Photo report from the school exhibition. Seasons. Virtual exhibitions. Typology. Structure. Method of creation
“The exhibition is the same artistic product as the exhibits that are exhibited at it,” she believes, behind which she has 12 years of experience in the Kremlin Museum, as well as the organization of major international exhibitions, in particular the already legendary Moscow-Berlin "(1995) and" The Great Utopia: Russian Avant-garde 1915-1932 "(1992). As part of a lecture for the students of the RMA faculty, Zelfira Ismailovna spoke about how, ideally, the process of organizing an exhibition project should take place.
About exhibitions yesterday and today
“Exhibition work is one of the most spectacular and attractive trends in contemporary art life. An exhibition is always a sight to behold. Today, when the demands of the public are constantly growing, the general standards of exhibition projects are gradually decreasing. This is happening primarily because museums and galleries are faced with problems that they could not even have thought of 20 years ago. People need to be intensely attracted to exhibitions, the result of which is populism in the approach to the presentation of material and carelessness in execution - exhibitions very quickly replace one another and are prepared in a very short time. Now their main competitor is the Internet, which has spoiled people with a large stream of high-quality images, practically erasing in their eyes the difference between the original work and the picture on the screen.
Today's viewer, coming to the exhibition, wants, first of all, to experience a vivid impression and read a certain message. Therefore, if earlier it was enough to collect rare and unknown material and it worked, now the exhibition should begin with a bright and original idea, which will be read in the selection of exhibits, their location, catalog, etc. ".
About where to start
“Curators come up with exhibitions. In the West, this position is one of the most honorable. The curator there is a king and a god. But if we talk about Russian museums, then the role of curators is often underestimated, and people in whose hands are concentrated administrative resources come to the fore. Of course, now the situation is changing, but if we talk about what happened 20 years ago, when I first got on a long-term internship in the United States, the difference was striking. In our museums, a curator is a scientist who is overloaded with a large amount of curatorial and administrative work to such an extent that he has practically no time for creativity. In America and Europe, the one who comes up with an exhibition and the one who makes it are always different people. And this difference is clearly seen by the administration of the museum, which knows that from how interesting and new idea exhibitions will be proposed by the curator, the opinion of the museum as a whole will depend.
The curator's idea should be embodied in a text that will spell out a clear concept of the exhibition. With this concept, the curator goes to the management of the museum, which makes the final decision. If the project is approved, then, in addition to the concept, a colorful presentation is created, proving that the exhibition will be significant and loud, with which the museum goes to the sponsor.
Almost all museum exhibitions are sponsored. In the United States, in addition to publicity, sponsors receive large tax breaks, which is a significant incentive for them. In Russia, there is no law on patronage, so sponsors should be treated with special attention here. You must love them and, most importantly, appreciate the contribution they make to the development of the museum. It is important not to forget to place their banners, invite them to the opening, give the opportunity to write a welcome word to the catalog, etc. And if you follow all these rules, then it gives its results: sponsors begin to be really interested in the projects of the museum. "
About the main budget items of the exhibition
“Once the concept is formulated, it is important to present the preliminary project budget. It usually includes several main items of expenditure.
Firstly, it is the transportation and insurance of works of art, the requirements for which have increased significantly recently, especially when it comes to bringing exhibits from abroad. Any serious flaw in this area complicates further work with Western colleagues. As for insurance, this is a separate big conversation. There are many nuances and restrictions when working with domestic insurance companies, many of which themselves undertake to insure no more than 5 million conventional units, and everything else is reinsured by reliable reinsurers abroad. Unfortunately, in our country there is no concept of “state guarantee” that replaces insurance, which significantly limits our possibilities. State patronage allows foreign museums to collect exhibits with a total insurance value of several billion conventional units under one roof.
Secondly, it is the creation of exhibition design and installation. Today people are sometimes more interested, not in what they see, but in how it will be presented to them. And so that new technologies and intrusive design decisions do not infringe upon the exhibits themselves, but, on the contrary, reveal the essence of this exposition, a talented and competent exhibition architect is needed. In Russia, there are many people who can think spatially without hampering the curator's idea and the exhibits themselves. Fortunately, today museums already understand that the exhibition itself is a work of art, therefore, more and more often foreign designers and architects are invited. "
How to organize everything
“The most intensive work begins when the composition of the exhibition is determined and there is a preliminary estimate. In the West, there is a profession “exhibition project coordinator / registrar”. This person, having received a list of exhibits from the curator, should draw up on the basis of the text-concept an appeal to the exhibitors, where its relevance and significance will be substantiated. This is incredibly important, as museums and private collections need to be convinced to send in the exhibits you need. In Russia, this, like everything else, is handled by a curator.
After confirming all the exhibits, painstaking work on the catalog begins. One of its important components is requests for the right to reproduce exhibits. Very often, the rights to reproduce works belong not to the museums or galleries themselves, but to international associations or museum authorities (as, for example, in France). The use of these images in catalogs is monitored very closely, especially when it comes to living artists, or those. no more than 70 years have passed since their death.
Translation is important. Careless translation of copyright texts can greatly spoil the impression of an exhibition project as a whole. In Soviet times, there was an excellent school of translators that graduated specialists who were able to adequately present the essence of the text in Russian and not be mistaken in terms. Today, there are very few people who can write about art and translate at the same time. Therefore, I personally prefer to involve highly professional translators who are fluent in Russian or to involve art critics who are fluent in foreign languages \u200b\u200bin translation.
It is very important that the catalog has an interesting design and high print quality - it will be pleasant to donate it by sponsors or sell it on the shelves of a museum store. "
The most important part of the exhibition work is the preparation of all contractual documentation. Employees need to draw up packages of documents for the issuance of exhibits from museums. In this case, the conditions are dictated by the party providing you with the works of art. In addition, you should have reports on the condition of the building - fire extinguishing systems, security systems, as well as a state guarantee of the timely return of exhibits. About 20 years ago, this document was ignored. But after many Western museums had to part with the works in respect of which claims were made by the heirs of their former owners, from whom they were seized under Hitler, they began to treat him with due attention.
About relations with the media
“Exhibitions are the most important area of \u200b\u200bthe museum's activity, which creates its public reputation and keeps the media in focus. I learned how to work with journalists during my internship at the Guggenheim Museum in the 1990s. They did not have a job and they put me in the office of the deputy director for exhibition work. During some important meeting in connection with the opening of one of the exhibitions, when there were a thousand issues to be solved at the same time, he received a call and was told that a journalist from The New York Times had come. So he dropped everything and took the journalist around the exhibition for two hours. Because the reputation of the exhibition will depend on what and in which edition they write about you. And in order for the press to write about you correctly, journalists must understand that they work with them and receive due attention to them. This is really something that should not be spared. "
Answers to questions from RMA listeners:
Zelfira Ismailovna, and all the same: should the curator, first of all, create meanings, or think about where to get money for the project?
Personally, I am one of those people who are engaged in both the first and the second. Of course, in an ideal model, these should be different people: the curator creates meanings, and the registrar deals with contracts and all administrative work... But the person who goes to sponsors should take with him a curator who is best able to substantiate and prove the importance of his idea. But, at the same time, it is always good when you know how the process as a whole is going, which gives a number of advantages.
Should museums recoup sponsorship money?
No, exhibitions are always a losing story. Moreover, the sponsor is not expected to return his investment. In Russia, practically no museum makes money on exhibition projects. In the West, this is possible if there is a museum shop, where certain products are ordered for each exhibition. Usually such goods are sold out with a bang.
Why is the system of creating museum shops not developed in Russia?
Largely because of the inertness of the mechanisms of our museum, where most of the employees are not creative people, but the administrative apparatus. For example, we have a law prohibiting spending more than 400 thousand per quarter on purchases of anything other than a tender, which makes it almost impossible to order a quality product that a museum needs. In addition, museums cannot sublet their premises. And plus to everything, in our country it is very difficult to order the production of something for relatively little money, and if we start production abroad, then a lot of money will be spent on delivery and customs duties.
As you know, products are divided into tangible (goods) and intangible (services). Let's start with recommendations for submission to exhibition stand tangible products.
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Showcase the properties of your products (photo 1)... You can talk for a long time about the fact that a fragile-looking stand has exceptional strength and is able to withstand heavy loads, but it is enough to put a two-pound weight on it and let the client see it with his own eyes, as everything becomes clear without further ado. Think about how to show the features and benefits of your products as simply and convincingly as possible. Demonstrate the equipment in action, show the product manufacturing process - effective ways attract attention and have an impact on visitors. The effect can be enhanced by attracting visitors to the product manufacturing process. Note... When demonstrating equipment in operation, safety requirements must be strictly observed. |
Engage visitors in your product... Direct contact with a product has a significant impact on customers, allows them to feel it better, to form their own attitude towards it, and therefore to bring closer the decision to purchase.
Try to present samples of your products so that visitors have free access to them, can personally test them, check technical characteristics, and evaluate quality.
Show what your product is made of... People are always curious to know what's inside (photo 2)... If possible, showcase your product in a section. Let the client see things that are usually hidden from view.
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The quality of the raw materials suggests the quality of the product. Research shows that we tend to think by association. If you put a birch log next to a piece of furniture (photo 3) or put a bottle of vodka on live wheat (photo 4), customers will assume that the product is made from natural materials. Consider this feature of perception.
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Don't oversaturate your stand with exhibits(photo 5)... Obviously, the exhibitors who fill the booth with samples of products to the eyeballs want to show that they have everything. In an exhibition environment, such presentation of goods can go sideways. At the exhibition, visitors get tired of abundance very quickly. Overloaded with information and impressions, the visitor's brain may refuse to spend the rest of its energy trying to understand the mass of randomly presented product samples. |
Before making a purchase decision, a customer needs to choose what suits his needs. Thus, the main task of the stand is not just to present the widest possible assortment, but facilitate the choice.
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That is why at exhibitions you can more and more often find the presentation of goods on the principle of less is more (photo 6), i.e. less is better. Visitors' attention is emphasized Present products systematically.A pile of diverse exhibits can create an impression of uncertainty among visitors, it will be difficult for them to understand how your stand is organized. Products can be grouped by brand, by application, by price, quality and other characteristics. On the front line of the stand, you can display products that are more likely to attract the attention of visitors - hit-sales, special offers, exclusive products. |
The easiest way is if the main task of your participation in the exhibition is to present a novelty. In this case, it becomes the central exhibit, and the other assortment is presented as an addition.
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Manage the perception of your product. It is important to understand how the way a product is presented affects the perception of price and quality. It is known that a product presented in isolation is perceived as higher quality and most likely expensive. Mass presentation of the product communicates to the visitors the idea of \u200b\u200bits affordable price and, perhaps, not the most high quality (photo 7)... A moderate number of samples (3-5 pieces) of one commodity item in a showcase shows a balance of price and quality. Decide which way of presenting your product is best for you. The main thing is to make the choice consciously. |
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Sign product samplesSometimes, even a specialist can find it difficult to determine the main differences and advantages of the product by only one appearance. (photo 8). If all of your booth staff are busy, the technical data plate next to the exhibit may keep a visitor busy until one of you is free. Moreover, some visitors find it more comfortable to study the content of the accompanying plate than to ask a question to the stand assistant. The importance of textual support is also due to the fact that when the brain gets the opportunity to create two mental representations of an object: verbal and visual, better perception and memorization are provided. |
At seminars, I am often asked the question:"How to present a wide range of products in a limited area?"... First of all, you need to determine which products will be of the greatest interest to your target audience. Choose the most popular positions that bring you the main profit. Organize your exposition so that the attention of visitors is focused on them.
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Reduce the number of copies of each product. Use vertical product placement on the stand (photo 9). Combine physical product presentation and graphics. For example, next to a sample product might be a photo of your showroom with the caption Secondary groups of goods can be presented in the catalogs: “Full range of products in the new catalog. Take your copy! " |
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Concerning the presentation of large equipment in a limited area (photo 10), you can use photo panels * showing the equipment in full size; broadcast on a projection screen or plasma panel presentation videos demonstrating equipment in action, production processes, installation, etc.; prepare printed products with photographs, detailed description and technical characteristics equipment; create a reduced layout of the equipment. * Please note that large-sized photographs with a spatial storyline visually expand the boundaries of the stand. |
Large-sized equipment and machinery are often displayed outdoors. In this case, it is necessary to take into account the possible influence of weather factors (rain, snow, wind, cold, heat, etc.). Provide your company's employees and visitors with the necessary conditions for negotiating and inspecting exhibits.
As you know, many important things are forgotten because they seem obvious. Here are some more simple but important tips.
Your products should look perfect. We think by association - looks good, so it works well. The eyes are known to be the first to "buy". Dust, chips, scratches, even traces of touching with your hands should not spoil the impression of your products.
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Don't skimp on display cases. If a showcase looks unpresentable, a negative impression will be projected onto the product presented in it. Use display cases worthy of your product. Do not clutter the display cases with foreign objects(photo 11)that do not add attractiveness to your product, but only distract the attention of visitors from it. Present working samples of goods at the exhibition... If something is wrong with the sample presented at the stand, the client is likely to think that the others are not better. Exhortations that your product is actually excellent, and this is just an annoying misunderstanding, will not help. The customer has already received a negative image of your product. It will be extremely difficult to convince him. |
Arrange items for easy inspection.Exhibits should be visible to the main flow of visitors, their review should not be obscured by stand attendants. Products that are expected to attract increased attention should be placed so that people standing near them do not interfere with the work of the stand personnel and the movement of other visitors.
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Place product samples at a height that is convenient for viewing - someone has insufficient vision, someone is uncomfortable bending over. Make sure that your visitors do not have any difficulties when inspecting your products. In order to draw the attention of visitors to small-sized goods and increase their memorability, you can use designs that repeat the shape of the product or packaging in an enlarged form. (photo 12). |
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Non-standard product presentation. During my visit to the EuroShop exhibition in Dusseldorf, I went to the pavilion where companies representing the same type of goods were gathered. They were mannequins. Thousands of mannequins. Arranged and seated on the stands, they looked impassively into the distance. All of them, as you know, were on the same face, so that soon my eyes dazzled. I was about to move to another hall, when suddenly I saw a stand that did not look like the others (photo 13)... Instead of countless mannequins, there are only three figures, instead of static - dynamics, instead of melancholy - a positive emotional background. I do not think that these mannequins were somehow significantly different in price and quality, Think about how product presentation can make you stand out from the competition. |
Now let's consider features of intangible products presentation at the exhibition... As you know, an intangible product is inseparable from a source, i.e. companies and people who produce it. Therefore, when providing information, consulting, educational and other services, the characteristics of the supplier and the quality of its employees are of particular importance.
When decorating your stand, pay special attention to the elements of corporate identity - adherence to corporate colors, spelling of your company name, logo, as well as a description of the profile of your business, your product and the benefits that clients will receive.
Show what distinguishes you from your competitors, what is the value of your offers, how your services can be used to solve problems and develop the clients' business, how thanks to you they can save time and resources, reduce costs, and make money. Give a compelling answer to the question of why visitors should choose you and your product.
"Materialize" your product. Use attributes that will make your product more tangible for the client - photos of completed projects, videos showing how you work and why you can be trusted, collections of publications about your company in print media and on the Internet, certificates of compliance with quality standards, certificates of specialized state structures or industry associations, thanksgiving letters, awards, diplomas, etc.
Note. As a rule, large photographs or large graphics are more eye-catching and memorable than several small ones.
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Use customer reviews(photo 14)who use your products or partners who trust you. Positive characteristics of a company or product, as expressed by third parties, are perceived less biased and more credible. Keep in mind that visitors pay closer attention to things that can fade into the background when presenting a material product - stand design, quality of printing, company employees. The less tangible a product is, the higher is the role of the person selling it. The appearance, demeanor, competence and other characteristics of the personnel are projected onto your product. Based on these signs, customers try to understand whether you can be trusted and draw conclusions about the quality of your product. |
Are you preparing for an exhibition? Take care of the most important thing!
The key to success is in the hands of your staff!
Order a training
for your company employees.
GBOU SPO College of the Sphere of Services No. 32
Independent work on history # 5:
Topic: "Russia in the 19th century"
I've done the work
group student
Gunashov Marat
Checked by the teacher
History
Asamova Irina Alekseevna
Moscow 2013
1. Museum address ………………………………………………… 3
2. The name of the museum and its location ……………… .. 4
2.1. History of the museum creation …………………………………. 5-6
2.2.Short description museum expositions …………………… 7
2.3. Description of the exhibits you liked ………………… 8-12
2.4. Impression of visiting the museum ………………………… 13
Museum address.
State Historical Museum (SHM)
Address: 109012, Moscow, Red Square, 1.
Metro stations Ploshchad Revolyutsii, Teatralnaya or Okhotny Ryad.
The name of the museum and its location.
The State Historical Museum (GIM) is located at the address: 109012, Moscow, Red Square, 1
Directions: metro Okhotny Ryad, metro Revolution Square, metro Teatralnaya.
The history of the creation of the museum.
Founded by decree of Emperor Alexander II on February 21, 1872. in a building specially built by the architect Sherwood. The exposition was based on the exhibits of the Polytechnic Exhibition of the same year. Members of the imperial family also donated their collections of secular and religious art to the museum.
Moscow City Duma in April 1874 allocated for the construction of the museum land on Red Square, where the building of the Zemsky Prikaz, the first pharmacy in Russia, a Chinese restaurant and Moscow University was previously located. According to the results of the competition for the design of the museum building, the project of V.O.Sherwood and A.A. Semenov won. Construction continued during 1875-1881. The building was executed in the Russian style, like a fairytale house with tents and turrets.
The original project was supposed to embody the architectural image of Russia. For this purpose, fragments of many famous buildings of Russia of the 16th-17th centuries were used in the design.
October 27, 1917 near the building of the Historical Museum, there was a clash between revolutionary Dvina soldiers (former prisoners of the Dvina prison, where they were imprisoned for speaking out against the war and the provisional government) and the Kremlin junkers. The area was filled with volleys, and many of the dead were left to lie here. A memorial plaque on the walls of the museum is dedicated to them.
After the October Revolution, the museum was renamed the State Russian Historical Museum. The new authorities organized a special commission to reorganize the museum, and as a result, there was a threat of confiscation of some of the collections.
In 1922. the Museum of the Noble Life of the 40s was attached to the State Historical Museum, as well as closed churches and other buildings: "Museum-Cathedral of St. Basil the Blessed", "Museum of the former. Georgian Church ”,“ Museum of Architectural Monuments of the Kolomenskoye Village ”,“ Museum of Pafnutyev-Borovsky Monastery ”,“ Genoese Fortress ”in Sudak in Crimea,“ Museum of the Alexander Monastery ”, Chambers of Romanov Boyars,“ Novodevichy Convent ”.
Since 1928 the work of the State Historical Museum was aimed at communist propaganda. And in 1936-1937, in connection with the opening of a new exhibition dedicated to the 20th anniversary of the October Revolution, many murals and details of the interiors of the halls were destroyed. In 1935. the two-headed eagles and heraldic figures of lions and unicorns have disappeared from the towers of the building.
In 1986. The State Historical Museum was closed for overhaul... The goal was to return the building to its historical appearance, and it appeared exactly as it was designed in the late 19th and early 20th centuries. The final appearance of the State Historical Museum was restored in December 2003, when lions and unicorns returned to the towers of the building (the two-headed eagles were returned in 1997).
Brief description of the museum exposition.
Hall 18.
This hall was dedicated to the reign of Ivan the Terrible, which is why it has such a solemn and majestic appearance. The central part of the hall is occupied by a copy of the so-called "Tsar's Place" by Ivan the Terrible, made in 1551 for the Assumption Cathedral in the Moscow Kremlin, where it is located to this day. "Tsar's place" played the role of a symbol of the autocratic power of the Russian sovereigns. In the documents of the XVI-XVII centuries. it is even called the "throne", that is, throne. On its door leaves the text of a legend is placed, which tells how in the XII century. the great Kiev prince Vladimir Monomakh received state regalia from the Byzantine emperor Constantine Monomakh, among which was the famous Monomakh hat. The three walls of Tsarskoe Mesto are decorated with 12 plot reliefs illustrating this story. The "Tsarskoe mesto" is crowned by a two-headed eagle. This symbol of grand-ducal power, adopted in the 15th century. Ivan III, was placed on princely things, coins, state seals. Over time, the two-headed eagle began to be perceived as the coat of arms of the Russian state.
Opening day "Seasons"
Dolidze Galina Nikolaevna - primary school teacher at the MBOU Lyceum No. 8 in Stavropol, Stavropol Territory.Photo report from the exhibition "Four Seasons"
Material Description:Dear colleagues, I invite you to get acquainted with the exhibition of paintings made in various techniques by our students and parents. In our lyceum, parents gladly responded to the offer to take part in the family competition: "The Seasons". According to the results of the competition, an exhibition of paintings was arranged. This form of work allows parents to be involved in joint activities with a child in a family and school setting, and gives parents and children an opportunity to demonstrate their creative abilities.The purpose of the exhibition:involving parents in the process of developing children's creative abilities, identifying and promoting the best experience of creative activity.
Leaves. Yellow pencil -
This is an autumn landscape.
White, snowdrift, aspen -
This is a winter picture.
Snow melts, streams, drops -
Here is spring in watercolors.
The sun, the meadow, the flowers are full -
This is a summer canvas.
And here is your artist,
Who created all this beauty
And arranged Opening Day!
It is no coincidence that our opening day is called "The Seasons", the pictures made by parents together with their children reflect spring and autumn, winter and summer.
During the opening day, the children got acquainted with various painting techniques. Picturesque canvases attract the eye not only when they are painted in oil on canvas. No less admirable are the products that came out of the hands of needlewomen.
The volumetric picture made from various materials at hand will turn out to be very effective.
You can make volumetric pictures with your own hands from literally anything - the main thing is to give free rein to your imagination.
Autumn gives material for creative creative works very generously. The variety of colors and shapes that can be found in nature cannot be compared with any artificially made set for creativity: dry leaves, cones, acorns, needles of needles, ash and maple seeds, lionfish, nuts and seeds of watermelon and melon, rowan and rose hips , poppy pods and other dried flowers, moss and tree bark. You should try to collect all the listed materials on every walk, when going out into the woods, hiking for mushrooms, walking in nature. You have to be careful, sometimes a whole wealth can lie under your feet. In addition, such gathering is very interesting, it develops a logical and creative vision in the child. Children love crafts from natural material, they themselves come up with new options for work, they can sit with enthusiasm and for a long time creating another masterpiece.
If you think that you can only sculpt various figures from salt dough, then you are wrong. Nothing prevents you from making a picture out of dough.
It will decorate any interior and create a cheerful mood in your home. And also such work can be presented as a gift - the hero of the occasion will not remain indifferent to your creativity - that's for sure!
This art has come to us since Ancient Russia. In those days, it was believed that gifts made with your own hands from dough bring prosperity and wealth to the house. Therefore, our ancestors for the New Year gave each other such New Year's crafts with their own hands. Salted dough products were considered traditional symbols at weddings.
To create a real masterpiece, you will have to try hard, but absolutely everyone can master dough plastic, especially since this technique does not require any unique abilities and expensive materials. If you set a goal, everything you need can be found without leaving your home, you would have a desire. For children, making pictures from salt dough will become not only interesting, but also a very useful activity, since fine motor skills of the hands are directly related to the development of speech, thinking, attention, imagination, visual and motor memory, and any joint creativity brings them closer. We can safely say that molding from salt dough is a tremendous pleasure, which, in addition to this, gives an amazing result.
Bead pictures on glue are a much simpler technique, available to a wide range of needlewomen.
However, making paintings on glue is not so much needlework from beads in the original sense as “art”, one of the techniques of drawing from non-standard materials. To complete such a picture, you need to take a finished drawing, stick it on the base - cardboard, plywood, and then mark the areas of each color and, covering them sequentially with glue, cover them with a layer of beads of the same color. The result is an amazing piece of art!
There is another way to make a picture from beads using glue, which is also similar to an applique.
The difference is that not pieces of paper with glued or sewn beads are glued to the base (cardboard, plain fabric), but individual details of the picture, made using beadwork: ready-made flowers, leaves, butterflies, snowflakes.
This is a "synthetic" art form that includes several types of beaded needlework.
But this is great - especially if your daughter or granddaughter has mastered the simple techniques of creating separate flat figures from beads, they have their place in the picture, and not in a drawer where no one can see them!
Embroidery is one of the most popular types of needlework. Craftswomen create the most amazing and beautiful things. In this case, different stitches are used - satin stitch or cross. Also just wonderful pictures come out of the tapes.
Handmade things amaze with tenderness and natural beauty. It is quite simple to create them, and the whole process does not take as much time as when working with floss threads.
In ancient times, embroidery of pictures from strips of fabric looked different from what it is today. Craftswomen used ropes woven from plant fibers. Later, when weaving began to develop, ribbons appeared in modern form... The art itself, according to researchers, arose thanks to the French king Louis XV. But to this day, everyone is fascinated and intrigued by paintings from tapes. You can create a real miracle with your own hands!
On our opening day there was even a picture of pasta.
Who would have thought that regular pasta is such a wonderful craft material! They are very conveniently glued with ordinary PVA glue, in addition, they can be painted with paints and the colors will be bright and beautiful. And there are also a lot of pasta shapes and sizes, the most ordinary and not expensive ones will do. First, the contour of the drawing is applied, and then with macarosh glue, it is better to do it on colored cardboard.
Pictures made using the quilling technique fascinate with their beauty and deserve attention from lovers of paper-rolling and those who like to create coziness in the interior.
In English, this handicraft is called "quilling" - from the word "quill" or "bird feather". Unlike origami, which is native to Japan, the art of paper rolling originated in Europe in the late 14th and early 15th centuries. In medieval Europe, nuns created graceful medallions by rolling paper with gilded edges on the tip of a bird's feather. On close inspection, these miniature paper masterpieces gave the complete illusion that they were made of thin golden stripes. Unfortunately, paper is a short-lived material and little has survived from medieval masterpieces. However, this ancient technique has survived to this day and is very popular in many countries of the world. Paper rolling spread quickly in Europe, but because paper, especially colored and high quality paper, was a very expensive material, paper plastic became an art for women from wealthy backgrounds.
In England, Princess Elizabeth was seriously interested in the art of quilling, and many of her creations are kept in the Victoria and Albert Museum in London. We have associated with paper the idea of \u200b\u200bfragility and fragility. But quilling refutes this statement - you can put, for example, a cup or put a heavy book on a filigree volume stand, and not a single curl of paper lace will suffer. You can assemble a vase for sweets from paper elements and safely use it for its intended purpose - it will not fall apart or break. In general, quilling is an opportunity to see the unusual possibilities of ordinary paper.
And these pictures are simply striking in their realism. At first glance, it may seem that they are painted in watercolor. We come closer - and here we have a patchwork picture.
Kinusaiga is a patchwork technique where you don't need a thread or a needle.
Lovers of patchwork paintings will love this technique. Its big plus is that you can create pictures with your child. The kinusaiga technique was created by the Japanese woman Maeno Takashi, a professor at the University. The main material for creating paintings is silk pieces. Of course, now you can buy them at any fabric store, but earlier kinusaiga paintings were a great way to "dispose" of old silk kimonos. Silk was very expensive, besides, kimono silk is very beautiful. It would be a pity to throw away such fabric or to use it for household needs. Therefore, it began to be used to create toys and paintings.
Kinusaiga paintings are created like this. To begin with, the project of the future painting is drawn on paper. Drawing is similar to coloring: clear boundaries-lines between elements, splitting elements by colors and shades. Then the lines of the drawing must be transferred to the tree. Grooves-grooves are cut along the lines in the tree, 2 millimeters deep.
Then the drawing on paper must be colored in order to have an idea of \u200b\u200bwhat colors and shades of fabric will be required. Fragments of the drawing (and there can be very, very many) are numbered (both on paper and on wood). Then a piece is cut out of the fabric, corresponding in shape to a certain fragment, but somewhat larger (one might say, this is a kind of allowance for seams). This margin around the edges is just tiny, just 1 millimeter.
Each piece of fabric is glued to its place, and the edges-allowances are tucked into the grooves cut in the tree. The work is very painstaking, considering that the size of some elements may not exceed half a centimeter. Such a picture can only be done by hand. It is not surprising that works in this technique cost a lot of money and are the pride of their owners.
EXHIBITION IN THE LIBRARY. GLOSSARY
Dear colleagues!
"The exhibition is a public, cultural, scientific
an event for readers and at the same time a professional holiday
librarians, therefore it is a unique, extraordinary, one-time phenomenon "
O. P. Zykov
I bring to your attention some interesting material on exhibitions that can be useful in your work. It is presented in the form of a glossary. What is a Glossary?
The word "glossary" comes from the Latin phrase "glossarium", which means a collection of gloss, and the word "gloss" itself is translated as "an incomprehensible or foreign language word." In modern language, a glossary has almost identical meaning, namely: a dictionary of specialized terms with interpretation, with comments and examples dedicated to a specific area of \u200b\u200bknowledge. Sometimes such dictionaries are equipped with translation of terms into another language.
The methods for creating and compiling glossaries are called lexicography and belong to the linguistic discipline. The very first glossary, which is known to history today, dates back to the 25th century BC. and is represented by religious and literary texts of the late Sumerian period. Until the mid-fifteenth century (the era when typography was invented) lists of foreign and little-known words were compiled by well-educated people, as a rule, monks. Such words were most often found in essays and manuscripts written in Latin and Greek. As soon as a scribe or a scientist working with the text determine the meaning of an unknown word, he wrote an explanation to it either between the lines or in the margins. There are many examples of glossaries. For example, in England a glossary was created for the works of Homer. In India, a glossary was written to the Vedas, and in the Middle Ages - to the works of Papias and Isidore.
This glossary is dedicated to the exhibition in the library.
Library exhibition Is an information product created for a specific group of users and presented in a special demo form.
The main form of visual presentation of literature is a set of specially selected and systematized works of print, offered to readers for review and familiarization with them.
Public demonstration of book collections, contributing to the most complete disclosure of the content of these funds.
Exhibition-vernissage (mini-gallery) - an exposition involving the demonstration of paintings, reproductions, applied art, children's drawings, etc. Includes materials about authors, trends and types of art. It is designed taking into account the flavor of the era to which the exhibition is dedicated.
Exhibition-quiz - an unconventional exhibition, its basis is a block of books, with the help of which you can answer the questions of the quiz. Information with questions is posted at the exhibition itself, distributed on leaflets.
Virtual exhibition - a new form of exhibition and a way of exchanging information in the virtual space of the library, created according to general rules preparation of expositions using telecommunication and computer technologies.
Exhibition "question-answer" - a kind of exhibition-dialogue, a kind of correspondence fulfillment of specific requests of readers, with further design of the exhibition with relevant literature and a bibliography on the topic.
Exhibition-herbarium - a variety of exhibitions of a new generation, assumes the presence of the herbarium itself and various publications about the plants presented. For example: "Medicinal plants", "Between the pages of your favorite books."
Exhibition-dialogue Is an unconventional exhibition based on questions from young users asked on various topics in writing and dropped into a special box. Experts unite questions on certain thematic blocks, from which the sections of the exhibition are formed and the names of which will be the questions of readers.
Exhibition-dispute (-discussion, -polemics) - an interactive exhibition, a way of reflecting current printed materials expressing different points of view on controversial issues... Visitors are invited to express their opinion, including in the format of a discussion following the exhibition.
Dossier exhibition- an interactive exhibition of a new generation, a kind of personal exhibition, endowed with new properties and created by active participation readers. Most often, this is a reader's autobiography ("Literary dossier of the reader", "From the reader's form"), reflected in the exposition in the books read, quotes, reviews, answers to the questionnaire, tips and recommendations. It is advisable to organize a meeting with the author at the exhibition, with his story about the books he has read and the opportunity to answer questions from interested parties. Such an exhibition is also called the “reader benefit exhibition”.
Genre exhibition - an exhibition designed to reveal the content of the collection of fiction or art literature by type and genre.
Live exhibition - an unconventional exhibition that combines text series, illustrative materials, as well as living creatures, be it fish, hamsters and other representatives of the living area. In the future, such a variant of a "live exhibition" consisting of "living books" is also possible, as an exposition of interesting people, following the example of a "living book" and a "living library". The goals of such exhibitions are similar- to acquaint with all the diversity of nature, the world of living beings, including the complex and unique world person.
Mystery exhibition - an interactive exhibition, which includes such an element of the game as the presence of a riddle, which is proposed to be solved by reading the materials of the exposition in advance.
Exhibition-game- an interactive exhibition that includes elements of the game, whether it be a theatrical performance of the heroes of books, solving riddles about literary characters, situational games. Books, toys, handicrafts related to a common theme are placed at the exhibition. The purpose of the exhibition - involvement of children in reading.
Exhibition impulse , as a kind of societal (referring to a society considered as a whole), is devoted to acute problems, sudden social topics, ideas, the desire to draw special attention to them, to induce action. Decorated in poster technology - catchy and emotional.
Exhibition-installation Is a look at the exhibition as a work of art. In this context, the exhibition is viewed as a spatial composition based on an extraordinary combination of books, everyday things that give rise to new images and meanings. At the same time, the exposition is given volume, three-dimensionality, a kind of 3D format, inside which the visitor is.
Exhibition interactive - an exhibition of a new generation, the main feature of which is interactivity - the presence of a dialogue between all participants in the exhibition processes, mutual exchange of information. Typically used in children's audiences in educational purposes... Includes game elements, exchange of opinions, co-creation.
Exhibition-research - an interactive exhibition presenting the results of the research of readers' interests. Readers are invited to compose their own " Gold shelf» best books or "grow a tree", on the leaves of which your favorite books are indicated. The purpose of such exhibitions is to induce reflection, search, joint creativity.
Exhibition for significant and memorable dates - a thematic exposition for the "red" days of the calendar, the purpose of which is to remind about the event, to provide information about its history, traditions, to create a certain mood for the holiday.
Complete creative tasks - draw an illustration for a book, make a craft, a homemade book
Prepare exposition creative works, take stock, reward participants and winners.
Conceptual exhibition in terms of content, it is thematic. A conceptual exhibition is the art of embodying an idea in the space of an exposition from disparate elements into a single hypertext, which allows you to get acquainted with information in any sequence. An exposition can be created in a gallery, in a lobby, on a staircase, or on the ground. Paintings, illustrations, texts (books, their fragments, quotes), objects and exhibits, performance (presentation), installation are the main forms of implementing the ideas of conceptualism in an exhibition format.
Exhibition of local history (historical and local history) - a variety of thematic exhibitions designed to reveal the content of the collection of local history literature. The central place in the exposition belongs to local history publications. At the same time, they contain materials and paraphernalia of museums and organizations, samples of literary local history, memories of old-timers, antiques, photographs reflecting the local exoticism and history of the region. Provides guided tours of the exposition. Can be part of an excursion route.
Exhibition-crossword (exhibition-chainword) - an exhibition of a new generation to help the educational process. The main element is a crossword puzzle (chainword). Around it is the literature with the answers and multiplied sheets of crossword puzzles that you can fill out at home.
Local exhibition Is an exposition located in the local space of a department or subsection of the fund, designed to reveal funds by industry or limited to a narrow topic. It is informative or advisory in nature.
Memorial exhibition - a kind of thematic. An exhibition dedicated to the life and work of the person whose name the library bears. It is designed as a museum exposition.
Museum exhibition - a kind of thematic, the main element of which is the exhibit - be it a document, object, photographic material, while the library exposition is built around the book as the main attribute of the exhibition.
Exhibition-mood - the exhibition of a new generation is thematic in terms of content. Its meaning is to create a special atmosphere, a special mood. Therefore, it is most often part of the program of events, although it can be organized as a separate independent event or as a cycle of exhibitions. Exhibition-mood is a rejection of the Text. The only valid text on it is the title. The main thing in it is the pictorial series, which must be precise, expressive and make a deep emotional impression. The exhibition is complemented by objects of the attributive series and musical accompaniment. Books in it may not have independent meaning, becoming an element of the illustrative or attributive series.
Exhibition of undeservedly forgotten books - one of the thematic varieties, the purpose of which is to remind and promote the best examples of literature that contribute to mutual understanding between generations and the preservation of continuity.
Exhibition non-traditional - an exhibition of a new generation, containing new, non-trivial approaches to the concept of the exhibition, its content and design. Its distinctive properties are interactivity (open dialogue between all participants in the exhibition processes), an original interpretation of the theme, bold design solutions that enhance the entertainment.
Exhibition of one book, one magazine, one newspaper or one publication - exposition, thematic in content, built according to a general method in order to interest the user in a certain document. Diverse material attracts attention, reveals the meaning of the document, its significance, encourages reading.
Personal exhibition - a variety of thematic, related to the life and activities of a certain person (person): prominent cultural figures, politicians and poets, local celebrities who have shown themselves in creativity or work. The materials of the exhibition are dedicated to a particular person, tell about his life and work, include his works and works.
Exhibition-portrait - the same as a personal exhibition.
Exhibition warning - an interactive exhibition, societal in content, in terms of construction - a poster. It is intended to answer acute questions of our time, taking into account the opinions of users, expressing their attitude by signatures on blank sheets of the stand.
Exhibition provocation - an interactive exhibition that includes such an element of the game as deliberate mistakes. Readers are encouraged to find these errors and inconsistencies in the exhibition details and report them to the organizers.
Exhibition-viewing Is an exposition reflecting the entire completeness of the publications available in the library and selected according to certain criteria. In terms of content, they can be universal (exhibitions-views of new arrivals), industry-specific (to help professional reading), thematic.
Exhibition-collapse (book collapse, thematic collapse) - a kind of viewing exhibition, unsystematic (spontaneous) exposure as a way of indirect recommendation and a means to enterinto dialogue between the reader and the librarian or other reader. Collapseincludes the bulk of the books handed over the day before by other readers, as well as publications “planted” as bait by the librarian himself.
Reflection exhibition - a kind of interactive exhibition, thematic in content, including in the text series the readers' reflections on the proposed occasion. The placement of the reflection sheets may occur during the exhibition as they are collected. The goal is exchange of views and indirect promotion of literature.
Exhibition situation - a kind of new generation exhibitions, hallmark which is the opportunity to create an exposition by the readers themselves, depending on the proposed situation: “I will take this book with me to a desert island”, “I will take this book on a space journey”, etc.
Exhibition-dictionary - a kind of new generation exhibitions to help education in order to explain new terms and definitions. Organized for schoolchildren or students. The text series is composed of dictionaries (encyclopedias, reference books) on the topic and factual information that explains the most difficult concepts.
Exhibition-advice, -recommendation - a kind of new generation exhibitions. Books are selected on a specific topic, problem: "How to become rich and happy", "How to quickly learn English", etc. The text series includes factual information and reference lists of literature.
Societal exhibition - a thematic exhibition dedicated to social issues: politics, ecology, drug addiction, crime, white spots of history, etc.
Exhibition stand - a kind of stand exhibition, limited to the theme of a specific event: Open Day, Information Day, educational seminars, conferences, round tables.
Surprise exhibition - an unconventional (non-standard) exhibition, a kind of exhibition-installation, original in execution, with an unusual arrangement of exposition elements - on an overturned rack, with an installation from books in the form of a house or a spiral staircase, with a slide made of old computers, with unusual object accessories. The purpose of such an exhibition - attract to reading through surprise and play.
Exhibition thematic - an exhibition dedicated to topical issuesrelated to public inquiries in the field of politics, economics, science, technology, culture and art. purpose - to present the most valuable literature on a specific topic. Thematic exhibitions are prepared as separate expositions, in cycles or as part of an event. These include also exhibitions of a new generation: exhibitions-questions, -crosswords, -dictionaries, -advice, -facts, -discussions, conceptual exhibitions, etc.
Exhibition test - a variety of exhibitions of the new generation, designed for adolescents and young people, includes tests and related literature, where you can find tips and advice on the test results.
Exhibition traditional - an exhibition, the main element of which is a book, and main goal - disclosure of the content of the library fund in various aspects. Most often, these are thematic and genre exhibitions, viewing exhibitions.