1. problematic lecture
2. lecture with multimedia presentation
3. didactic discussion, didactic dialogue, correction
4. workshop exercises
5. studio exercises
6. creative exercises
7. individual projects
8. analysis of drawings with discussion
9. discussion using google meet platform

Successful completion of the previous two semesters of the course

1. minimum of 10 studio drawings in the format min. B1, or works from problem tasks completed in the studio, presented at a semester review
2. completion of 3 obligatory reviews during the semester
3. presentation of the semester assignment at the semester review

semester exam during final review

evaluation criteria:
- evaluation of participation in classes and consultations
- evaluation of the number of works
- evaluation of the workload
- evaluation of the technical quality of the works
- evaluation of the artistic quality of the works

Drawing for 2nd - 5th year students at the Faculty of Painting plays an important role in the education of a young artist. Apart from formal considerations, such as the fact that drawing is a compulsory subject at our Faculty and the education lasts four years with the possibility of continuing it during the diploma year and the possibility of realising an annex to the diploma as the main or additional specialisation, drawing is the basic and simplest tool of creative creation. Drawings on rocks, engraved in stones or fixed in clay vessels or objects of everyday use are the oldest witnesses of man's need for artistic expression. This primitiveness of drawing is its greatest advantage. Purity and simplicity of form. Asceticism of value eliminating all didaskalia. The message becomes simple and obvious. I would like to draw student's attention to those features. Regardless of whether he or she makes a quick sketch, a note or a large-format study, the effect achieved should be a synthesis of the problem solved.

A student of the second year, after a thorough course in the "starting" studio (first year) should fully assimilate the basics of the composition of the drawing workshop and work from nature. Of course it depends on a student's will and needs what path of development he/she will choose. The second year is the time for reflection and perfecting the technical nuances, but it does not mean that the education should consist in exercising the hand and the eye. An artist who studies still life even for the whole life has to be explorative and creative. Each task he sets himself, regardless of whether it is a study of a model, a work in the open air or a record of his imagination, should be a personal analytical creation. The learned "professionalism" will allow the artist to be a professional no matter what tool he uses in the future - coal, brush, tablet or camera. Knowledge of the principles of composition, the construction of form using light and shadow, the principles of perspective, the operation of the line ... will allow you to avoid mediocrity and superficiality.

The next years of studies are a period of searching for your own way of development. It is a time for experiments, rehearsals and public presentations during group exhibitions as well as individual shows of his work. This process is aimed at preparing the young art student to act outside the walls of the academy, to come into contact with critics and to mark his presence on the so-called art market, and in consequence to become independent. Didactic dialogue plays a very important role in this process. Individual corrections and conversations in a group of fellow students combined with self-presentation. Joint visits to exhibitions and discussions on contemporary art and the role of the artist in society. The role and forms of drawing in art, which is increasingly becoming an independent art form, freeing itself from the subservient role to painting.

a well-lit studio equipped with: easels, cubbies, stools, boards and a sink, setting materials, lamps, tools, etc.

model