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THE CADRE, OCTOBER 8, 1974, PAGE 16 _ , ' ' '"“1 ' 1 , ' I I '

"Nahanni & A Matter of Fat" I POLITICAL SCIENCE FILMS' ' s . . . . it 1 _ N.F.B. Duffy Amphitheatre "Howe & Tupper" 4 'Eaicﬁliedmzziglrgﬁrtﬁe:’ " 13d: gct. 9, 7:30 p.m. Wed. Oct. 9, ifiga.:. ’ notice due to renovations , V a m' ree 3jlsg'm' ‘ .within the Dept. " j ‘ a "The Italian Job": U.P.E.I. Duffy Amphitheatre ' Tour in a.m., 2:00 — 3:00

Duffy, Sun: Oct. 13, 8:00 Adm: Free p.m. - MacKenzie Building, Adm: $1.00 panel discussion & quest-

ion period on "The Role of Confederation Centre"

mm, K. Bruvols

’Oct. 10, Thurs. 9:00-12:30_ .Pig &;Whistle, U.P.E.I. Barn, Music by Taquila

HOLLAND COLLEGE: Adm: 75¢

Mon, Oct: 14, 12 Noon ,and 8:00 p.m. "The Italian Job" Adm: Students 75¢ Others $1.00 r

art oxhilit '

Confederation Centre,Art Gallery:"Religious Sculpt- ures of Old Quebec" by Jean—Paul Morisset G Photos: N.F.B., until Oct.20

Confederation Art Gallery . and Museum: Fri, Oct. 11, 10:00 a.m.— 9:00 p.m. Exhibition and sale of original graphic art, early and‘modern masters: price range $5 — $75.

Held in Lower Theatre Foyer *see article

F00“! Gary Geddes, a Canadian poet and editor will be reading from his works and discussing poetry. . ' Thurs. Oct. 11, 1:30 p.m. Place to be arranged

‘ (on campus)

PRINCE EDWARD CINEMAS

F. Taylor: exhibitions,of his serigraph (silk screen prints)/ until Oct.8_— 20

#l. Chinatown #2. Arnold or Godfather 7:00 and 9:00 p.m. Adm: $2.25

17 and under $2.00 Further info contact 2—8331

Wed. Oct.9, 8:30 p.m. Poetry reading by J. Mich- ael Yeates: Confed Lecture Theatre: Adm: Free

Ilse. . , Tue. Oct. 15, Open House at Confed Centre: Guided

Small Sculptures in Plaster: subjects — child— ren, dancers etc. by Gun Lanciai, Oct. 8 — l3 ‘ Due to the early puhlicat— ion of this paper any section of this directory is subject to change

CONFED CENTRE.THEATRE Oct. 8 - 12, 8:00 p.m. The Great Gatsby

Adm: $2.25

Adm: Students Free , Tue — Sat : 10:00 to 5:00 Sun : 2:00 to 5:00

A brief, history of the graphic arts

(Continued from page 15)

while the top of the plate is wiped clean. Dampened paper is then applied to the plate with enough force so that it is pushed into the grooves, picking up the ink. The force of pressure on the paper and the width and depth of the grooves give the picture its depth and shadings. Rembrandt, even today, re— mains the master of the etched line.

During the period of de- cline in Europe of the woodcut, the Japanese re— discovered woodcutting as a means of expression and an exhibit of Japanese prints, in Paris, was to influence a group of art— ists whose work, in turn, would change the world's concept of the meaning of "art". These were the imp— ressionists. Gauguin began by experimenting with color. The traditional means had been to add color to each individual print. Gauguin's technique was to ink the black, and then re-ink in different colors, or to use different blocks for different colors. He and others also utilized the grain of wood as part of their design. Years later, using linoleum rather‘thmnﬂ'

wood, Picasso gave still another dimension to this

oldest of graphic techniques.

An accident in 1796 gave the graphic arts still an- other formi— the lithograph. Senefelder, a Bavarian actor and playwright, had placed a newly inked piece of music manuscript on a stone. Upon picking it up, he noticed that the music- impression had remained in very clear detail in the‘

'stone. Senefelder was also

in the right place for it just so happened that be- cause the qualities needed for the lithograph stone are rarely found anywhere but in that area of Bavaria.

'The.prissiple.on Which W.

lithography is based is that water and grease will not mix. The artist draws his picture on the stone with—a grease crayon, or with a brush with an oil

or grease base. Ink is then applied to the stone. It adheres only to the treated area. The paper is then rolled across the stone, picking up the color imp— ression. It is extremely

'important that each time

the paper is put on the

,'stone to receive an add—

itional color, it is in” exactly the same position, or the colors and design will be out of register. \ Honore Daumier is consid— ered by many to be the greatest lithographer of

. the 19th century. His draw—

ings were savage in their

wit, satire and caricature.

His drawing of King Louis Philippe as Gargantun gor- ging the wealth of France, caused him to be sent to jail.

Later in the century, Henri de Toulouse-Lautrec added his genius to the artists developing this medium. Picasso and Miro are but two of this cent- ury‘s masters of the form.

The most recent graphic art technique to be explored evolved out of Chinese and Japanese Stencil printing, one of the oldest of all printing techniques. Many artists prefer the word

:usgrigrgphujbut silk screen:

gabsﬁtfagi'

or screen printing are the more widely used descrip- tions. Samuel Simon~was granted a patent for a

silk screen process in 1907

'”in Manchester, England.

Seven years later John Pil- sworth, a commercial artist, developed a silk screen method for printing banners and pennants. Commercial artists made good use of the technique, especially for posters and work req- uiring bright colors.

Based on the stencil th— eory, a design is drawn on silk. All areas but that of the design are covered,

Wand the paint is pushed

through the silk onto the paper. Unlike the graphic forms before it, the paint used here is thick and

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graph, each color requires its own screen and the art-

ist must be very careful that the paper-receiving numerous different color impressions is always in exactly the“same position. Today the Pop and Op move- ments are adding on extra dimensions to the graphic art, led by Andy Warhol, Larry Rivers and Robert Rauschenberg among others.

\ I hope this brief insight

into graphic art will aid anyone who has little know- ledge of the graphics and thus enable them to get a much better understanding of what graphif art is aIRa‘