Orientador: Milton Terumitsu Sogabe / Banca: Norberto Stori / Banca: Luiz Claudio Mubarac / Resumo: O presente trabalho trata do estudo da gravura quando realizada com tecnologias digitais, então denominada de infografia impressa. A partir de um levantamento histórico, verifica-se a evolução técnica e conceitual da gravura até seus desdobramentos contemporâneos, quando recursos digitais passam a ser utilizados na execução das estampas. Considerando a multiplicidade de usos das técnicas gráficas na arte, tais desdobramentos, juntamente com os modos mais tradicionais de construção de estampas, também são apresentados aqui. A partir daí, os aspectos que fundamentam a estrutura física e conceitual do universo digital são expostos e confrontados com aqueles que estruturam as técnicas tradicionais de gravura, a fim de estabelecer as diretrizes que podem nortear este novo modo de construção de estampas. Entenda-se que o caráter de novidade não se aplica somente a transformações técnicas, mas também à estrutura organizacional, operacional e conceitual. Entretanto, veremos que apesar das mudanças, a infografia impressa pode carregar os mesmos fundamentos da gravura tradicional, como as idéias de matriz, reprodução, provas e impressão, adequadas ao novo medium de produção. Considerando também que esta pesquisa parte de uma reflexão prático-teórica, ao final é apresentada uma série de estampas desenvolvidas a partir dos questionamentos e elucidações levantados ao longo do processo de investigação. Das estampas que compõem a série, uma é descrita detalhadamente desde sua concepção até a construção e posterior impressão. A apresentação de um produto plástico ao final da investigação vem corroborar de maneira prática os pontos defendidos aqui, contribuindo com o entendimento e sugerindo novos caminhos para a pesquisa sobre arte impressa e novas tecnologias / Abstract: This academic work presents a study of printmaking with the application of digital technologies - then called printed infographies. Starting with a historical review, we can verify the technical and conceptual evolution of printmaking until its contemporary developments, when digital resources are used to create it. Considering the diversity of uses of graphic techniques in art, such developments, together with the traditional manners of printmaking, are also presented in this study. From this moment on the fundamental aspects of the physical and conceptual structure of the digital universe are exposed and compared with those which bases the traditional printmaking techniques, installing the directions to this new way of create prints. The novelty factor is not only in the technical transformations, but also in the organization, operation and conceptualization. However we can verify, despite this changes, that printed infographies can carry the same basis of traditional printmaking - like matrix, reproduction, proofs and printing - fitted to the new medium. Since this investigation is also a result of a practical / theoretical thought, a series of prints is presented at the end. This series was developed based on the questions and responses gathered during the investigation process. Of all prints that are in the series, one is fully described, from is conception to the construction and printing. The presentation of a final practical an artistic work comes to authenticate the points defended in this study, thus contributing to understanding and suggesting new ways for the research in printmaking and new technologies / Mestre

As Yet Uncertain: A Portrait in Procession is an installation of prints featuring a combination of image and text. Drawing inspiration from various depictions of the grotesque in art and literature, the project examines the grotesque form, both in body and mind. As Yet Uncertain: A Portrait in Procession observes how the grotesque—a body that is always in the act of becoming—relates to uncertainties and ambivalence in identity and humanity.

Years ago, my mother choreographed a dance entitled "Seven Dreams in Color", a seven-act dance wherein each act relayed a memory of her childhood. These memories were colored by her individual experience and often seemed warped to her, as if having been filtered through a dream. I seek to recontextualize these dreams through my own lens as a way of honoring my mother's history and my own memories. Each work functions, through color and composition, as a separate act and embodies a non-linear memory. I utilize painting, drawing and printmaking to harness dichotomous visual elements in order to convey scenes as tumultuous as both the world around me and my own shifting moods. Abrupt changes of atmosphere are of particular interest to me. I portray this shift through the visual disruptions of cropping imagery, color or medium shifts, and scale changes. Graphic schisms take my work to an unpredictable conclusion while confounding the viewer. My work reveals my desperation and need to translate all of the conflict, battles and resolutions that I observe.

The work explores the body and its limitations through the lens of printmaking.The surface of the body acts as a barrier between our internal and external selves exposing the vulnerabilities between mind and body. As fragile and receptive beings, the past builds up and manifests itself through our daily actions and repetitive tendencies. There is a strong desire to control our appearance and physical signs of well-being.

Rembrandt's influence on the medium of printmaking can only be explained through his methodology in the production of his images. Experimentation is the key word to describe his evolution in style as he mastered the skills necessary to achieve his desired result. This paper will focus on this experimental attitude towards the medium and the subsequent inspiration it gave to me and other artists. Also included is a technical and stylistic comparison of various etchings by Rembrandt and my six prints that serve as a visual illustration and personal interpretation of the artist's method. My research consisted of the consultation of many texts that aided in my supportive argument and eventual conclusion that Rembrandt created his place in history as an avant-garde in printmaking through his willingness to experiment with various methods in the production of his images.

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