Publications / Mass Media



The text by
Nadezhda RUDYKH


The material was created

on the basis of the interview




under order of
IE Smelyanskiy V.Y. 




The Ural polygraphic national team —  the champion of the FESPA Awards 2010.

The Ural polygraphic national team
 —  the champion of the FESPA Awards 2010.

Munich, 2010

Home -> Publications / Mass Media -> 2010 -> Olympic hat trick, serigraphy, Office kipsek - what in common?



Foreword from the editors of The "PRINT CITY"


On June 24th, 2010, the 16th world Olympic Games of printers FESPA Awards 2010 were summed up in Munich. The victory in the nomination №1 was successively gained for the third time by the Ural polygraphic national team which was represented by V.SMELYANSKY'S workshop Rig Persona® (Chelyabinsk) and Alexander KORLYKHANOV's Publisher Fort DIALOG (Yekaterinburg). Deputy of plenipotentiary representative of the President of the Russian Federation in the URAL FEDERAL DISTRICT Alexander Beletskiy on behalf of the plenipotentiary of the President of the Russian Federation in Ural federal district, Nikolay Vinnichenko, has expressed his gratitude to managers and collectives of companies-champions for their outstanding contribution to the development of national culture in the official letters of thanks.


We're publishing the material that was created by participants of this wonderful victory specially for the "PRINT CITY".






Actually, another victory for our fellow countrymen at FESPA Awards 2010 is natural, but not the most important result of the events, which have begun at the turn of the century, and the culmination was in 2009 which was the crisis year. Just then, in January 2009, two "heavyweights" of the Ural Polygraphy, Vasily Smelyanskiy and Alexander KORLYKHANOV had signed an agreement of intent, and in December 2009 became the partners. Among the goals and objectives of partnership there was mentioned: "creation and development of productive and specified complex innovative polygraphic production that would be able to function profitably in different price segments".

It was at stake of the idea conceived by Vasily Smelyanskiy's that was based on applying of high standards of keepsake for commercial printing production. Until this moment keepsake quality publication (according to § 2.14.2-1 OST 29.130-97, keepsake - a luxuriously designed book / album.-Ed.) there were produced only a few rare editions in Russia and the USSR. A new concept of Vasily Smelyanskiy OFFICE KEEPSAKE started to take shape in real products in 2003 on the basis of Vladimir Romanov's typography Interpoliart (Chelyabinsk), in 2004-2007 were fixing typography in legendary Anatoly Avlahov's Publisher Adeks-Print (Yekaterinburg). And then, in 2009, it has received a strong support of Alexander Korlykhanov. He decided to implement the know-how and testing of a closed production cycle of the innovation direction on the basis of typography FORT Dialog (Director - Peter Elfimov, Commercial Director - Alexey Russkih).


 KNOW-HOW. 2003-2010



Not having any access to designing technologies of complex and artistic images for screen printing (this is the most guarded caste secret – it's impossible find at least one book except for liquidation of illiteracy for screen-sealing T-shirts and common words about the "consistent subtraction of colors"), first, Vasily Smelyanskiy has lifted the veil of technique, which was not applicable because of its incredibly high price. He has developed his own methods and technologies. He began to design complex and artistic images, focusing on native tone of paints, which were covered for the "purity of the genre" by whitewash after each color group (yellow, red, green, etc.), but also considering tens of hues obtained by overlay of translucent paints to each other and to the printing base. In this case, he could completely ignore the usual stencil procedure - from light to dark, and easily put in the most unpredictable in overlapping metallic paints (gold, bronze, silver) as color formers. In the result of combination of 6-15 paints (stencils) of the selected tones he gets up to hundreds of shades. In about ten stencil rollings instead of hundreds that is reducing the cost of printing compared to traditional approaches by an order, and the production time in many times. In this case, financial qualification and temporary components of the art and designing cycle are increasing, but it is significantly lower than the savings on production costs. It is true that the design phase becomes a high art, but who said that life progresses from complicated to simple rather than the reverse?


The approach described above became the main instrument of the author's conception: to produce the polygraphy for various purposes by industrial circulation in keepsake quality publications. It helped to introduce the new artifacts of corporate culture into everyday business usage, it has brought an aesthetic understanding to office and business attributes. It has improved efficiency of the impact PR-campaigns based on such attributes. In particular, the author and his partners have won numerous prestigious awards in national and international competitions of printers including the 14th (2005) and the 15th (2007) Olympic Games FESPA Awards.


"OFFICE KEEPSAKE" has an absolute corporate and imaging intended orientation, and this know-how is designed for creation of outstanding polygraphic art-works on various subjects, especially patriotic. The patriotic subject requires new bright solutions which shall differ from the faceless marketing approaches in cheap popular style. But for testing test projects in this direction (rather expensive and capacious production) entrepreneurial will and industrial base were required. You must admit that on the back of the 2009 crisis only very strong and confident people who felt in their daily routine an irresistible call of the future could go to such experiments (even to plan them!).


Alexander Korlykhanov, one of the most noticeable and outstanding personalities of the Ural polygraphic community, he has such production base and an entrepreneurial will.


TEST PROJECTS, December 2009 - May 2010



As a part of the introduction of new polygraphic technology in connection with the art works (serigraphy) and highly artistic objects on patriotic topics two flagship projects were carried out (project coordinators - Alexander Korlykhanov, Vasily Korlykhanov, Nadezhda Rudykh).


Project 1. Book-Art Object in the form of the functional complete set of business
Sample of a new polygraphic and art style in which all author's innovations of Vasily Smelyanskiy's are embodied: graphic poetry, virtual painting, serigraphy and office-keepsake technologies. The main charm consists that on usual attributes of business use (a folder, business cards and forms) are naturally placed fragments of pictures and poems. Precisely such art apprehension of objects of the real world is contents of very popular nowadays direction of art — book-art, though subjects of business attributes as carriers of book-art have never been used before. Certificated circulation was 165 complete sets, enumerated and signed by the author. BOOK-ART Object has won a nomination №1 on the 16th world Olympic Games of hi-tech polygraphy FESPA Awards 2010 in Munich, Germany (was printed by masters Yuri Lahin and Aleksey Lahin with the assistance of Vasily Korlykhanov under the direction of Petr Elfimov).

Project 2. Publication of "Frescoes of the Truth"
Rarity publication in two issues in the form of a wall calendar for 20 months (May 2010 - December 2011), dedicated to the Great Victory of our people over fascism. At the heart of the project are the author's interpretations of the unique archival photographic materials of the military years. The original strips of the newspaper "Truth" of times of the Great Patriotic War were afforded by holdings of the Center of the documentation of public organizations of Sverdlovsk Region and Regional state archive of Chelyabinsk Region. Graphic interpretations of twenty two archival photos and eighteen newspaper strips were carried out by Russian well- known artist Vasily Smelyanskiy and his student Margarita Yazykovaya. Each image was decomposed into its component colors, and 290 stencils were designed. Masters Alexey Lahin and Yuri Lahin had consistently painted sheets of circulation using these stencils - rarity from the publishing point of view, but huge for publications of this level and complexity. Project and operating cycles of works were conducted at the same time and took almost half a year.


On this project, its social aspect and the associated charitable acts, under the auspices of the Plenipotentiary Representative of RF President in the Ural Federal District N.A. Vinnichenko we'll describe in the next publication of PRINT CITY. Let us give only a few parameters of 1st publication entirely made in serigraphy technique.

Dimensions of publication - 500 mm x 700 mm
Double-sided printing, the volume of publication: 22 sheets
The total number of stencil layers - 290
Circulation - 180 copies
A part of the circulation is made on design paper Modigliani verge cordenons black, 320 g/m2.
The rest of the circulation is printed on design paper DALI cordenon black, 285 g/m2.
(These papers that are having embossing and granulated papers were chosen specially as the most difficult for printing)
Languages: Russian and English.

Copies of both publications - Book-Art Object and Frescoes of the Truth – were presented to the President of Russian Federation Dmitry Medvedev and to the Representative of the President of Russian Federation in Ural Federal District Nikolai Vinnichenko.




At FESPA-2010 the presence of crisis was felt in every detail. Everything was reduced: the exhibition areas, the number of participating companies, as well as the number of visitors. Let us give a comparison with the previous exhibition for persuasion.


FESPA –2007

FESPA –2010


 Messe Berlin

 Messe M?nchen

Number of exhibition halls FESPA

11 pavilions

5 pavilions


screen printing 4 pavilions

printing on textiles 2 pavilions

digital printing 5 pavilions

screen printing 1 pavilions

printing on textiles 1 pavilion

digital printing 3 pavilions

The number of participating companies

661 companies

475 companies

The number of visitors

over 100 000 from 140 countries

21 000 people from 130 countries


Holding at the same time the World Cup affected results of the exhibition. Football is out of competition. Football knows no crises. To honor managers of FESPA, we need to mention an irreproachable organization of exhibition of achievements in sector of digital and screen printing, in 2010 the basic idea was innovation. And it was not organizers fault that we have not seen any innovations. This is a misfortune of modern civilization, the era of postmodernism: there are no new ideas; there is understanding, arrangement and implementation of discoveries of the twentieth century (the paradigm and the term "postmodernism" are also belonging to the twentieth century). And the word "innovation" does not refer to the scientific and industrial technology, but to the PR-shamanism, marketing and politics.


The FESPA-2010 exhibition has uniquely demonstrated the triumphant march of digital printing, it can be seen even in the ratio of occupied areas (see the table), which increased sharply in the favor of digital printing. Is it for real? Or is it a reflection of more aggressive marketing of "digitals"? We shall present below our point of view on this question.


FESPA Awards. Is it the LAST "outlet" for MASTERS?



Except the main polygraphic competition of the world - the FESPA Awards, most of meaningful international professional competitions of polygraphy masters were not carried out because of the crisis. The competition went to the area of sales. Of course, many design and polygraphic paid "competitions" had the place to be, they earned on the participants and handed out awards and certificates instead of cash receipt.


450 works in 22 nominations were exhibited for participation in Olympic Games FESPA Awards 2010. 6 nominations referred to the digital printing. The main block is of competitions was: 16 nominations in the screen and commercial printing. Each of these nominations (except for one - serigraphy) was considered in two subgroups - raster and vector. Nomination № 5 "serigraphy" had only one subgroup - vector, because serigraphy can not be a raster by its definition.


Total number of possible awards (gold, silver and bronze) in screen printing was assumed 93 (31 sets), and in digital - 18 (6 sets). But only 78 works out of 450 declared were awarded (64 works - the stencil, 14 - digital). In three nominations two silver and two bronzes were handed out. 39 medals or 35% were not awarded.


That was an example of such extremely high level of judging demands. For example, in the nomination No. 1 "Print on paper and cardboard" only one award was presented, even though there were two subgroups. Our Ural polygraphic team has won it.


The competition "FESPA Awards-2010" confirmed the deserving presence of Russian masters among the elite of world high-tech printing. 19 medals in 10 nominations are the proof. The medals were earned by Russian "Big Four":


  • Andrey Korob's "Studio REYA" (Moscow),


  • Company Midi Print of Artem Nadirashvili, chairman of Russian Association of Screen Printing (Moscow),


  • Vasily SMELYANSKIY'S Workshop Rig Persona® (Chelyabinsk) and Alexander Korlukhanov Publisher FORT DIALOG (Yekaterinburg),


  • Studio Screenprint of Zurab Tsereteli, President of the Russian Arts Academy Art Gallery (Moscow).






SCREEN PRINTING has been and remains the most high-technological, time-consuming and expensive area of modern printing industry, combining the latest achievements of chemistry, nanotechnology, and machine tool industry with manual labor of printers  and artists-designers. However, when the triumphal procession of digital printing, which has mastered all kinds of traditional stencil colorants (solvent, UV, etc.), it seems of His Majesty Stencil will be eliminated from the market by the Queen Digits. But this is nothing more than a marketing illusion or an attraction, if you prefer.


Analog and even digital television does not ousted Mr. Cinema, on the contrary - made provision for it with an indisputable advantage and commercial success. And at the same time provided its own technological revelations. The same situation is in printing industry. Displays and holography will never be able to supplant the Book. Rethinking the format and partition of the territories is the unavoidable influence. The same for screen printing.
We'd like to remind a short, but brilliant story of it, because it is young enough: it has appeared in the modern, technological sense only in the last century. Industrial use of screen printing in advertising industry should be attributed to the beginning of the twentieth century (in 1907 a patent was issued on the process under the name "silk-screen printing"). But still it was not the serigraphy.


Real "blast" has occurred in the thirties of XX century, in the same time and independently on two continents at once - in Europe and America. Therefore, it is understandable, exciting subject of priority, which has different interpretations. For example, in national media resist the "European footprint". According to this version in late 1930, experimenting with the technology of production of colored silk scarfs, the masters of the Parisian fashion house Hermes had discovered a new way of applying paints to the fabric. By applying a sieve, in which cells in hundreds of times smaller than of silk, and fine paints that can pass through these cells, they created a serigraphy, having the volume and texture due to multiple (up to 150 layers) of applying paints.


This work became the starting point for creating authoring (fax) copies of the images by serigraphy method. At the same time the method was used for the types of self-sufficient author printed graphic arts - printmaking. The results were so impressive that the collecting of works that have been created using the serigraphy, has become a prestigious and very profitable occupation.

Serigraphic method of replication was considered in Contemporary Art Society and became certified as an object of art along with the existing etching, lithography and other recognized techniques of copyright replication.


Version of American authorship of serigraphy triumph is very convincing, bright representatives are Guy McCoy (author of the first U.S. official exhibition of watercolor serigraphy prints, New York, 1938), Harry Gottlieb (Second Exhibition serigraphy prints, which were printed using oil paints, 1940), Gilbert Ross Tonge, Grayson Sayer, Gary Stenberg, Anthony Velonis, Max Arthur Cohn. More than that, the American Carl Zigrosser has entered into use the term "serigraphy" at the turn of the 30-40's which supposed to put the author's screen printing, as opposed to the regular reproduction. This fact has been invaluable for the recognition of silk art.


However, details about the history and the accompanying battle for priority, we recommend you read a book by Alexey Parygin "ART Silk. Twentieth Century"(second edition, St. Petersburg, 2010), from there are facts in support of the " American version ".
This is the first in Russia professional research on this subject. Vasily Smelyanskiy talked about the necessity of such work with many art historians of the country since 2005, but with Alexey Parygin unfortunately, fate did not come across. Therefore thanks to art historian (and, judging by the text of the monograph, a practicing artist of silk screen printing) from us and all those involved to "the stencil", saying by correspondence, but in the Ural style sincerely "with the invitation".


At the beginning of the global crisis in 2008 reproductions, original printed graphics, which were produced by serigraphy method, according to various estimates, held from 65 to 75% of the world art market!

Prices of serigraphy reprints were about the same all over the world (including Russia). The average value of an enumerated and signed by the author copy, which were executed in the serigraphy technique was 300 - 10 000 dollars and more (price varies according to the author of the original: for example, serigraphy works by Salvador Dali cost to $ 20 000). There is also an auction record: serigraphy by Andy Warhol was sold for 17.4 million dollars. Stipulate that the figures are given in open sources representatives of the art business (company Meridian Art); the authors of the article are not able to verify these statements. Levels of standard prices for serigraphy confirmed by numerous sources and presented in the speeches of leading experts, for example, Michel Caz, a member of the Board of Directors of the World Federation of Screen and Digital Printing Association (FESPA), founder of the French Association of Screen Printing (GPSF) and Academy of Technologies of the Screen and Digital Print (ASPT).


Well, then crises, like any force majeure, come and go, but humanity continues to create and buy the art. Serigraphy is only able to satisfy massive craving for the possession of author's works, only serigraphy has created a reasonable, allowable, and people recognized relation between replication and author's personality in an accessible for average consumer's price range. No one who does not recognize the digital replication - no matter how perfect (until the complete authenticity) it was - the right to be called copyrighted work or author's copy. This will be no more than a poster, in the best case - the author's poster. With an appropriate price and place in the hierarchy of consumer values. (To be fair to mention the printing, including digital, of the author photos, which has its own history and its own logic of development: the prices of copies signed by the author are identical to prices for serigraphy and etching)..


SCREEN PRINTING, of course, will surrender its positions in many types of mass production, but will - and already is creating new niches where it will reign apart from competition, as serigraphy is still on the art market. The new multidisciplinary kind of modern printing, "OFFICE-KEEPSAKE" was created by residents of the Ural and became one of those niches. OFFICE KIPSEK has great prospects, it has the future. The main problem to be solved is to learn to "sell" the new format, as at that time art dealers have learned to sell serigraphy. And that's a topic for professional sellers who are looking for new and ambitious in the context of superiority, because, as the founder of this subject, Vasily Smelyanskiy, says: "Office keepsake is not a luxury but a means of promotion".


 on top


For the first time, the article was published in the magazine "Print City" № 006 (014), August 2010


The material was created on the basis of the interview



English translation under order o fIE Smelyanskiy V.Y. by


Photo ordered by IE Smelyanskiy V. Y.

Nadezhda RUDYKH

Alexander SOKOLOV



Photos retouched and designed by


© text, photos,
IE Smelyanskiy V.Y., 2010


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