الإبداع الرقمي لإحياء فن بورتريه الأفيش السينمائي الجرافيكي كعنصر ترويجي فعال لدراما الروايات السينمائية المصرية : دراسة وصفية تطبيقية

Abstract EN

The identity of any graphic film poster is derived from the identity of the Egyptian cinematic film associated with the film, which is announced by the Poster.

The drama of Egyptian film novels is often an important element in highlighting the features of the portrait which applied in graphic film poster, If the novel is of a romantic type on portrait art that is follow graphic film poster, we feel that the portrait and the delusion of the expressions in the form of the novel, Valporthp of the millennium The cinema is originally a reflection of what the novel will tell us.

In other words, it is a summary of what the character of the real hero is doing in the novel.

If the character of the hero is the best of his portraiture.

There is no doubt that the spread of cinematic aviaries of ancient Egyptian novels was a gamut of graphic elements, whether graphic drawings painted by talented artists or lines written by experienced calligraphers, but unfortunately this was abandoned by the appearance of photographic cameras, the photographic portraiture replaced the graphic portraiture that decorated the billboards in the cities And the villages of Egypt, and solved the digital lines from the computer fonts and removed the hands of the calligrapher for the film and even advertising posters in general.

This research is considered an invitation to revive the art of portraiture of Egyptian graphic films, but in keeping with the technical and digital age that we live.

We mean the portraiture designed and decreed by computer, digital applications rich with tools and raw materials for coloring and drawing and by artists who are no less talented than their predecessors, And all this to keep pace with the digital age we are currently living.