1. course lecture (each exercise is preceded by a short lecture and explanation of basic assumptions and assessment criteria)
2. lectures, presentations, multimedia presentations (description and presentation of phenomena on the world art market)
3. studio exercises (implementation of practical exercises - tasks)
4. workshop exercises (conscious use of visual arts)
5. dialogue and didactic discussion (individual and group discussion on the realization of individual exercises)
6. studio exercises (elements of imagination development by means of e.g. quick exercises - logical drawing puzzles, ability to express emotions by means of color, abstract signs, etc.)
7. creative exercises (e.g. training skills of analyzing, synthesizing, interpreting visual phenomena and their creative interpretation)
8. monographic lectures

for the 1st year it is a successfully passed entrance exam to the Faculty of Graphic Arts.
for the second year it is a positive result of the commission review after the first
year of studies.
Drawing and painting skills, construction skills, knowledge of basic graphic programs, basics of photography and film.

Students learn the basic laws of co-existence of artistic elements on a plane and the purposeful use of means of expression, they try to face the creative interpretation of reality, completing tasks on a specific theme, taking into account their own artistic temperament. Putting the issues in points, they can be presented as follows: problems associated with the juxtaposition of color and the value of opposing colors, familiarization with the problems of simple, complex, static and dynamic composition, the ability to achieve the illusion of space and movement on the plane, the ability to give, by means of plastic means of expression, other meanings to objects, the ability to express emotions by means of abstract signs, training the ability to analyze, synthesizing, interpreting visual phenomena, developing the ability to study phenomena and things and discovering the laws that govern them, training the ability to creatively perceive visual problems and to optimize and search for homogeneous elements for their implementation, training the ability to think abstractly in order to search for formal relationships and visual processes through abstract forms. In most exercises, an important part of the work and learning is making sketches and collecting them. Analysis of the student's work is then complete: from initial ideas to the completion of the exercise. The student has the opportunity to control his progress at each stage of work. Sketches (coming to a solution of the problem) are an important part of the work, and then the exhibition. The world around us carries an enormous amount of impressions and information. Today it is necessary to consciously analyze the stimuli reaching our mind in order to separate the important from the unimportant. However, not everything can be described. Words cannot always express what we see and feel. We can not always find the right words to describe the state of our personality. And here, sensitivity and intuition are necessary to understand reality and give it proper shapes. Nurtured, they will allow us to consciously observe and creatively shape the external world. They will allow the inner world to develop in an unlimited way.
Classes at the Visual Structures Studio introduce the student to issues related to form, texture, color, light, space, movement and composition. These issues are involved in all manifestations of creative activity. They also make the student aware of how many artistic phenomena interrelate. They rule out a passive attitude towards reality. They encourage creative perception of phenomena and things. Visual activities teach how to move from object-oriented thinking to reflective perception of an object.

1. periodic reviews, semester reviews, discussions.
2. credits of performed exercises.
3. assessment of the artistic level of projects, as well as the progress made
and involvement.
4. periodical and semester credit reviews.
5. attendance at classes and regularity of students' work (punctuality of task performance).
6. grading scale is defined by the scoring scale obligatory at the Graphic Design Department.

1. move consciously within the issues taught during the first and second academic year.
2. conscious use of basic techniques of artistic creation and conscious observation of surrounding reality and creative interpretation of it
3. public presentation of own projects during the final classes

J. Młodkowski, Aktywność wizualna człowieka, Wydawnictwo Naukowe PWN, Warszawa 1998
S. Popek, Barwy i psychika, Uniwersytet Marii Curie-Skłodowskiej, Lublin 2008 R. Arnheim, Sztuka i percepcja wzrokowa, Wydawnictwo słowo/obraz terytoria, 2005 V. I. Stoichita, Krótka historia cienia, Wydawnictwo Universitas, Kraków, 2001 E. H. Gombrich, Sztuka i złudzenie, O psychologii przedstawienia obrazowego, PIW Warszawa, 1981
W. Kandyn1ski, Punkt i linia a płaszczyzna, PIW Warszawa, 1986
J. Sarzyn1ska-Putowska, Komunikacja wizualna, Kraków, 2002
U. Eco, Pejzaż semiotyczny, PIW Warszawa, 1972
W. Strzemin1ski, Teoria widzenia, Wydawnictwo Literackie, Kraków, 1974 M. Rzepin1ska, Historia koloru, Wydawnictwo Literackie, Kraków, 1973
A. Frutiger, Człowiek i jego znaki, Wydawnictwo Optima, Warszawa, 2004 P. Francuz, Imagia. W kierunku neurokognitywnej teorii obrazu, Wydawnictwo KUL, Lublin, 2013

Art, Art & Business, Art in America, Art News, Art Forum, Flash Art, Form + Communication Arts, Form, Format, Form + Function, Wydawnictwa Graphis, Imago, Magazyn Sztuki, Print, 2+3D