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Current issues of the filmmakers, "the apprehension of the technical facility":Most sedentary human societies, we have left evidence of representations murals.
We see that for centuries, the execution of works are mural was refined, making it all a discipline whose intention was to "convey objectively" by the use of figurative images, with varying degrees of realism, in which messages could be understood by all castes or social classes.
To objectively communicate the muralists developed standards for designing the image where you not only worked in the graphic, but also studying ways to reach the viewer through the pictorial, and a higher degree in architectural development.
The muralists knew that a mural, which took place in a human habitat, must have a physical relationship with it.
In addition it was verifiable and is simply that a mural can be more expressive when it harmonizes with the architectural lines of the site.
On the image there are hundreds of examples that show the importance of making representations on murals full-length figures. We can establish a physical connection difference image viewer, if painted, but cut them.
The features listed above are the ABC's current and historical murals.
I emphasize that the entire human figures, it is very common to see works of "muralists misnamed" that portray the characters in his works from the waist up, seeming to envisage that these were buried in soil or observed through a window, not realizing that this relationship is lost physical character-spectator quoted above.
This is because many artists easel, applying its mode of writing in a great wall, hide behind the freedom to paint whatever you want, freedom legacy of modern art and choose the easy way to do without knowing.
In most cases this is achieved so blank wall.
I think it is necessary to establish the meaning of the word mural.
"The mural is a way of thinking that consists of the completion of the mural.". This thinking beyond the social objectives that can search (historical murals, custom, allegorical, protest, ecology, etc..) In order to manifest itself more expressive, bases its way of thinking about modes of representation image widely studied by muralists of all ages.
Of course, this involves knowledge of multiple disciplines involved in making the mural.
While one can say that there were differences among muralists regarding the design of the mural, in general terms there are more matches. What is important about these cases is that the artists who turn to murals to be ask these coincidences and experience.
Here I quote some features of the mural representation:
* The works are performed for a given wall.
* There is the constant presence of the human figure (being located in a human world and be a humanist discipline).
* The human figure is not rendered in flat but full-length cut and viewed from different points.
* The size of the main human figures of the composition are as great as the height of a normal person (no small figures of monumentality and lose physical relationship with the observer) (not to be confused with gigantism monumentality).
* Sizes are exaggerated physical features involved in the action (hands working, marching feet, etc).
* The composition of the mural is linked to the vision of the viewer, who may be mobile or static depending on the character of the site.
* No organization is used as Renaissance perspective space (as the use of it destroys the architecture of the site which is itself a work of art).
* The type of representation is figurative.
* The meaning of the work is understood by all social classes.
* Works for having worked with the architectural lines of the place are for a particular site.
* The organization of space used poly muralism angularity, ie, multiple points of view obtained from the study of the physical path of the viewer by.
* The content of the work is closely related to geographic location, people and history.
* The content of the work reflects the interests of viewers and not the artist.
* We seek a moral-aesthetic purpose in conducting a mural.
* Plate is used as a tool for change and reflection.
* The mural decorates no, you spell the man.
RETURN TO TITLE:
The artist turns to the wall is with a whole world to discover, he understands that it is an arduous task of representing a mural.
You are leaving the comfort of your workshop, consider points of view, up and down hundreds of times scaffolds and ladders. This often ends up depleting the artist and decides to work as quickly as possible without having so many things into account.
The favorite excuse is that everything is art, that any property of the image says something, it is not necessary that the message is objective, that if the image is cut communicates well, and an endless list of excuses that go perfectly well together one thing "the technical facility.
This kind of idea of designing a mural is a large majority today and brings the problem that all knowledge inherited from the great muralists (painting techniques, composition polyangular, architectural lines of the mural, viewer-character relationship, etc..) Are literally ignored or dismissed with facile excuse.
We should also mention the rejection of high durability techniques such as the cool, the glazed ceramics, encaustic, reliefs etc., Which are now supplanted by highly perishable materials.
Yesterday it appears that the mural should be like a book, which he stated his story to many generations. Today, the mural is like a book whose pages are rotting in 6 or 7 years by the use of ephemeral materials. End up being a photograph.
To prevent this, most needed only one thing "the knowledge of the discipline mural mural material support."
I think it would be good for pondering.
The mural painting workshop offers teaching techniques that can be applied so mixed.
As is the case of this mural painted by Cristian Del Vitto in the city that has encrusted Berisso ceramics, paint and synthetic enamel reliefs in cement as seen in the character's hands holding the box.
All this is learned separately and the final intention is that students generate a composition with these techniques, often economic backwardness treated materials as in the case of broken pottery that is collected by the students themselves, selected for color and shades.
In early 2008 I was summoned by the authorities and teachers of the School of Art in Villa Clara Emiliano Gomez Mary to deliver two seminars of Murals.
They were organized in a theoretical and practical application in Sgraffito technique.
The students were very interested in learning this technique because it is fairly new to the country and not many muralists to work on a regular basis at least.
By putting course aware that I teach and my work as a muralist contacted me.
The lecture began in June amid a social crisis in which the field cut routes and the city of Villa Maria had its central streets with spilled milk as a way of protesting dairy farmers, in addition to the fuel shortage was the very active city a disturbing desolation.
From Buenos Aires I thought was not going to get to Cordoba, but I was lucky.
At Villa Maria made me so welcome and I met people committed to the core with public art. Those people who are obliged to take care and put it together with many others, as in other places that I walked passed. In order to add artists.
By knowing the school Emiliano Gomez Clara was surprised by the new and modern, the envy of any school, spacious classrooms and all the necessary technology, a luxury of public education.
The teachers were not uploaded to the pedestal of academia and knowledge if that proved to be part of a real machine of art side by side with students endured long hours of work on the wall gathering dust to see completed sgraffito .
Returning to the course.
In the theoretical part dictated the contents that are posted on this blog.
They took my seminar about 50 people including students and teachers had all been filmed and documented because it was forming the first cross-hatching of Villa Maria.
They project images, discussing aspects of mural painting, the differences with the giant poster wall, abstract wall and arranged the work in 5 or 6 groups.
The slogan was a project for a mural that would be at the front of the school to view. Also had to work with a reduced palette of 5 colors, the characteristics of this technique.
The theme of the mural should be the identity of the school. And they began to work.
The students, discussed countless sketches were drawn ideas, some were discarded, others merged, creating another. Also curiously matches were found between groups, and these were the backbone of the completion of the sketch group.
Days passed, classes and the idea that remained was to represent the direct way the student from school until reaching the full freedom of expression only reaches up the steps of knowledge.
The sketch was made with figures intertwined spiral staircase up merged into the wings of a cocoon with female body that was released and flew in a plastic composition excellent game.
Having concluded the first phase of the seminar I went to my city. Teachers took over in the middle of the organization in regard to getting the materials for the cross-hatching, raising funds, drawing resources from all sides.
The community wanted to have his sgraffito and outside.
I for my part had a great desire to promote cross-hatching and leave at least one group that was concerning the mural in place so that undoubtedly expand and grow.
Finally in August I went to Villa Maria to perform and manage the sgraffito mural, I worked with a team of construction workers, students and teachers.
All in a state of anxiety, taking notes on the preparation of the wall, the proportions of materials, pigments and masonry techniques.
The first day I ordered to sand the wall where it would work.
He encased the perimeter of the wall and started working with the builders to control the proportions since they usually alter the amount of cement to finish soon and go.
Type 7 began in the morning and started to pull the layers of colors, as all this took until 1 am the other day.
For this, teachers and students took note of all details as they had thought about doing a little cross-hatching in the city to start their own.
Late at night I was finishing off with a wick of the last layer so that the drawing can be passed without imperfections at dawn.
And finally the big day arrived, everything was very well organized, divided groups and working hours, time spent accompanied with moisture and the 28 square meters of mural drawing.
I started looking sgraffito with students and teachers standing at first timidly encouraged to find out their spatulas and knives into the soft mixture to remove parts left over.
The students had worked on a color sketch for what he had to follow the sketch plan with my advice on image processing and texture graffito.
From now on everything was a whirlwind of art work held in a state of art in an atmosphere of pleasure and camaraderie, there were still discussions about the composition but all in pursuit of improving the work and not by an intension of impose criteria.
The mural of 28 square meters was completed in two days, all carved by hand with knives, spatulas, wire and with a degree of complexity of multiple overlapping images. We ate on the scaffolding of two bodies, drinking mate, listened to music.
I for one enjoyed the view as concretized the first sgraffito mural of Villa Maria and how the students already had plans to fly in future graffito.
"Today the school has its own mural which identifies the first of the city. A mural does not peel like other murals, but must endure endures as historical documents, since among other things, the mural is. A document , historical, political, educational, social, humanist and monumental.
A work for all people and all generations. "
Adding to the joy of having completed my work at Villa Maria at 2 months they sent me an email telling me they had already done the sgraffito.
I've been pleased to have met good people like Gaby, Coqui, Milton, and many others who are present in my memories.
In January 2008, a graffiti artist from Santiago de Chile, a political science student and journalist Camilo Pinto Undurraga, which had already been in touch with the workshop a year earlier, traveled to Argentina and took classes in mural painting in the workshops of the city Berisso.
As he told us, in Chile there are many places where these skills are taught in addition to young people just get together with aerosols and clandestinely painted the walls of the streets.
The only knowledge they possess is chaotic practice and do not define an ideological stance or advanced to the arrival of the message to all sociedad.Camilo, showed great skill in drawing and design, breaking with the individualistic approach to decorate a tag , to deliver a collective message related to the knowledge of nature and reading for the liberation of man.
<> The Workshop provided a full intensive course, you got a wall centrally located in the city of Berisso, paints, brushes and personalized assistance from the teacher and muralist Cristian Del Vitto.
Plate technique taught in the workshop was the synthetic enamel.
The contents taught in the workshop are contained in this blog and the students have the opportunity to see the preparation of the wall, as are the treatments performed in the image volume, the mix of colors and the harmonic composition of the wall with the architectures urban boundaries.
The intent of the workshop is not to impose a mural on a wall of the city, but on the contrary establish any link with the subject and the place (in this case, the mural is located in front of a public library), and adjoining architecture besides establishing through a field study after the social needs of the environment
In style Plate seek to use the potential and style of the students to pour with a muralist vision of the work.
<>
Connor took his course at La Tallera, left his mark on the city of Berisso and enriched.
We are confident that the streets of Santiago soon will look to the aesthetics of Cameron, a very thoughtful and clear ideology geared to the social.
The mural can be enjoyed by all and is located on Calle 13 between Avenida Montevideo and Lisbon.
The workshops provide the opportunity to manage WALLS FOR ARTISTS WHO WANT TO HAVE FOREIGN WORKS OUT OF YOUR COUNTRY.
Acknowledgment: A Taube family, for donating his wall and trust, and student and friend Gabriel Berisso Milloc to assist in implementation.
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The primary objective of the workshops, is to bring the mural painting workshop at different places in the world.
No matter the place nor the experience of students.
The mural workshop has two instances:
Theoretical: whose end result is the sketch or sketches escalaPrácica; is for the completion of the mural project in different techniques.
Within the workshop, activities are designated according to the abilities of students.
Not everyone has to learn to draw.
In a team of students there who are investigating who get photographs for the sketches, who draw, paint, flat paint color, paint some more advanced volumes, record activity, etc..
Not everyone has to be superb painters.
Remember also that there are different levels of mural painting workshop initiated ranging from workshops to more academic content.
The important thing is to report that the mural painting workshop to be a public art and the public is open to all.
To contact the service simply has to be run by mail requesting the workshop.
The duration of the seminar varies according to needs and performance quality that is sought.
The workshops are not looking to bring the experience of a mural in different places, but mainly generate muralists groups to become regional reference in terms of culture and social struggle to build a movement that can grow and transcend.
As for the cost of the workshop, the applicant must ensure the materials, the stay of the mural teaching, passages, and payment of the workshop whose price depends on the type of course and duration.
For those interested in technical Sgraffito murals or painting techniques sculptors (polychrome reliefs, inlays, mozaico, others), is the same.
The Workshops. Traveling Mural Workshop offers the possibility also to those who want to learn individually muralist discipline and its secrets, received, in the city of Berisso Province of Buenos Aires Argentina, in the workshop Municipal mural "The workshops Berisso" place where the project is based stable and where classes are also given by Professor Cristian Del Vitto.
In addition it provide students with walls in different parts of the city leave the footprint mural.
Finally it is important to note that the workshop is not just a mural painting workshop, but besides mural, which establishes criteria for public art plastic, with the aim of bringing the message to the people representing the collective and not individual narcissistic.
The mural is just one chapter in the great book of the mural.
This is more complex because it establishes criteria from the Mexican muralist and has tcnico layout composition between the cops found angularity of vision.
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The contents listed below are general contents. Will provide an idea of the topics touched during the workshop.
It's duration will depend on what guided the institution requesting the service may be longer or more complete and bounded.
Among the possibilities are to provide talks with projections of images.
Course muralism theory.
Teórico Práctico.
Course wallcharts techniques to apply.
"WALL OF COURSE"
AGENDA:
- History of Mexican muralismo.Muralismo. Muralism in Argentina.
- Current Sense muralism.
- Differences between a wall and a giant painting.
- The structure of the mural and its relationship to the global space.
- Guidelines for the construction space mural.
- The issue: the characters. Dialogue inside and outside of the wall and its relationship with the viewer.
- Initial notes and sketches.
- The general layout and use of scales.
- The poliangularidad. Practice with sketches. .
- Preparation of a project.
- Characteristics of a project-level and enterprise level.
1st CLASS
- History of muralism. Mexican muralists. Muralism in Argentina.
As a first step is to inform students about the course, as it will work, pointing to it, which types of knowledge will be given and will clarify any doubts that may arise.
Then it will give a talk on the history of the mural, the mural in the pre-Columbian America, the rise of Mexican mural and its impact on Argentina.
They delivered a series of photocopies concerning these issues.
2nd CLASS
Current meaning of the mural
It will discuss the different objectives of the mural as the ages and the differences with the current sense.
Read concepts of different artists.
Will discuss these ideas with ideas of students.
3rd CLASS
DIFFERENCES BETWEEN A WALL AND A
PAINT GIANT
Was appointed the key features that have to have the mural work.
-Respect for the architecture. (Combined work between architect and muralist).
-Management of poliangulares. (Main points of view of the viewer).
-Removal of the Renaissance perspective combinations simultaneous viewing angles of objects and people.
-Adaptation to the environment of the composition of the wall.
Techniques to-reach corners and contradicted in the corners where necessary.
Organization of the reading of the work.
Management-balanced straight lines and curves to give the characters monumentality.
Exaggerations-Escorza in order to give greater strength to the characters.
Rhythm-management structures in the wall that the wall is too static.
-The importance of the durability of the mural.
-Relationship between size of the image and the viewer
(Illustrative).
Management-figuration so that the work can be interpreted by all social groups.
4th CLASS
THE STRUCTURE OF THE WALL AND ITS RELATION TO THE GLOBAL.
SPACE GUIDELINES FOR THE CONSTRUCTION OF A WALL.
This class will focus on managing the architecture of the wall:
-Use of the outgoing (ochava, columns, angles, etc).
-Use of parables ..
Finally be taken into account:
Relationship-adjacent forms (buildings, trees, sidewalks, etc.)..
-Link with the surrounding colors.
Study of the main points of view.
Study the route of the spectator.
5th Class
THE ISSUE: THE CHARACTERS. FOREIGN AFFAIRS AND THE DIALOGUE AND ITS RELATION WITH THE SPECTATOR.
Students choose one of the city wall.
This wall must have a relationship with the subject in which the sketch work. (Regarding the history of this area, with a character recognition, with an industry or enterprise, institution, etc.)..
The mural will have to last us to treat the topic (history, people who had to do with it, objects, etc..), Present (which is what is happening with the issue today, technological advances, some problems with current respect to the subject, etc.). and finally have to tell us the future (which is what we hope for society to this theme, projects, desires, etc.).
To establish a dialogue not only inside the wall, but an external, we study the behavior of the pedestrian observer, what are their customs in this site, where it stops, etc..
This is done to create a mural inside the continuation of such actions and thus create a stake of as a transient character of the mural.
6th CLASS
FIRST SKETCHES AND NOTES
In this class students will be directed to the wall chosen to draw the architecture of the same in its main points of view (at least three), draw pictures and record the main behavior of pedestrians.
Simultaneously investigate mural on the theme of the written and photographic data collection.
7th CLASS
THE POLIANGULARIDAD. PRACTICE WITH SKETCHES
An explanation is that the poliangularidad is illustrated by works of the authors will be observed on different walls poliangulares way of being exploited for the realization of the general layout.
8th CLASS
GENERAL SKETCH OF CONDUCT AND USE OF SCALES
Once collected everything is written the script of the wall and will start the implementation of the layout.
We will work with the outline of the steps taken earlier in scale.
If necessary, explain how to work with scales.
The general layout should be done with color materials that will be a choice for students.
9th CLASS
PREPARATION OF THE WALL
This class will be examples of projects and also meet the requirements to petition for big business on its premises works murals.
Finally students will undertake a group project, this project will serve to further the implementation of the mural and presenting it to the appropriate authorities for possible implementation.
NOTE:
The seminar will be delivered has been approved by the general layout and the finished project.
WORKSHOP AND TECHNIQUES Mural
AGENDA:
- Technique of synthetic enamel.
Preparation of the wall.
Tools and materials.
Methods of transferring the image of the layout of an area larger.
Treatments mural painting of the image.
Types of membership.
- Technical high relief cement enamel.
Preparation of the Wall.
Preparation of the structures of the reliefs.
Materials, proportions tools.
Ceramic inlay technique.
Preparation of the wall.
Materials, tools.
Objectives:
Perform a wall in the above techniques to provide students with the future possibility of being able to apply them separately or simultaneously.
Provide a range of opportunities to promote works in different urban areas and economic opportunities.
Muralism bring to society in a clear language for all social classes in order to invite the collective reflection, preserving the identity of peoples and their history.
Create a work of public art noninvasive that relates to urban space and architecture.
The mural will respond to the interests of the collective of the place from a previous study of field and not subject to individual personality of the students.
ACTIVITIES:
Once the theoretical stage with the sketch color scale will be working on the wall for which the students did the project.
Prepare the surface to paint and to establish areas of work to use different techniques, different stages of guideline implementation.
It will work different materials and tools for acquiring knowledge in various technical treatments of the mural image different from one another and choosing the most consistent identity for your personal style.
Students attended the mural made by the Master at all times.
NOTE:
Working hours will be stipulated in the wall according to weather conditions.
The course will conclude with the completion of the mural on the public delivery of a folder containing:
Data - the students, writing the draft of the mural, color copy of the sketch, a photograph of the completed mural.
At the end of the current will be given to students with the certification authority's signature cultural settled municipal assistance leaving the course and conduct of the work, leaving her a gift to the city.
