PRINTING
FACULTIES - PRINTING
The faculty let out 183 students with the diplomas of technologist-polygraphist and artist-polygraphist with division into designer of printing forms and organizer of artistic forms.
Deans: V. Masyutin (1920), V .Falileev (1921), Pavlinov (1921-1925), N. Sheverdyaev (1925-1929), N. Lapin (1929-1930).
From the very first steps the faculty was thought of as “industrial” – “printing”. Already in 1921 the faculty had received an order for a gift album for delegates to the III Congress of the Comintern. Later, in the curriculum of the Faculty, industrial practice took the most time in comparison with other faculties and took place in its own printing house VKHUTEMAS-VKHUTEIN.
In the process of evolution there was a transition from simple application of graphic printing techniques for creating books, posters and other products to the artistic design of the book as a single organism. The most important role in this process was played by Favorsky’s teaching of “Theory of composition” and “Theory of the book” as the basis for this activity, which included, along with the study of purely formal moments, the analysis of representativity and the need for serious training in drawing. The “Analysis of Perspective” course, taught by Florensky, had an important impact on the creative research of students.
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Unlike many other faculties, the printing faculty as a whole throughout its activity kept the target-oriented and stable pedagogical basis, which did not save it from heated discussions within the teaching staff. Disputes against the hegemony of engraving techniques were fought on two fronts: on the part of machine production, which required more confidence in technical and photomechanical processes, and on the part of artists who sought free techniques (drawing, watercolor). Although during these years constructivism was a bright and influential trend in the art of printing, it was not seriously developed in the printing department. The conductor of constructivist ideas at the faculty was N.Kupreyanov.
From the very first steps, this large faculty of VKHUTEMAS was divided into departments. Thus, the book printing department (and, accordingly, the printing house) was headed by N.Piskaryov, the xylographic department – by Favorsky, the photomechanical department – by P.Efimov, the metal engraving department was headed by I.Nivinsky, the lithographic department – by Falileev, since 1925 – by Kupreyanov. After reorganization in 1926 there were three departments: book-printing and xylographic (high printing), etching, photomechanics and lithography. All specialties were focused on the production of printed materials, and first of all books.
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At different times among faculty tutors were: K. Vakhrameev, A. Goryunov, P. Efimov, Kupreyanov (font laboratory), N. Lapin, A. Larionov, Piskaryov, Favorsky and others. Printing techniques: xylography – Pavlinov, I. Pavlov, Favorsky; lithography – V. Belov, V. Vatagin, G. Goroshchenko, I. Igoryaninov, K. Kostyukov, Kupreyanov, D. Moor, Falileev, M. Filippov; etching, metal engraving and photomechanical processes – N. Gusev, P. Efimov, S..Konstantinov, P. Ksidis, Y. Laubert, M. Leontiev, A. Manganari, Masiutin, Nivinsky, I. Smirnov, N. Tikhonov, Sheverdyaev; drawing was taught by Bruni, Gerasimov, Goroshchenko, Kardovskiy, Kupreyanov, Lvov, Miturich, Nivinsky, Pavlinov, Favorsky, Falileev.
The faculty let out 183 students with the diplomas of technologist-polygraphist and artist-polygraphist with division into designer of printing forms and organizer of artistic forms.
(On the materials of the article by N. Adaskina VKHUTEMAS-VKHUTEIN // Encyclopedia of Russian Avant-garde Fine Art Architecture, Volume III History. Theory, Book 1. – P.102-111).