory of one-time watermark prints, hoping to provide helps to the other watermark prints authors and their creation work of deeper studies. With our joint efforts, we hope to be one of the many forces that push the development of China’s contemporary watermark prints. K

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