The Master's thesis Reduction of Colour in the Transfer from Painting to Printmaking examines the critical elements that influence the process of transferring a painting to printmaking. The primary focus is the reduction of colour. The thesis is organised into two main sections: the theoretical framework and the empirical part.
The theoretical section begins with an overview of relief printing techniques, with emphasis on linocut and coloured linocut methods. This is followed by a discussion of the process of abstraction and an in-depth analysis of colour. The section addresses colour as an art element, detailing primary, secondary, and tertiary colours, the colour wheel, the essential and non-essential properties of colours, and various colour mixing models. It concludes with a chapter on transferring painting to printmaking, the reduction of colour, and the interaction of colours. The theoretical framework is supported by fine art examples, including works by Bridget Riley, Kelly Ellsworth, and Lojze Logar.
The empirical section is divided into two parts: the art practical part and the fine arts didactic part. The practical part involves a comprehensive analysis of colour mixing, focusing on the linocut technique, using primary, secondary, and selected tertiary colours. The process of transferring a painting to printmaking using the linocut technique is documented in detail as well as the artwsork that was created in the process. The practical part shows that the colour linocut technique requires careful planning of colour applications and a thoughtful reduction of colours to maintain the vibrancy of the artwork and ensure successful transfer. The experiences and knowledge acquired in the practical part were applied to the fine arts didactic part, where I conducted qualitative research with ninth-grade students who successfully transferred their paintings to printmaking. The students demonstrated their capacity to adapt motifs and reduce colours, and proving their technical competence in creating colour linocuts where colours overlap and creating colour mixtures while using primary and secondary colours.
The main findings of the Master's thesis show the necessity and significance of reducing colour when transferring a painting to printmaking. When used thoughtfully and successfully, it does not represent a loss of visual quality or expressiveness, but an opportunity for quality artistic expression. The research confirms that the appropriate adaptations when transferring painting to printmaking are well-suited for educational purposes, as it encourages students to develop a deeper understanding of the language of art, as well as greater thoughtfulness, ingenuity, and creativity. The Master's thesis provides a comprehensive insight into the selected topic and offers valuable guidelines for the educational process.
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