<?xml version="1.0" encoding="utf-8"?>
<rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" >
<channel>
<title><![CDATA[RSS Noticias Milpedras]]></title>
<link>http://www.milpedras.com/en/rss/noticias/</link>
<description><![CDATA[info@milpedras.com (Milpedras)]]></description>
<image><title><![CDATA[RSS Noticias Milpedras]]></title>
<link>http://www.milpedras.com/en/rss/noticias/</link>
<url>http://www.milpedras.com/skin/v1/reticulas_cssframework/extended/img/decora/logo_milpedras.gif</url>
</image>
<language>en</language>
<pubDate>Fri, 18 May 2012 12:15:58 +0200</pubDate>
<item>
<title><![CDATA["Gocco"]]></title>
<link>http://www.milpedras.com/en/noticias/103/gocco/</link>
<pubDate>Mon, 14 May 2012 13:31:54 +0200</pubDate>
<description><![CDATA[.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/103/gocco/</guid>
</item>
<item>
<title><![CDATA[The art of lithography]]></title>
<link>http://www.milpedras.com/en/noticias/104/the-art-of-lithography/</link>
<pubDate>Tue, 24 Apr 2012 21:03:17 +0200</pubDate>
<description><![CDATA[.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/104/the-art-of-lithography/</guid>
</item>
<item>
<title><![CDATA[Mailander offset proofing press]]></title>
<link>http://www.milpedras.com/en/noticias/102/mailander-offset-proofing-press/</link>
<pubDate>Tue, 27 Mar 2012 03:43:40 +0200</pubDate>
<description><![CDATA[.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/102/mailander-offset-proofing-press/</guid>
</item>
<item>
<title><![CDATA[Lithography Printing]]></title>
<link>http://www.milpedras.com/en/noticias/101/lithography-printing/</link>
<pubDate>Sat, 11 Feb 2012 00:28:45 +0100</pubDate>
<description><![CDATA[Theory and practice of lithography]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/101/lithography-printing/</guid>
</item>
<item>
<title><![CDATA[Norler]]></title>
<link>http://www.milpedras.com/en/noticias/100/norler/</link>
<pubDate>Wed, 18 Jan 2012 18:44:11 +0100</pubDate>
<description><![CDATA[Norberto Leon, a life dedicated to the craft of engraving.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/100/norler/</guid>
</item>
<item>
<title><![CDATA[Printmaking in Solarplate]]></title>
<link>http://www.milpedras.com/en/noticias/98/printmaking-in-solarplate/</link>
<pubDate>Thu, 24 Nov 2011 13:42:32 +0100</pubDate>
<description><![CDATA[Solarplate is a relatively new technique in the area of printmaking, which has slowly been gaining audience with the great wealth of possibilities for both analog and digital application which offers; besides its physical benefits is a material easy to use developer noble in water and the environment. At the industry level this material has been used for decades but with the passage of time and progress technology has been a noticeable change in terms of components and development processes. The plates used in this technique and recognized by some of his predecessors, Dan Welden; “Solarplate” are a photopolymer plates that are used in industry in the field of flexography and typography for the commercial printing of photographic images and labels on all types of irregular surfaces, the most common are the cardboard boxes, bottles, leather, tape or balloons etc.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/98/printmaking-in-solarplate/</guid>
</item>
<item>
<title><![CDATA[Characteristics of acid etching]]></title>
<link>http://www.milpedras.com/en/noticias/96/characteristics-of-acid-etching/</link>
<pubDate>Fri, 04 Nov 2011 11:21:17 +0100</pubDate>
<description><![CDATA[The acid is perhaps the main protagonist of the technique of etching. During its long coexistence of more than five hundred years with the recorders, has been respected, loved, needed and now, for reasons of sustainability, is repudiated by many giving way to less toxic substances and other pollutants. A nothing to read a little about them will confuse the variety of formulations, but in reality all the same function: to dig into the metal drawing by the artist on the layer of varnish. Take a look back at the entrance of the etching.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/96/characteristics-of-acid-etching/</guid>
</item>
<item>
<title><![CDATA[Lithography demostration ]]></title>
<link>http://www.milpedras.com/en/noticias/97/lithography-demostration/</link>
<pubDate>Mon, 24 Oct 2011 11:21:38 +0200</pubDate>
<description><![CDATA[Lithography demostration in aluminium plate]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/97/lithography-demostration/</guid>
</item>
<item>
<title><![CDATA[ Palestra Caligrafia- Cláudio Gil  (Portuguese)]]></title>
<link>http://www.milpedras.com/en/noticias/95/palestra-caligrafia-claudio-gil-portuguese/</link>
<pubDate>Wed, 17 Aug 2011 11:31:52 +0200</pubDate>
<description><![CDATA[Roundtable creative environment to calligraphy and the world around it]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/95/palestra-caligrafia-claudio-gil-portuguese/</guid>
</item>
<item>
<title><![CDATA[Printing Dictionay (extract) (only spanish)]]></title>
<link>http://www.milpedras.com/en/noticias/94/printing-dictionay-extract-only-spanish/</link>
<pubDate>Wed, 06 Jul 2011 20:26:00 +0200</pubDate>
<description><![CDATA[Estampa: Soporte no rígido, generalmente papel, al que se ha transferido la imagen -línea, forma, mancha, color- contenida en una matriz trabajada previamente mediante alguno de los procedimientos de arte gráfico. La imagen del soporte original pasa a la estampa tras entintar aquél, poner en contacto ambos y someterlos a presión. En definitiva, la estampa es el producto final del arte gráfico y la multiplicidad su característica más genuina. Recibe este nombre por que el proceso de impresión se denomina estampación.
A pesar de tan evidente argumento existe una injustificada resistencia al empleo del término debido, en parte, a su asociación con imágenes de temáticas religiosas -circunstancia que puede justificarse por la inmensa producción de estampas religiosas en los países católicos y especialmente en España-. En el ámbito popular están muy extendidos términos como grabado o lámina para referirse a las manifestaciones en papel obtenidas a partir del entintado y prensado de una matriz.
Sin embargo, la utilización en tal sentido de cualquiera de los dos significantes mencionados no es correcto. Por lo que respecta al primero conviene tener en cuenta un hecho obvio: sobre el papel no se graba. Además, no todas las técnicas empleadas para trabajar una matriz lo son de grabado. De modo que si no todas las estampas se obtienen a partir de procedimientos de grabado, llamar grabado a cualquier tipo de estampa es un error.
Por otra parte, se denomina habitualmente lámina a la ilustración a página entera de un libro, ya sea una estampa o una reproducción fotomecánica. Su uso deriva de la ilustración de impresos tipográficos mediante estampas calcográficas que se estampan por separado y se encartaban entre las hojas del texto. Con el objeto de facilitar la tarea al encuadernador, el grabador numeraba los cobres según el orden en el que debían ir colocadas las ilustraciones dentro del libro. Para ello, delante del número correspondiente se ponía la palabra lámina. Así lámina equivale a plancha grabada pero no a estampa. Al ser entintado e impreso el cobre, la expresión Lámina I ... -o su abreviatura lám. I ...- pasaba al papel, razón por la que terminaron llamando láminas a las ilustraciones y por extensión a todas las estampas.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/94/printing-dictionay-extract-only-spanish/</guid>
</item>
<item>
<title><![CDATA[ The Code of Ethics of Multiple works (spanish only)]]></title>
<link>http://www.milpedras.com/en/noticias/93/the-code-of-ethics-of-multiple-works-spanish-only/</link>
<pubDate>Thu, 30 Jun 2011 21:15:31 +0200</pubDate>
<description><![CDATA[A comienzos del siglo XXI y por imperio del maravilloso desarrollo de las tecnologías de punta y de los nuevos materiales industriales, el Arte múltiple de edición limitada debe consolidar sus métodos de registro editorial. Todas las ediciones limitadas, sean de Arte gráfico, Arte cerámico, Arte escultórico, Arte fotográfico o Arte digital, deben ser producidas con respaldo de instrumentos confiables como los Códigos de Ética, que regulan a otras y distintas actividades profesionales.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/93/the-code-of-ethics-of-multiple-works-spanish-only/</guid>
</item>
<item>
<title><![CDATA[Solar plate etching]]></title>
<link>http://www.milpedras.com/en/noticias/91/solar-plate-etching/</link>
<pubDate>Mon, 30 May 2011 21:04:04 +0200</pubDate>
<description><![CDATA[Photopolymer plates have been used in industry for several decades, writers such as Dan Welden (represented in one of the videos) have been responsible for pioneering its use in the engraving. A series of industrial size plates available (some cheaper than others.) The process has similarities with Intaglio Solarplate Type and other methods based on photopolymer film, but in this case, whether to wash dishes prepared in water instead of soda. Both types of process are non-toxic photopolymer and open an innovative range of artistic possibilities.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/91/solar-plate-etching/</guid>
</item>
<item>
<title><![CDATA[siligraphy or waterless lithography]]></title>
<link>http://www.milpedras.com/en/noticias/89/siligraphy-or-waterless-lithography/</link>
<pubDate>Sat, 21 May 2011 12:10:11 +0200</pubDate>
<description><![CDATA[Waterless lithography was first studied from the 80's but its origins date from the early 70's and has been mainly promoted by Nick Semenoff among other leading researchers.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/89/siligraphy-or-waterless-lithography/</guid>
</item>
<item>
<title><![CDATA[Impressum]]></title>
<link>http://www.milpedras.com/en/noticias/90/impressum/</link>
<pubDate>Wed, 11 May 2011 11:17:58 +0200</pubDate>
<description><![CDATA[Story of the birth of printing]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/90/impressum/</guid>
</item>
<item>
<title><![CDATA[Los libros alternativos: una tésis,]]></title>
<link>http://www.milpedras.com/en/noticias/88/los-libros-alternativos-una-tesis/</link>
<pubDate>Fri, 22 Apr 2011 11:19:43 +0200</pubDate>
<description><![CDATA["El libro palabra que al pronunciarse con los ojos nos cuenta en esa sola emisión visual la historia universalcompleta." [1 ]

El libro, durante más de cinco mil años ha sido el instrumento que ha permitido la transmisión de experiencia y conocimiento entre pueblos y culturas diferentes, desde la copia a mano de los amanuenses hasta la invención de la imprenta, los materiales escriptóreos (el papiro, la arcilla, la seda, el papel, etc.) o la formación de magníficas bibliotecas (las legendarias de Alejandría y Pérgamo) y por último, su difusión electrónica con la imposición de una nueva estética, que ya exaltarían las teorías de constructivistas francesas.

El libro ya no se contempla como un mero soporte de textos e imágenes, hoy en día los artistas han hecho uso de éste para dar un enfoque artístico a dicho medio de comunicación. Por lo que el libro sufre cambios o más bien evoluciona según las circunstancias que surjan en la historia.


]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/88/los-libros-alternativos-una-tesis/</guid>
</item>
<item>
<title><![CDATA[Ukiyo-e woodblock printmaking with Keizaburo Matsuzaki ]]></title>
<link>http://www.milpedras.com/en/noticias/87/ukiyo-e-woodblock-printmaking-with-keizaburo-matsuzaki/</link>
<pubDate>Tue, 12 Apr 2011 11:19:19 +0200</pubDate>
<description><![CDATA[Master printer Keizaburo Matsuzaki visited the Art Gallery of New South Wales in March 2010 in conjunction with the exhibition Hymn to beauty: the art of Utamaro. He brought the woodblocks to create a print of Takashima Ohisa, the teahouse waitress, designed by Kitagawa Utamaro (1754-1806) in the 1790s. Gallery visitors were amazed to witness Matsuzaki's deft touch as he applied seventeen colours with perfect alignment. Each colour was rubbed with the printers most precious tool, the baren. The final touch was a dusting of mica. Matsuzaki hails from Arakawa-ku in Tokyo and has been a printer since he was fifteen years old.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/87/ukiyo-e-woodblock-printmaking-with-keizaburo-matsuzaki/</guid>
</item>
<item>
<title><![CDATA[Printing books]]></title>
<link>http://www.milpedras.com/en/noticias/86/printing-books/</link>
<pubDate>Tue, 01 Mar 2011 01:30:07 +0100</pubDate>
<description><![CDATA[Videos showing various stages and the time of printing books in the era of printing.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/86/printing-books/</guid>
</item>
<item>
<title><![CDATA[Litography in collaboration]]></title>
<link>http://www.milpedras.com/en/noticias/85/litography-in-collaboration/</link>
<pubDate>Thu, 10 Feb 2011 21:07:41 +0100</pubDate>
<description><![CDATA[In the foreword of the book of Aloys Senefelder "Complete Course of Lithography, " we find that since its discovery in 1798, this magnificent technique has spread rapidly throughout Europe and elsewhere. Since its invention, the artists have come to explore and expand the possibilities this medium offers. Many have worked as artists and printers while others have not had the temperament or the ability to master and assimilate the technical challenges to combine their artistic skills with technical capabilities of a printer to assist in the production of the work .
Thus collaborative work increasingly takes more strength to the extent that goes beyond the conceptual horizons of the printmaking as well as to maintain, renew and brings the art of lithography to an even larger audience. Currently artists in general, not just graphics, they can use the medium of lithography successfully with the help of a printer that guides and encourages the use of the technique, which requires a different thought process, to address them in the use of other materials, and to offer a great chance to get a large number of copies of a single work.
Collaborative lithography allows you to produce in most cases a work of high quality, with better results than those that could get in a process carried out individually. This applies to both the artist and the printer. Formats, support, the amount of ink used in creating the image and the number of copies published among others, became surmountable challenges with excellent results thanks to collaborative work, where each of the participants work together to achieve a common goal to help shape the idea of the artist.


]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/85/litography-in-collaboration/</guid>
</item>
<item>
<title><![CDATA[Notes on the typographical engraving in Spain I]]></title>
<link>http://www.milpedras.com/en/noticias/84/notes-on-the-typographical-engraving-in-spain-i/</link>
<pubDate>Fri, 21 Jan 2011 00:36:58 +0100</pubDate>
<description><![CDATA[It is not easy to find written on the history of typographical recorded in Spain, an issue that we've always wanted from UTD safeguarded and shared, and that is why we find a letter concerning more than 130 years old, fills us with satisfaction. This is the interesting article "Notes on the typographical recorded in Spain" published in "The Spanish and American Illustration" in 1877 by Francisco Navarro Villoslada, and according to comments "are the first from Spain have been published. " We leave you with a transcript of the document, which is sure to delight more than one.
Excerpted from the Spanish and American Illustration.
Year XXI - No. VI - February 15, 1887   Year XXI - Supplement No. VII - February 1877
]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/84/notes-on-the-typographical-engraving-in-spain-i/</guid>
</item>
<item>
<title><![CDATA[4 minutes litho]]></title>
<link>http://www.milpedras.com/en/noticias/83/4-minutes-litho/</link>
<pubDate>Mon, 17 Jan 2011 22:59:02 +0100</pubDate>
<description><![CDATA[Brief video (4minutes, of course) that would be shown as a lithograph, with the various processes, the grain of the stone ,..... and means to develop it shows lithographic pencil, gouache ,....
Very representative of what is the process ]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/83/4-minutes-litho/</guid>
</item>
<item>
<title><![CDATA[Manufacturing process the Chemical Graphic  inks]]></title>
<link>http://www.milpedras.com/en/noticias/82/manufacturing-process-the-chemical-graphic-inks/</link>
<pubDate>Mon, 27 Dec 2010 20:06:56 +0100</pubDate>
<description><![CDATA[Promotional video, high didactic value of the manufacturing process on a large scale industrial inks Graphic Chemical, a major global firms ink devoted to lithography.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/82/manufacturing-process-the-chemical-graphic-inks/</guid>
</item>
<item>
<title><![CDATA[Artist book, an alternative]]></title>
<link>http://www.milpedras.com/en/noticias/81/artist-book-an-alternative/</link>
<pubDate>Tue, 21 Dec 2010 21:13:38 +0100</pubDate>
<description><![CDATA[The whole art of the twentieth century reflects the struggle to broaden the concept of a work of art. And there doubt that artistic expression in book form is included in one of his conquests paramount in the artist's book called, as pointed out by Robert C. Morgan, is not an art book or a book to be read.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/81/artist-book-an-alternative/</guid>
</item>
<item>
<title><![CDATA[Moku-hanga]]></title>
<link>http://www.milpedras.com/en/noticias/80/moku-hanga/</link>
<pubDate>Mon, 06 Dec 2010 23:29:08 +0100</pubDate>
<description><![CDATA[Moku-hanga is a technique best known for its use in the ukiyo-e artistic genre; however, it was also used very widely for printing books in the same period. Woodblock printing had been used in China for centuries to print books, long before the advent of movable type, but was only widely adopted in Japan surprisingly late, during the Edo period (1603-1867). The technique is essentially the same as that which is called woodcut in Western printmaking.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/80/moku-hanga/</guid>
</item>
<item>
<title><![CDATA[Collaborative learning in the workshop]]></title>
<link>http://www.milpedras.com/en/noticias/79/collaborative-learning-in-the-workshop/</link>
<pubDate>Mon, 29 Nov 2010 01:45:33 +0100</pubDate>
<description><![CDATA[  If we analyze the current status of art in our local environment we can see how little by little artists and students in comparison with other countries, who have been liberated from the purely technical craft, to enter and develop their artistic projects based on conceptual freedom that allows the postmodern aesthetic in which we are immersed. Training workshops in the past were the space of individual experimentation, and the intimate relationship between teacher and student, now simply take shape and value as places of production for final development of an idea. ]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/79/collaborative-learning-in-the-workshop/</guid>
</item>
<item>
<title><![CDATA[ukiyo-e]]></title>
<link>http://www.milpedras.com/en/noticias/78/ukiyo-e/</link>
<pubDate>Fri, 12 Nov 2010 12:10:04 +0100</pubDate>
<description><![CDATA[ukiyo-e]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/78/ukiyo-e/</guid>
</item>
<item>
<title><![CDATA[Lithography and offset plate transfer]]></title>
<link>http://www.milpedras.com/en/noticias/75/lithography-and-offset-plate-transfer/</link>
<pubDate>Sat, 16 Oct 2010 18:12:54 +0200</pubDate>
<description><![CDATA[In these two videos we see the creation of a litho from a workshop on the training and transfer drawing and a stone plate offset to a printer.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/75/lithography-and-offset-plate-transfer/</guid>
</item>
<item>
<title><![CDATA[My creed or praise of "Beau Meter]]></title>
<link>http://www.milpedras.com/en/noticias/73/my-creed-or-praise-of-beau-meter/</link>
<pubDate>Thu, 07 Oct 2010 10:38:53 +0200</pubDate>
<description><![CDATA[The engraver profession is in this century in danger of disappearing. Photochemical processes, "drab images without soul", the victory of the computer and audiovisual erased all traces of handmade paper. It has long documentary imagery and utility ignores the work of the engraver.]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/73/my-creed-or-praise-of-beau-meter/</guid>
</item>
<item>
<title><![CDATA[Aguafuerte]]></title>
<link>http://www.milpedras.com/en/noticias/72/aguafuerte/</link>
<pubDate>Tue, 05 Oct 2010 23:32:51 +0200</pubDate>
<description><![CDATA[Videos around the technique of etching, design, and printing acid bite]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/72/aguafuerte/</guid>
</item>
<item>
<title><![CDATA[Arts   The return of Venus (The naked body, part II)]]></title>
<link>http://www.milpedras.com/en/noticias/71/arts-the-return-of-venus-the-naked-body-part-ii/</link>
<pubDate>Wed, 22 Sep 2010 13:09:33 +0200</pubDate>
<description><![CDATA["... The glory of the brush is model you, dress and dress, undress. To you, Venus, in flower painting. "
Excerpt: At bare Rafael Alberti.
]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/71/arts-the-return-of-venus-the-naked-body-part-ii/</guid>
</item>
<item>
<title><![CDATA[The naked body (first part)]]></title>
<link>http://www.milpedras.com/en/noticias/70/the-naked-body-first-part/</link>
<pubDate>Thu, 09 Sep 2010 21:36:24 +0200</pubDate>
<description><![CDATA[Whatever the mode of expression, time and place where it manifests itself, the art has resorted always the human body to translate the most complete, your conception of beauty]]></description>
<author><![CDATA[]]></author>
<guid isPermaLink="true" >http://www.milpedras.com/en/noticias/70/the-naked-body-first-part/</guid>
</item>
</channel>
</rss>
