Conducting student projects in individual mode or / and in small groups (team projects).*/** Consultations, dialogue and didactic discussion; correction, reviews of work (presentation of student work, their joint analysis and discussion).*/** Monographic lectures, course, conversational.* Exercises, assignments.*/** Workshop activities.** E-learning: individual and group meetings on-line; selected exercises conducted remotely; e-mail exchange. * Due to epidemiological threat, classes will be conducted in hybrid mode: * in remote (online) form, using electronic communication means and tools provided by the university. Contact with the use of academic mail of the Academy of Fine Arts in Warsaw and G Suite connected to it. ** in a traditional form - stationary, taking into account sanitary regulations, recommendations and guidelines of State Sanitary Inspection bodies and regulations of Rector of Academy of Fine Arts in Warsaw. In justified cases we will enable the student to work remotely on a selected issue.

The entrance exam for the Faculty of Sculpture includes: a nature study, a figure study and a drawing composition. The practical exam is competitive and is based on a point system. It is a test of the candidate's artistic abilities and creative observation skills. Passing the exam, the candidate is qualified by a faculty committee on the basis of the documentation of the candidate's achievements. Successful completion of the first year of studies at the Faculty of Sculpture or another department of the Academy of Fine Arts in Warsaw, as well as a positive result of the portfolio review and an interview with the tutors.

Students are required to: - Complete assignments given or own projects. - Develop an original project in the broad field of Drawing. - Demonstrate in-depth knowledge of the phenomena of drawing issues. - Performing a thorough - in the contextual as well as formal sense - analysis of a specific composition, drawing cycle with documentation. - Presentation of the semester work at a review in the studio, combined with a group discussion on the work. / - Professional development of the author's concept of artistic expression. Presentation of the concept in the form of a clear visualization (presentation / presentation board, photographic visualization, multimedia visualization). Task description (min. 2000 characters) Due to the epidemiological threat, reviews will take place in a hybrid mode: stationary and / or remote. Depending on the individual case, as well as developments in the pandemic situation.

Evaluation of individual student work according to the grading scale placed in the Academic Regulations from 0 to 5+. The evaluation consists of: - Assessment of the level of skills, artistic qualities, resulting from the conceptual and technical level of completed tasks and the level of artistic and technical execution of drawing works in the context of historical knowledge in the field of drawing and painting, the degree of innovation of artistic solution 60% - Assessment of activity and degree of involvement in the implementation of the program (When assessing the works, attention is paid to: creative attitude, intuitive choices, diligence, openness to other attitudes) 30% - Assessment of the level of presentation. 10% Due to the epidemiological threat, credits and exams will be held in a hybrid mode: stationary and / or remote. Depending on the individual case, as well as developments in the pandemic situation.

The aim of the course is: - shaping artistic attitudes towards the surrounding, social and public space; - developing awareness and sensitivity necessary for the implementation of various professional and artistic projects related to the widely understood drawing in space; - developing the ability to undertake unusual drawing projects, installations in gallery, architectural and urban spaces; - imparting knowledge concerning the wealth of spatial solutions in contemporary artistic creations (spatial arrangements, video installations, environment). Drawing is understood broadly as a tool for recording and observing reality, and as a creative medium. It is supposed to support individual work of students, help them in creative choices and be a way for them to discover authorial and collective forms of expression, which is connected not only with the classical understanding of drawing, but also with opening to experimentation and crossing the borders of this discipline. It is very important to realize the meaning of drawing - to understand it as a thought process. When working with students, emphasis is placed not only on the final result of the work, but above all on the creative process, as drawing is a very important tool for development, and at the same time it complements the overall output and provides preparation for the profession of a sculptor or interdisciplinary artist. In the Drawing Studio, attention is also paid to drawings created in other studios of the Sculpture Department. The course assumptions include analysis of phenomena, processes, changes in surrounding reality and ability to transform them into plastic forms. The following are important: careful observation, the character of the model*, composition, proportions, light, interrelations of elements, differences in matter, contrast of forms and rhythm, but also time. The aim is to search for a comprehensible and universal yet original language of creative expression; to improve the ability to choose artistic means adequate to the content expressed; to deepen the ability to choose the right technique of communication; to find one's own technique; to develop creativity and creative awareness based on a solid workshop; to develop perception systematically. A separate class for all years is the quick drawing class, which aims to practice different types of sketch writing. Sketch drawing exercises teach making quick creative decisions, emphasize grasping the proportions of the model, composition on the page, and pay attention to the relationship of time and space. (The level/degree of difficulty of the assignment is matched to the stage of instruction the student is at. ) * The model can be any creature encountered.

– Gottfried Bammes, „Sehen und Verstehen”, Berlin, 1985 r. – Gottfried Bammes, „Der Nackte Mensch”, Berlin, 1985 r. – Gottfried Bammes, „Compleite Guide to LIfe Drawining”, wyd. Search Press, 2011 r. – Gottfried Bammes, „Przewodnik dla artystów. Anatomia człowieka”. wyd. Lekarskie PZWL, Warszawa, 1995 r. – Sarah Simblet, „Anatomia dla artystów”, wyd. Arkady, Warszawa, 2010 r. – Iri Zźawa, Anatoma dla plastyków”, – Gyorgy Fehér, András Szunyoghy, „Cyclopedia Anatomicae”, „Compearative anatomy”, 2006 r. – Robert Beverly Hale, Complited and edited by Terence Coyle „Master Class Figure Drawing”, 1991 r. – Anatomia Zwierząt, Kazimierz Krysiak, Henryk Kobryń, Franciszek Kobryńczuk, Warszawa : Wydaw. Naukowe PWN.  

Literature is based on individual topics. The tutors offer the students a wide range of literature deepening their topics. - Hansen O., Towards Open Form, ed. by J. Gola, Foksal Gallery Foundation - Revolver, Warsaw 2005 - Hansen O., To See the World, Zachęta National Gallery of Art, Warsaw 2005 - Rudolf Arnheim, "Art and Visual Perception", Słowo/obraz Territory, Gdansk 2004 - Rudolf Arnheim, "Visual thinking", published by Słowo/obraz territoria, Gdańsk, 2012. - Andrzej Mencwel, "Antropologia Kultury Zagadnienia i wybór tekstów", Warsaw, 2005. - Bogdan Paczowski, "Seeing", Gdansk, 2005. - Michał Ostrowski, Materia Sztuki, Cracow, 2010. - John Berger, On Seeing, Warsaw, 1999. - John Berger, Ways of Seeing, Warsaw, 2008 - Roland Bart, "The Light of the Image", Warsaw, 2008 - Hans Belting, "Anthropology of Image", Cracow, 2007. - Wolfgang Welsch, Aesthetics beyond aesthetics, Cracow 2005. - Susan Sontag, On Photography, Krakow, 2017. - Andrzej Turowski, Biomorphism in the Art of the 20th Century. Between biomechanics and formlessness, Gdansk 2019. - Monika Bakke, Bio-transfigurations. Art and aesthetics of posthumanism, Poznań 2012. - Jasmina Wójcik, Igor Stokfiszewski, Izabela Jasińska, Art with community, Warsaw, 2018. - Krzysztof Wodiczko, Adam Ostolski, "Wodiczko. Socio Aesthetics", Warsaw, 2016. - Jacques Ranciere, "Aesthetics as politics", Warsaw, 2007. - Artur Żmijewski, "Trembling Bodies. Conversations with Artists", Krytyka Polityczna series, vol. 2, Bytom - Kraków 2006 - Contexts - Anthropology of Culture, Anthropology of the Body - Biology according to the Ninth American edition, Eldra P.Salomon, Linda R. Berg, Diana W. Martin, Multico Oficyna Wydawnicza - To listen: landings on ZACHĘTA website : "Progress and Hygiene", broadcast "Materie" with Katarzyna Roj - Juanjo Palacios project https://mapasonoru.com/ - Chapter on sustaining regimes - Marek Krajewski "There are things in life", p. 129 -159 - Gissen D., Subnature. Architecture's Other Environments, Princeton Architectural Press, New York, 2009 - "Towards a lexicon of use" Stephen Wright, Foundation Bęc Zmiana - "Truth is concrete. Artistic Strategies in Politics. A Handbook" ed. steirischer herbst and Florian Malzacher - "A Manifesto for Associated Species" (excerpt) - Donna Haraway http://ewa.home.amu.edu.pl/Haraway,%20Manifest%20gatunkow%20stowarzyszonych.pdf - Cheap Nature - Raj Patel, Jason Moore - Listening to Plants - Lynn Margulis and Dorian Sagan / - New super enzyme eats plastic bottles six times faster https://www.theguardian.com/environment/2020/sep/28/new-super-enzyme-eats-plastic-bottles-six-times-faster?utm_term=81e64898abd71bf814ce59f2ff690a0e&utm_campaign=GreenLight&utm_source=esp&utm_medium=Email&CMP=greenlight_email&fbclid=IwAR1RLF9KIBk5r-G-EcvdFaM0R1GV0FxtlNp4QYiPBvZSxud6qt8j9ujPgrw And others: monograph albums, exhibition catalogs, art-related world literature, art magazines and websites: Autoportret, BecZmiana, biweekly, niezla-sztuka.blogspot.com, Sienkiewiczkarol.org, Szum.

The drawing studio allows working with models in the nude, has very good natural lighting ensuring even illumination of the entire surface of the studio, and has a supplement of good artificial lighting ensuring even illumination of the entire surface of the studio. It is equipped with flooring made of materials ensuring durability and the possibility of maintaining cleanliness. The drawing room is equipped, among others, with: - easels with boards in 105 x 75 cm format and clips, - metal chests of drawers for drawings B!+, - cabinets for other basic materials and tools for drawing, - cardboard boxes, offset paper, chalk paper, roll paper, cardboard and others: (in the studio is always available various types of paper: offset, chalk, cardboard, coated and uncoated cardboard in different formats, colors and weight. The variety of materials teaches students to consciously choose the material and the consequences of that choice, it also shows different forms of working with the substrate and types of marking, teaches awareness of the tools used, their capabilities and limitations, choice of techniques). Teaching aids: - computer with software for drawing, photo processing with Internet access, camera and speaker. - multimedia projector