MURAL PROYECT ON THE ROAD

For public institutions that wish to have a mural that represents the culture, identity and it is FREE, to make available this project called Mural in PATH, which took place since 1996.




It is my way of contributing my bit to change this society, even in the peripheral area where the mural.
I should clarify that the murals that I do, if they are external, they are not painted, because I think a waste of time and work that one wall is damaged and end up being a photo.



We have data from our past through the monuments made with the finest materials. The painting is ephemeral, is disposable, as are the objects of consumption and as claimed by the system that we are human beings.
The technique used by me among others is the sgraffito mural, of Etruscan origin and that color is a bas-relief made of layers of plaster with lime mineral pigments.
Each layer provides a different color on top of one another and carve them fresh.



It is resistant to attack by spray paints as only clean the walls with paint remover and this is not damaged.
There are engravings of this type to the Mayan pyramids having withstood the test of time.
As for the indoor wall, if I can get in touch to offer different techniques used depending on the characteristics of each architectural space.



Then we can see some pictures of work done and I invite you to see the mural project in the PATH.





PD:
For the artists who disagree with my ideological stance on the importance of the durability of a mural, I advise them to make sketches on paper and use the virtual mural by Photoshop, and will save work and to be the same (one photo).

Draft painted murals in the city of Iquique chile republic

In Iquiqe put up a mural project in celebration of the bi-centenary.
The presence of young artists associated with the urban art and painting, led to the city's streets are filled with art and color.

Agenda mural course taught by Professor Cristian Del Vitto

CURRENT MURALS

AGENDA

History of Mexican muralismo.Muralismo. The mural in Argentina.
Current Sense mural.
Differences between a wall and a giant painting.
The structure of the mural and its relationship to the global space.
Guidelines building space mural.
The topic: the characters. The dialogue inside and outside the wall and its relationship with the viewer.
The first notes and sketches.
The general layout and use of scales.
The poliangularidad. Practice with sketches. .
Preparation of a project.
Characteristics of an overall project level and corporate level.



1st Class

History of the mural. Mexican muralist. Mural in Argentina.
As a first step to inform students about the course, as one goes to work, pointing it, what kinds of knowledge they provide and will clarify any doubts that can emerge.
Then he gives a talk on the history of mural art, mural art in pre-Columbian America, the rise of Mexican mural art and its impact on Argentina.
They are given a set of photocopies concerning these issues.

2nd CLASS

CURRENT SENSE Mural

Will discuss the different objectives of mural painting at different times and the differences with the current directions.
Concepts are read by different artists.
It may discuss these ideas with students' personal ideas.





3rd CLASS

DIFFERENCES BETWEEN A WALL AND A
GIANT PAINTING

Naming the key features that have to have the mural.
"The respect of architecture. (Combined work between architect and muralist).
-Use of poliangulares. (Main viewing points of the beholder).
-Removal of Renaissance perspective by simultaneous combinations of viewing angles of objects and people.
-Adaptation to the environment of the composition of the wall.
-Techniques to get the rebate of corners and corners when necessary.
-Organization of the reading of the play.
-Balanced handling of straight lines and curves to give a monumental character.
-Exaggerations in foreshortening in order to give greater strength to the characters.
-Management of rhythms in the structures of murals by the shape of the wall are too static.
"The importance of the durability of the mural.
Size-ratio between image and viewer
(Illustrative examples).
-Management of figuration so that the work can be seen by all social groups.

4th CLASS

WALL STRUCTURE AND THEIR RELATIONSHIP WITH SPACE GLOBAL.
SPACE GUIDELINES FOR THE CONSTRUCTION OF A MURAL.

This class will focus on managing the architecture of the wall:
"Exploiting the outgoing (ochavas, columns, sharp angles, etc).
-Use of parables ..
Finally, take into account:
-Relationship with adjoining forms (nearby buildings, trees, sidewalks, etc.)..
-Link with the surrounding colors.
-Study of the main points of view.
Travel-study of the beholder.

5th Class

THE ISSUE: THE CHARACTERS. INTERNAL AND EXTERNAL DIALOGUE AND ITS RELATIONSHIP TO THE VIEWER.

Students choose a city wall.
This wall must have an agenda item in which the sketch work. (Regarding the history of the neighborhood with a character recognition, with an industry or firm, institution, etc.)..
The mural will have to tell the past from the topic at hand (history, people who had to do with it, objects, etc..), This (which is what is happening with the issue today, technological advances, some current problems with On the subject, etc.). and finally have to tell the future (which is what we hope for society to this issue, projects, desires, etc.).
To establish a dialogue not only inside the wall, but one outside, we study the behavior of the pedestrian observer, what are their customs in this place, where it stops, and so on.
This must be done within the wall to create a continuation of such actions and thus create a stake of as a more transient Plate.




6th CLASS

FIRST NOTES AND SKETCHES

In this class students will head to the wall architecture chosen to draw them in their main points of view (at least three), take pictures and recorded the main behavior of pedestrians.
Simultaneously investigate mural on the theme of collecting written and photographic data.

7th CLASS

THE POLIANGULARIDAD. PRACTICE WITH SKETCHES

Will explain that the poliangularidad, are illustrated with works by acclaimed authors shall be observed on different walls poliangulares way to be exploited for carrying out the general outline.

8th Class

SKETCH OF GENERAL CONDUCT AND USE OF SCALES

Once compiled everything you need is write the script for the mural and will start to completion of the sketch.
To work the outline deal with actions taken earlier in scale.
If necessary, explain how you work with scales.
The general layout should be done in color with materials that will be chosen by the students.

9th Class

MURAL PROJECT PREPARATION

This class will give various examples of projects and also know that petition requirements for large enterprises within their facilities mural works.
Finally students will perform a group project, this project will serve for the subsequent implementation of the mural and presenting it to the appropriate authorities to enable implementation.




NOTE:

The seminar will be delivered by approved having the general outline and the project completed.