美術家 大矢雅章の目
by guruguru-kobo
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by guruguru-kobo at 19:49
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カテゴリ:語学( 16 )
英語ノート「About editions 」
The edition is very important for a print artist because the total number of editions may determine a print price.Normally, the price is decided by the artist but the artist usually obeys a rule. My rule is to guarantee the same price and quality of my prints despite their number. That means that all the prints in a series are the same price and the same quality. I determine my prices based on size, editions and notoriety of my career.

Normally, the print works are less expensive than a same size paint work because the print work has many editions and the paint work has only one edition. In my case, I decide on the price of my works. At first, find a total price for the entire series. Then I divide the total price by the number of editions to find the unit price per work.

The price depends on the number of editions. For example between two works of the same size, one work printed 20 editions will be more expensive than another work of the same size printed 30 editions. The quality should not depend on the number of editions if the artist is a good printer. .
by guruguru-kobo | 2011-07-14 00:01 | 語学 | Comments(0)

Masaaki Ohya is a Japanese artist who specializes in print making. He has held many solo exhibitions in Japan and Europe. He has taken part in international exhibitions and won the high praise of many art critics. He is currently working on new projects such as workshops, new print exhibitions and solo exhibition object works. He also teaches new intaglio techniques and is currently researching new ideas for his works.

Masaaki Ohya was born and raised in Zama City, Kanagawa Prefecture in Japan in 1972. He continues to live in Zama City. He holds a 1998 MA in Painting from Tama Art University, Tokyo,
 having studied etching under Professor Yukio Fukazawa, Mayumi Morino and Tatsumasa Watanabe. After graduating in 1998 he worked as a Research Assistant in the Department of Printmaking at Tama Art University, Tokyo until 2000.
 From 2000-2002 he worked as a Research Associate in the Department of Printmaking also at Tama Art University, Tokyo.
 In 2001 he was a member of the operating committee for the Tokyo International Mini-print Triennial. 

He won The Grand Prize at The International Mini Print Cluj – Napoca in Rumania in 1997. Since 1997 he has won different awards including 2007 the 14th INTERNATIONAL PRINT BIENNAL VARNA BULGARIA [ Three Equal Awards ] in 2008 the 13th International Biennial Print Exhibition, Taiwan.(Silver CCA Awardz) and in 2009 IX Graphic Art Biennial DRY POINT in Uzice 2009 SERBIA (Gold Point Award).

He has been teaching the intaglio technique at public museums and Tama Art University for people from all walks of life since 2002 except for 2009 when he won a one year residency in Paris under the Japanese Government’s Overseas Study Program for Artists, where he studied etching techniques at The Atelier Contrepoint.

Since 2009 he has held several solo exhibitions in Japan and has been teaching intaglio techniques at Tama Art University for people from all walks of life and in several galleries.
by guruguru-kobo | 2011-06-02 00:01 | 語学 | Comments(0)
英語ノート「Starting point of my creation」

I often look at my father’s garden for inspiration. It isn’t a big garden but there are a lot of flowers in the garden. I like to look at it. There are big flowers, small flowers and all kinds of colors of flowers in the garden. Each color is very beautiful but, to me the form is more than interesting than the color. Each flower has a special form and very beautiful curves. I am going to use the form of flowers to make new works.
by guruguru-kobo | 2011-05-19 11:12 | 語学 | Comments(0)
英語ノート「About print process Etching and Drypoint」
A printing process in which the image is incised or etched into a metal plate using a variety of techniques and tools. Ink is applied to the recessed areas of the printing plate by wiping, dabbing, or a combination of both. The paper receives the ink from the incised marks and not from the top surface of the plate, although thin films of ink may be left on the surface to produce a variety of tonal effects. For intaglio printing, the paper is dampened so that under printing pressure it will be squeezed into all the inked recesses of the plate and around it (leaving a PLATE MARK if the plate is smaller than the paper).

One of the distinguishing characteristics of this type of printing is that the dried ink impression stands up from the paper in very slight relief, perceptible by touching with the fingers or by close inspection.

In all intaglio prints, except mezzotint, the design is produced from ink in lines or areas below the surface of the plate. The smooth surface is wiped of ink before printing. Considerable pressure is used in the press to force the ink out of the lines and areas and, to an extent, to force the paper into them, so the final printed image will appear to be slightly raised above the surface of the un-inked paper.

Lines are incised on a highly polished metal plate by means of a sharp-pointed instrument, diamond-shaped in cross section, called a burin or graver. The tool works like a plough cutting a furrow. The strength of the line may be increased by cutting deeper. The burin is held in a fixed position and, to produce a curved line, the plate itself is turned. This makes engraving a slow and painstaking technique producing controlled, formal results.


Lines are scratched into the metal plate using any sharp instrument with the same freedom as a pencil. The effect is spontaneous, not formal. Cutting into the plate throws up, on each side of the cut, ridges of displaced metal, which are called burr. In the printing of the plate, these ridges will also take some ink and print a kind of inky glow around the line.


Lines are bitten into the metal plate through the use of acid. To begin with, the plate is covered with a thin, acid-impervious coating called a ground which is smoked to a uniform black. Lines are drawn through the ground with a stylus baring the metal of the plate. Acid is then applied which eats into the exposed areas. The longer the plate is exposed to the acid, the deeper the bite and therefore the stronger the line. Different depths are achieved by covering some lines with acid-impervious varnish (stop-out) and biting others a second (or third) time. The appearance of etchings is usually free and spontaneous but the technique has occasionally been used to produce results almost as formal as engraving.

(From Richard)
by guruguru-kobo | 2011-05-11 23:30 | 語学 | Comments(0)
英語ノート「Drawing as Print」


Drawing as Print

I am making “Drawing as Print” and I am going to make 96 small print works from this April until next September because I want to show a new solo exhibition of the works. This exhibition will be different than previous exhibitions that I have done because the audience can handle original prints.

Generally, It takes a long time to make an intaglio work. But this time, I am going to work faster and make intaglio works quicker. It will look like drawing on paper. This time, I want to make prints of my artistic feelings. I haven’t finished my drawings yet, so I am going to looking forward to finishing my images in order to making prints. It is very sensuous so it isn’t perfect but it represents my feelings. I will change my images to translate my feelings into print. I want to make my new images from within my feelings.
by guruguru-kobo | 2011-04-28 00:01 | 語学 | Comments(0)







by guruguru-kobo | 2011-04-21 09:44 | 語学 | Comments(0)
英語ノート「The Star Rymes」

About The Star Rymes

I made this work in Paris from 2009 until 2010 in Tokyo after I has returned from Paris. I collaborated with Robert Marteau in The Star Rhymes. The works consist of 12 poems and 12 prints. The theme is that all life a story lives under the sky. The 12 numbers represent time in Asia and Europe. I want to represent life from start to end. The poet made all of the poems from my pictures and he wrote all of the poems on the prints and the works have a Paris sky view on the back.

So, the works on one side represent each story.


No1: Represents the ultimate source of life.

No2: Represents cell fission and the nucleus of humans or stars.

No3: Represents that life has respective style and form.

No4: Represents that all incidents decide destiny.

No5: Represents that water bring is the source of all life.

No6: Represents chance in a chaotic universe.

No7: Represents that destiny is present in the universe.

No8: Represents that life shines.

No9: Represents that the life is finite.

No10: Represents that mother earth has new life.

No11: Represents the power of the sun.

No12: Represents heavenly bodies. All life turns around Polaris.
by guruguru-kobo | 2011-04-20 22:09 | 語学 | Comments(5)
英語ノート 「A Priori Towane 2011 serias」
I have used the same style and same theme in my works for a few years. Now, I am changing the representation of my works every year but many people don't see the difference. But, I need a long time to make a major change in my work style. So, I need high etching skill to represent my new imagery. Every time, I change my technique to my works I need to practice in using the new technique. I am making new works “A Priori Towane 2011” series. It represents the same theme as my previous works but it has another feature. I represent the flowers as a symbol of life. I use flowers in the work now because I communicate my image to other people and to help them understand my image.
by guruguru-kobo | 2011-04-20 21:48 | 語学 | Comments(2)
英語ノート The Yamamoto Art collection Exhibition talk show

Place : The Sato Museum of Art

Subject:The Yamamoto Art collection Exhibition talk show subject : collector and young artists

Date: February 7, 2010

Time: 15:00-17:00

Limit:100 people


About the exhibition and talk show

Mr. Yamamoto is a very famous art collector in Japan. He is an office worker and he has been collecting art works for 30 years. He usually looks for artwork at art galleries on the weekend. He has about 1300 art works. This time, He is showing 160 works in his collections at the Sato Museum of Art and the exhibition is also holding a talk show “collector and young artist”. Members of the panel are 3 young artists. (an oil painter, a print artist, a Japanese painter) and Mr.Yamamoto and the Sato museum curator. We will discuss “How do I look for and find a collector of my age and How do I find good artists? the panelists will talk about their feelings about art in general. The talk show will help find the kind of artwork you are looking for at an art gallery.
by guruguru-kobo | 2011-02-22 00:01 | 語学 | Comments(0)
英語ノート メゾチントワークショップ ギャラリースペースM

Subject: Mezzotint

Gallery Space M workshop

Date: 22 November 2009

Time: 13:00-17:00

Limit: 8 people

Price: 1500yen

■ About the workshop

I am having the mezzotint workshop at the Gallery Space M in Maebashi Gunma Prefecture Japan. The mezzotint technique makes very beautiful shades of black. I will bring my press machine and some of my print tools to the Gallery Space M so we can try the mezzotint together.
by guruguru-kobo | 2011-02-15 00:08 | 語学 | Comments(0)