T&#233;cnica de gravura relativamente nova, que parte de originais obtidos atrav&#233;s da digitaliza&#231;&#227;o de desenhos, pinturas, detalhes de pinturas, fotografias, fotos de instala&#231;&#245;es montadas pelo artista, fotos de detalhes de objetos, fotos digitais ou composi&#231;&#245;es de fotos digitais &ndash; os quais, s&#227;o trabalhados com algum programa de edi&#231;&#227;o de imagem, ou software gr&#225;fico e posteriormente impressos com equipamentos de qualidade compat&#237;vel, em geral impressoras coloridas de alta resolu&#231;&#227;o de grande formato ou revela&#231;&#227;o fotogr&#225;fica digital.<p> Como toda gravura - independentemente da t&#233;cnica utilizada - esta &#233; uma obra que tem uma tiragem limitada e padronizada, sendo numerada e assinada pelo artista - diferenciando-se, assim, a obra-de-arte, de uma mera reprodu&#231;&#227;o comercial.<p> <font face="Arial" size="3" color="#ffffff"><b>Sobre o autor e suas Gravuras Digitais - Conceitos Utilizados:</b></font><p> Fiz minhas primeiras gravuras digitais em 1994, ao tomar contato com equipamentos de computa&#231;&#227;o gr&#225;fica e programas de edi&#231;&#227;o de imagem. Aconteceram a t&#237;tulo de estudo, pois na &#233;poca mantinha uma empresa de presta&#231;&#227;o de servi&#231;os em editora&#231;&#227;o eletr&#244;nica e design gr&#225;fico aplicados &#224; publicidade. Por&#233;m este meu interesse pela Gravura Digital aumentou muito &#224; cerca de um ano, quando comecei a desenvolver um trabalho espec&#237;fico nesta dire&#231;&#227;o ap&#243;s adquirir uma c&#226;mera fotogr&#225;fica digital reflex de alta resolu&#231;&#227;o, com excelente capacidade para executar macrofotografia, a qual se tornou uma ferramenta de fundamental import&#226;ncia em meu trabalho.<p> Durante o trabalho de cria&#231;&#227;o tenho por princ&#237;pio partir de originais fotogr&#225;ficos de minha autoria, como macrofotografias de detalhes de objetos, manchas de tinta encontradas ao acaso, detalhes de pinturas feitas por mim, com o uso de t&#233;cnicas diversas, em especial giz pastel oleoso e cola colorida. Utilizo tamb&#233;m fotos de ambientes que remetam ao abstrato.<P> Tendo estes elementos, ent&#227;o muitas vezes j&#225; com objetivo definido, e em outras contando tamb&#233;m com um pouco de &lsquo;acaso&rsquo;, vou compondo com os originais fotogr&#225;ficos em um programa de edi&#231;&#227;o de imagem (Adobe Photoshop) em busca de cen&#225;rios abstratos, onde tento obter um aspecto de pintura, com um m&#237;nimo poss&#237;vel de utiliza&#231;&#227;o de &lsquo;filtros&rsquo; (efeitos); mas atrav&#233;s de um direciona-mento pr&#233;vio dos originas fotogr&#225;ficos (pois muitos dos quais j&#225; partem de pinturas e manchas de tinta ou detalhes de pinturas de objetos, etc), e utilizando t&#233;cnicas de sobreposi&#231;&#227;o, composi&#231;&#227;o digital e manipula&#231;&#227;o dos canais de cores, chego com essas imagens &#224; minha concep&#231;&#227;o de Gravura Digital Abstrata, a qual procuro basear principalmente nos conceitos cl&#225;ssicos de Forma, Equil&#237;brio, Movimento e Unidade, os quais norteiam qualquer tipo de arte visual.<p> Atualmente a reprodu&#231;&#227;o das gravuras tem sido feita atrav&#233;s de revela&#231;&#227;o fotogr&#225;fica digital, mas existem outros meios de impress&#227;o, inclusive em grandes formatos.<p> <font face="Arial" size="3" color="#ffffff"><b>Forma&#231;&#227;o Acad&#234;mica</b></font> <p> Comunica&#231;&#227;o Social - Habilita&#231;&#227;o em Publicidade e Propaganda - conclu&#237;do em janeiro/1992. Universidade do Vale do Rio dos Sinos - UNISINOS - S&#227;o Leopoldo - RS <p> Arquitetura e Urbanismo - cursado entre 1988 e 1990 - Disciplinas relacionadas &#224; Hist&#243;ria da Arte, Pl&#225;stica e Desenho Gr&#225;fico, na busca de uma complementa&#231;&#227;o ao curso de Publicidade, no que diz respeito &#224;s quest&#245;es est&#233;ticas e t&#233;cnicas relacionadas ao Design Gr&#225;fico.<br> Universidade do Vale do Rio dos Sinos - UNISINOS - S&#227;o Leopoldo - RS <p> <font face="Arial" size="3" color="#ffffff"><b>Forma&#231;&#227;o Pessoal</b></font> <p> Fot&#243;grafo auto-didata (tendo suas primeiras no&#231;&#245;es em disciplina espec&#237;fica na Universidade do Vale do Rio dos Sinos) com dedica&#231;&#227;o especial &#224; fotografia de natureza e macrofotografia digital de alta resolu&#231;&#227;o (utilizando c&#226;mera monoreflex digital). Auto-didata no desenvolvimento de t&#233;cnicas de tratamento de fotos e gravura digital, utilizando programa &#8216;Adobe Photoshop&#8217; desde 1994.<p> <br> <div align="right"><i>Jos&#233; Irion Neto - setembro/2007</i></div><br><br><br><br> On Digital Engravings: Relatively new technique of engraving, that has left of originals gotten through the digitalization of drawings, paintings, painting details, photographs, photos of installations mounted for the artist, digital photos of object details, photos or compositions of digital photos - which, are worked with some edition program of image, or graphical software and later printed matters with equipment of compatible quality, in general printer colorful high resolution of great format or digital photographic revelation. As all engraving - independently of the used technique - this is a workmanship that has an limited and standardized drawing, being numbered and signed for the artist - differentiating itself, thus, the engraving, as workmanship-of-art, of a mere commercial reproduction of the same one (more information on engraving, digital engraving, reprodutibilibility, ways of impression, norms of presentation and drawing, to see item ' links ', in the end of this text). On the Digital author and its Engravings - Used Concepts: I made my first digital engravings in 1994, when taking contact with equipment of graphical computation and image edition programs. They had happened the study heading, therefore at the time it kept a professional corporation in applied desktop publishing and graphical design to the advertising. However this my interest for the 'Digital Engraving' increased very to about one year, when I started to develop a specific work in this direction after to acquire a digital camera reflex high resolution, with excellent capacity to execute macrophotograph, which if became a tool of basic importance in my work. During the creation work I have for principle to leave of photographic originals of my authorship, as joined macrophotographs of object details, spots of ink to, painting details the perhaps made for me, with the use of diverse techniques, in special chalk oily crayon and colorful glue. I also use environment photos that they send to the abstract. I have the care of that all the used images to compose the engraving always have the same dimensions and resolution, so that they do not have discrepancies between the used layers, generating noises or pixelation (saved in cases where this is desired). With these elements, many times already with defined objective, and also, some times, counting on a little of 'fortune', I go composing with the photographic originals in an edition program of image ('Adobe Photoshop') in search of abstract scenes, where I try to get the plasticity maximum, with a minimum use of 'filters' (effects); but through a previous aiming of them you originate photographic (therefore many of which already leave of paintings and spots of ink or object painting details, etc) e, using techniques of overlapping, digital composition and manipulation of the colors chanels. I arrive with these images at my conception of Digital Engraving, which I look for to base, essentially, in the classic concepts of Form, Balance, Movement and Unit, which guide any type of visual art. Currently the reproduction of the engravings has been made through digital photographic revelation, but other ways of impression exist, as 'gicllè'. Other Considerations: The work that I present is an engraving work , and not of digital painting, therefore I do not use brushes, inks and painting techniques for computer, work my originals in ' layers ' (layers), and to each one I give a specific treatment and I determine a type of overlapping with the remains (as in a work of silk screen or lithography for former), colors es textures are gotten as in an engraving process: for the treatment or interposition/sobreposition of images and layers with specific characteristics. As in a work of conventional engraving, in the digital one also the engraving process exists, that in this in case that it is made by the projected light, from a digital original, on photographic paper, recording in this the image, which is disclosed from the usual chemical processing of the photographic revelation. Therefore one is not about a proposal and/or digital painting intention. It does not have ink use or brushes in the environment of the computer, and, previously to any procedure in the computer, all the used images are captured by digital tool (digital camera), the processing of the same ones are digital (through the computer), are the engraving (impression) of the same ones are made in laboratories of digital photographic revelation, characterizing the process as digital in all the stages of execution. Therefore ENGRAVING, and therefore DIGITAL. Of my part an attempt exists, an intention, a search of a 'Poetical Appearance' that makes a synthesis between photograph, physical painting (any that is the technique, also absence of definite technique), and engraving. Without considering an ideology, flag or movement, without suggesting that others make the same, and that then if they create rules and concepts of collective acceptance, that they guide this type of manifestation, or, even though, they come to inside excite oppositions between trends of the digital plastic art or not. To say that the manifestation of the individual freedoms is inherent to the art is little, therefore is inherent to the human being in all its instances. The work presented here is resulted of a personal option, in the measure where it has really an option, when something comes..., and is..., demanding to disclose itself... Relatively new technique of engraving, that has left of originals gotten through the digitalization of drawings, paintings, painting details, photographs, photos of installations mounted for the artist, digital photos of object details, photos or compositions of digital photos - which, are worked with some edition program of image, or graphical software and later printed matters with equipment of compatible quality, in general printer colorful high resolution of great format or digital photographic revelation. As all engraving - independently of the used technique - this is a workmanship that has an limited and standardized drawing, being numbered and signed for the artist - differentiating itself, thus, the engraving, as workmanship-of-art, of a mere commercial reproduction of the same one (more information on engraving, digital engraving, reprodutibility, ways of impression, norms of presentation and drawing, to see item 'links', in the end of this text).

On the author and its Digital Engravings - Used Concepts:

I made my first digital engravings in 1994, when taking contact with equipment of graphical computation and image edition softwares. They had happened the study heading, therefore at the time it kept a professional corporation in applied desktop publishing and graphical design to the advertising. However this my interest for the 'Digital Engraving' increased very to about one year, when I started to develop a specific work in this direction after to acquire a digital camera reflex high resolution, with excellent capacity to execute macrophotograph, which if became a tool of basic importance in my work.

During the creation work I have for principle to leave of photographic originals of my authorship, as joined macrophotographs of object details, spots of ink to, painting details the perhaps made for me, with the use of diverse techniques, in special chalk oily crayon and colorful glue. I also use environment photos that they send to the abstract.

I have the care of that all the used images to compose the engraving always have the same dimensions and resolution, so that they do not have discrepancies between the used layers, generating noises or pixelation (saved in cases where this is desired).

With these elements, many times already with defined objective, and also, some times, counting on a little of 'fortune', I go composing with the photographic originals in an edition program of image ('Adobe Photoshop') in search of abstract scenes, where I try to get the plasticity maximum, with a minimum use of 'filters' (effects); but through a previous aiming of them you originate photographic (therefore many of which already leave of paintings and spots of ink or object painting details, etc) and, using techniques of overlapping, digital composition and manipulation of the colors chanels. I arrive with these images at my conception of Digital Engraving, which I look for to base, essentially, in the classic concepts of Form, Balance, Movement and Unit, which guide any type of visual art.

Currently the reproduction of the engravings has been made through digital photographic revelation, but other ways of impression exist, as 'gicllè'.

Other Considerations:

The work that I present is an engraving work , and not of digital painting, therefore I do not use brushes, inks and painting techniques for computer, work my originals in ' layers ' (layers), and to each one I give a specific treatment and I determine a type of overlapping with the remains (as in a work of silk screen or lithography for former), colors es textures are gotten as in an engraving process: for the treatment or interposition/sobreposition of images and layers with specific characteristics.

As in a work of conventional engraving, in the digital one also the engraving process exists, that in this in case that it is made by the projected light, from a digital original, on photographic paper, recording in this the image, which is disclosed from the usual chemical processing of the photographic revelation.

Therefore one is not about a proposal and/or digital painting intention. It does not have ink use or brushes in the environment of the computer, and, previously to any procedure in the computer, all the used images are captured by digital tool (digital camera), the processing of the same ones are digital (through the computer), are the engraving (impression) of the same ones are made in laboratories of digital photographic revelation, characterizing the process as digital in all the stages of execution. Therefore ENGRAVING, and therefore DIGITAL.

Of my part an attempt exists, an intention, a search of a 'Poetical Appearance' that makes a synthesis between photograph, physical painting (any that is the technique, also absence of definite technique), and engraving. Without considering an ideology, flag or movement, without suggesting that others make the same, and that then if they create rules and concepts of collective acceptance, that they guide this type of manifestation, or, even though, they come to inside excite oppositions between trends of the digital plastic art or not. To say that the manifestation of the individual freedoms is inherent to the art is little, therefore is inherent to the human being in all its instances. The work presented here is resulted of a personal option, in the measure where it has really an option, when something comes..., and is..., demanding to disclose itself...

Academic formation:

Social Communication - Qualification in Advertising and Propaganda - concluded in january/1992.
University of Vale do Rio dos Sinos - UNISINOS - São Leopoldo - RS - Brasil.

Architecture and Urbanism - attended a course between 1988 and 1990 - The disciplines related to the History of the Art, Plastic and Graphical Drawing, in the search of a complementation to the course of Advertising, in that it says respect to the aesthetic questions and techniques related to the Graphical Design.
University of Vale do Rio dos Sinos - UNISINOS - São Leopoldo - RS - Brasil

Personal formation:

Self-taught photographer (having its first slight knowledge in the disciplines specific in the University of Vale do Rio dos Sinos) with special devotion to the photograph of nature and high resolution digital macrophotograph. Self-taught person in the development of techniques of treatment of photos and digital engraving, using program 'Adobe Photoshop' since 1994