It is the aim of this practice-led PhD to explore the processes that attend to the production of a linocut relief print through a framework whose key concepts are liminality and embodiment. In this pursuit the thesis investigates the subjects of skin and surface as well as cuts and cutting through themes and issues of touch and time that include connection and continuity, 'direct' creative touch, artist-tool/technology relations, memory, repetition and rhythmicity, transmissions of time, translation, tracking, chronology and equivalence. These subjects and themes' liminal qualities and characteristics are mirrored by a methodology devised and employed throughout the research. This methodology employs the interpenetrative, interconnected, reflexive and autoethnographic methods of a durational, physically challenging repeat printmaking project, longhand letter writing, and the multiple-register writing of this thesis. It does so in a purposely oblique and 'wayfaring' (Tim Ingold, 2011) approach. Binaries and boundaries are thus explored without risking their further enforcement, allowing diverse aspects and subjects to flow into and between one another with the freedom to contrast, contradict, and manifest inconsistently whilst ultimately moving towards a more comprehensive understanding of the thesis' subjects. This liminal methodology contributes a set of research tools and framework propositions to the existing field of research in and of creative practice, including printmaking, and its embodiment.

Holy circle whereat invoke waried in symbol and forms, people superimpose their understanding of life, therein lies phenomenon, secret force. Mandala – wayfaring to centre of a periphery, from emotions and minds topsyturvy to unseen poise, pivot, self. A symbol of mandala – eternal thought, fence in everlasting. Formation, transformation. Conceive symbol, to see him inly sight. They quasi to create the inne link power, the thank to event ones own interior reality. Aburden of my graphic collection ,,Internal composition” l created meditations space. Major only purposeis graphic creation whiteness, sublime.

This thesis is practically and theoreticaly composed. The theoretical part of this thesis deals with visual processing of the theme ?The Animal? in the past, including both graphics and drawing too. The thesis also discusses capture of animal movements in the artistic way. Mentioned are authors with art works in the field connected with the thesis theme, and their influence on my work. Besides other topics the discussion on usage of the technique within the educational practice is included. Practical part of thesis includes the set of fourteen prints in formats A3 and A4. The prints are processed in both black and white and color by use of the reliéf printing, specifically linocut, combined with watercolor coloring.

This art historiographical study focuses on African American artist Elizabeth Catlett’s linocut series I Am the Negro Woman, composed of fifteen images and executed in 1947 while Catlett was a visiting artist at the Taller de Graphica Popular in Mexico City. The series was exhibited shortly thereafter at the Barnett Aden Gallery in Washington, D.C., only to be largely marginalized by the art historical discourse of the following twenty-five years; however, during the Civil Rights Movement, a renewed interest in Catlett and her works began to develop. Later Feminist and Post-colonial art historians, seeking to widen the narrow mid-twentieth century canon, incrementally began to address these images in accordance with their respective interests, expanding the scholarship and increasing the exhibition of the series. The reputation of these images continues to grow, moving I Am the Negro Woman out of the margins of the art historical discourse into a more valued and recognized position.

The vibrant school of printmaking which emerged and flourished in New Zealand between 1900 and 1950 forms the subject of this thesis. It examines the attitudes of the printmakers, many of whom regarded the print as the most democratic of art forms and one that should reflect the realities of everyday life. Their subject matter, contemporary city scenes, people at work and leisure, local landscapes, Maori and indigenous flora and fauna, is analysed and revealed as anticipating by over a decade that of regionalist painters. They are also identified as the first New Zealand artists to draw attention to social and environmental issues. Trained under the British South Kensington art education system, New Zealand printmakers placed great importance on craftsmanship. Although some worked in a realist style others experimented with abstraction and surrealism, placing them among the forefront of New Zealand artists receptive to modern art. Expatriate New Zealand printmakers played significant roles in three major printmaking movements abroad, the Artists' International Alliance, Atelier 17 and the Claude Flight Linocut Movement. The thesis redresses the failure of existing histories of New Zealand art to recognise the existence of a major twentieth-century art movement. It identifies the main factors contributing to the low status of printmaking in New Zealand. Commercial artists rather than those with a fine arts background led the Quoin Club, which initiated a New Zealand school of printmaking in 1916; Gordon Tovey's overthrow of the South Kensington system in 1945 devalued the craftsmanship so important to printmakers; and the rise of modernism, which gave priority to formal values and abstraction, further exacerbated institutional indifference to the print. The adoption of Maori imagery by printmakers resulted in recent art historians retrospectively accusing them of cultural appropriation. Even the few printmakers who attained some recognition were criticised for their involvement in textile and bookplate design and book-illustration. Key artists discussed in the thesis include James Boswell, Stephen Champ, Frederick Coventry, Rona Dyer, Arnold Goodwin, Thomas Gulliver, Trevor Lloyd, Stewart Maclennan, Gilbert Meadows, John L. Moore, E. Mervyn Taylor, Arthur Thompson, Herbert Tornquist, Frank Weitzel, Hilda Wiseman, George Woods, John Buckland Wright and Adele Younghusband. Details of the approximately 3,000 prints created during this period are recorded in a database, and summarised in the Printmakers' Survey included in Volume Two. In addition reproductions of 156 prints are illustrated and documented; while a further 43 prints are reproduced within the text of Volume One.

The diploma thesis called "(APPLIED) GRAPHICS of Zdenek Rykr" is composed of theoretical and practical part. The aim of this thesis is to introduce the life and work of Zdenek Rykr, especially his contribution to applied graphics, and to connect these findings with the practical part. The theoretical part is divided into two main chapters. The first one focuses on the definition of applied graphics and its development in the early 20th century in Europe and then in Bohemia. The second, and more crucial, part is about the life and advertising work of Zdenek Rykr, about his loved ones, and about Rykr's sudden suicide. The practical part is represented by the author's book which is a collection of graphic sheets made using the linocut technique. Graphic sheets are presented in the similarly designed case, and are freely inspired by the diverse travel life of Zdenek Rykr and his advertising work.

E. Mervyn Taylor (1906-1964) was a pakeha artist whose prints drew influence from Maori culture and motif. He was one of a small number of artists who developed interest in Maori culture during the 1940s and 1950s. He expanded interest into detailed study of Maori culture, and interaction with Maori, and produced a significant body of prints on this subject during his career. Taylor's prints were acclaimed during his lifetime, but in the decades after his death, his reputation faded to the extent that he became relatively obscure. This persisted until the late 1980s, when art historical reassessment of his work began. This thesis forms a part of this continued re-evaluation. It focuses on Taylor's prints on Maori subjects, an area not sufficiently scrutinised in an academic context. It aims to reach deeper understanding of his prints through historical analysis of the factors that influenced him to choose Maori, and their culture as subjects for his artwork. The thesis also examines why Taylor's reputation was so emphatically based on his New Zealand heritage, as well as the quality of his craftsmanship, his beliefs about which formed the foundation of his philosophy. Nationalist and regionalist notions also figured in his aesthetic ideals. His prints are also placed in relation to the modern debate over cultural appropriation in art. Greater recognition and understanding of Taylor's oeuvre may be achieved by establishing why he chose Maori subjects, and what specific features they contributed to the character of his work.

Diploma thesis named "Biblical parables and its artistic interpretation" consists of two parts theoretical part and practical part. The goal of the theoretical part is to compare biblical story from the Old Testament with a New Testament parable, describe and explain all fundamental symbols found in these narratives. The first part of the diploma thesis describes the origin of Bible and Bible in general. The story of Sacrificing of Isaac is chosen from the Old Testament and parable of Prodigal son is chosen from the New Testament. The theoretical part deals with description of both narratives and the symbols involved in them and also artists who were inspired by the Book of books in their work. In the practical part findings form theoretical part will be applied to create free graphical papers using linocut and woodcut techniques with the Prodigal son comeback theme.

Diploma thesis has an aim to present to students of elementary school graphical methods of relief printing by method of methodological video, for better understanding and imagination of students. The theoretical part occupies with graphic, the fenomena, that accompanies us from prehistoric times. The thesis is going to present method of relief printing, its development and important authors of relief printing. It makes the students familiar with the most important graphic works in history and makes their analysis. It presents the most common subjects and social aspects of graphical production in the final part. The practical part elaborates technology of instructive video and following application for students of various age and its final marking their work. The conclusion of thesis create supplements of the practical part, examples of models and final works.

De toutes les régions de France, la Bretagne est celle qui attira le plus les artistes entre le milieu du XIXe siècle et le milieu du suivant. Si sa présence dans la peinture est connue, il n’en va pas de même dans le domaine de l’estampe. L’objet de cette thèse est de combler cette lacune en analysant sa place, comme thème, chez les graveurs sur bois français et étrangers. L’étude s’appuie sur un corpus fondé sur le dépouillement des fonds publics et privés. Son analyse révèle l’importance de la thématique dans chaque phase de l’évolution de la gravure sur bois occidentale entre 1850 et 1950. Pour chacune sont étudiées les contributions des graveurs les plus représentatifs. L’apparition de la Bretagne dans la gravure professionnelle d’interprétation est retracée, puis précisée sa place dans la gravure sur bois originale entre 1880 et 1900. Les partis opposés des coloristes et des tenants du noir et blanc divisent en deux sections les chapitres suivants. L’étude des premiers met en évidence l’impact des procédés japonais de gravure et d’impression. Elle se poursuit par la résurgence du camaïeu puis le retour au coloriage après impression. L’analyse de la production en noir met en lumière les pôles autour desquels gravitent presque toutes les représentations de la Bretagne : inspiration maritime et thématique rurale. Elle souligne la contribution régionale à la vogue du livre illustré en gravure sur bois dans l’entre-deux-guerres. Enfin, la présentation d’une production militante constitue un épisode de ce panorama d’une production qui, pour être régionale dans son inspiration, n’en constitue pas moins un exemple représentatif de l’histoire d’un art et d’une technique. / Brittany is the region of France which attracted the greatest number of artists between the mid-19th and 20th centuries. The presence of painters is known, but the same cannot be said for the field of etching. The aim of this thesis is to contribute towards filling that gap.The study is based around the creation of a corpus. Its analysis reveals the importance of the theme adopted during each of the main periods of the development of western woodcut printing between 1850 and 1950. The definitions of these themes form the internal dynamic of the thesis.First of all the appearance of Brittany in professional interpretive etching is related. Then its place in the birth of original wood block printing is detailed. The following chapters are devoted to the opposing groups of artists, those who used colour and those who held to the aesthetic of black and white prints. The study of the colourists begins by highlighting the impact of Japanese wood-block techniques. It is followed by the resurgence of camaïeu and then the return to the western tradition of colouring after printing.Analysis of the more technically homogenous black print production focuses attention on the two themes around which almost all representations of Brittany revolve: the sea and the countryside. It underlines the regional contribution to the vogue for books illustrated with woodcut prints during the period between the wars. Finally, the presentation of militantly Breton works marks a specific episode of this panoramic overview of artistic output which, despite its regional origins, symbolises no less a part of the history of the art and technique of wood-block carving.