Photographic techniques for urban art documentation
<p><span style="font-family: Calibri; font-size: medium;">Urban art or street art, known worldwide as graffiti , has become a form of expression, which often has a great visual impact, and now is being part of the image of almost all cities. The majority of these manifestations...
Saved in:
| Main Authors: | , , |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
University of L'Aquila
2020-06-01
|
| Series: | Disegnare con |
| Subjects: | |
| Online Access: | https://disegnarecon.univaq.it/ojs/index.php/disegnarecon/article/view/689 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| _version_ | 1849236193059799040 |
|---|---|
| author | Pablo Rodriguez-Navarro Pedro Manuel Cabezos-Bernal Teresa Gil-Piqueras |
| author_facet | Pablo Rodriguez-Navarro Pedro Manuel Cabezos-Bernal Teresa Gil-Piqueras |
| author_sort | Pablo Rodriguez-Navarro |
| collection | DOAJ |
| description | <p><span style="font-family: Calibri; font-size: medium;">Urban art or street art, known worldwide as graffiti , has become a form of expression, which often has a great visual impact, and now is being part of the image of almost all cities. The majority of these manifestations are carried out illegally, and they consist of a combination of seemingly disjointed texts, whose main aim is to achieve a sensory distraction, a revolutionary or an anti-system act, instead of having an artistic purpose itself. However, there are other graffiti works that can be considered as masterpieces, since they have an artistic value that is comparable to any piece of art.</span></p><p><span style="font-family: Calibri; font-size: medium;">Another distinctive aspect of graffiti works is its temporary character, so they are ephemeral and non-conservable pieces, since they are exposed to the climate elements. On the one hand, this fact is not necessarily a problem for the vast majority of graffiti, but, in the case of a graffiti masterpiece, it is undeniable that this distinctive feature of mutability, which is an intrinsic part of its artistic objective, should not avoid its correct documentation as a work of art. As its material transience has to be respected, at least, we should document them to preserve its memory and to create a graphic database of urban art masterpieces for future diffusion on other media. The main aim of this contribution is to show different photographic methodologies for the doc-umentation of graffiti on architectural supports. These methodologies have been tested, analysed and evaluated, establishing a suitability criteria according to the conditions in which the works are placed.</span></p><p><span style="font-family: Calibri; font-size: medium;">Finally, some conclusions will be drawn on the different documentation methodologies for these urban artworks, which are often photographed both in their sequence and in their final art, without having an adequate architectural graphic record.</span></p><p><span style="font-family: Calibri; font-size: medium;">DOI: </span><a href="https://doi.org/10.20365/disegnarecon.24.2020.23">https://doi.org/10.20365/disegnarecon.24.2020.23</a></p><p><span style="font-family: Calibri; font-size: medium;"><br /></span></p> |
| format | Article |
| id | doaj-art-49ef877b200b4543ab0b2a7dc82e7ecd |
| institution | Kabale University |
| issn | 1828-5961 |
| language | English |
| publishDate | 2020-06-01 |
| publisher | University of L'Aquila |
| record_format | Article |
| series | Disegnare con |
| spelling | doaj-art-49ef877b200b4543ab0b2a7dc82e7ecd2025-08-20T04:02:26ZengUniversity of L'AquilaDisegnare con1828-59612020-06-011324123318Photographic techniques for urban art documentationPablo Rodriguez-Navarro0Pedro Manuel Cabezos-Bernal1Teresa Gil-Piqueras2Universitat Politècnica de ValènciaUniversitat Politècnica de ValènciaUniversitat Politècnica de València<p><span style="font-family: Calibri; font-size: medium;">Urban art or street art, known worldwide as graffiti , has become a form of expression, which often has a great visual impact, and now is being part of the image of almost all cities. The majority of these manifestations are carried out illegally, and they consist of a combination of seemingly disjointed texts, whose main aim is to achieve a sensory distraction, a revolutionary or an anti-system act, instead of having an artistic purpose itself. However, there are other graffiti works that can be considered as masterpieces, since they have an artistic value that is comparable to any piece of art.</span></p><p><span style="font-family: Calibri; font-size: medium;">Another distinctive aspect of graffiti works is its temporary character, so they are ephemeral and non-conservable pieces, since they are exposed to the climate elements. On the one hand, this fact is not necessarily a problem for the vast majority of graffiti, but, in the case of a graffiti masterpiece, it is undeniable that this distinctive feature of mutability, which is an intrinsic part of its artistic objective, should not avoid its correct documentation as a work of art. As its material transience has to be respected, at least, we should document them to preserve its memory and to create a graphic database of urban art masterpieces for future diffusion on other media. The main aim of this contribution is to show different photographic methodologies for the doc-umentation of graffiti on architectural supports. These methodologies have been tested, analysed and evaluated, establishing a suitability criteria according to the conditions in which the works are placed.</span></p><p><span style="font-family: Calibri; font-size: medium;">Finally, some conclusions will be drawn on the different documentation methodologies for these urban artworks, which are often photographed both in their sequence and in their final art, without having an adequate architectural graphic record.</span></p><p><span style="font-family: Calibri; font-size: medium;">DOI: </span><a href="https://doi.org/10.20365/disegnarecon.24.2020.23">https://doi.org/10.20365/disegnarecon.24.2020.23</a></p><p><span style="font-family: Calibri; font-size: medium;"><br /></span></p>https://disegnarecon.univaq.it/ojs/index.php/disegnarecon/article/view/689urban artgraffitiphotogrammetrygigapixel photographystitchingsfm/im |
| spellingShingle | Pablo Rodriguez-Navarro Pedro Manuel Cabezos-Bernal Teresa Gil-Piqueras Photographic techniques for urban art documentation Disegnare con urban art graffiti photogrammetry gigapixel photography stitching sfm/im |
| title | Photographic techniques for urban art documentation |
| title_full | Photographic techniques for urban art documentation |
| title_fullStr | Photographic techniques for urban art documentation |
| title_full_unstemmed | Photographic techniques for urban art documentation |
| title_short | Photographic techniques for urban art documentation |
| title_sort | photographic techniques for urban art documentation |
| topic | urban art graffiti photogrammetry gigapixel photography stitching sfm/im |
| url | https://disegnarecon.univaq.it/ojs/index.php/disegnarecon/article/view/689 |
| work_keys_str_mv | AT pablorodrigueznavarro photographictechniquesforurbanartdocumentation AT pedromanuelcabezosbernal photographictechniquesforurbanartdocumentation AT teresagilpiqueras photographictechniquesforurbanartdocumentation |