Didactic discussion, introduction to the topic, workshop activities, projects and individual work, talk, lecture, outdoor work, individual consultations.Classes are held live, in case of tightening COVID-19 restrictions possible form of remote learning.

Passing the entrance exam for the first year of studies.

The basis for passing the drawing course is the attendance in class. Attendance requirements: the number of absences cannot exceed 35% of the total number of classes, including 3 unexcused absences.

The realization of exercises which students do during the work in the studio 35% and outside the studio, the so-called tasks for individual realization 30%.

Consultations are held 1-2 times a week on the day set at the beginning of the semester.

In case of the necessity of remote teaching students should regularly use academic mail (asp.waw.pl).

Classes at the Drawing Studio can also be held in French and English.

The drawing course is designed to prepare the student to undertake independent studies of recording reality, using analysis and synthesis in representation on planes and in space. Drawing develops sensitivity and creative imagination, necessary in design processes. Through exercises, students become acquainted with the elements of artistic drawing, they develop skills in using "seeing". The subjects are based on developing the drawing technique, working with a live model, analyzing convergent perspective, perfecting the observation of space in all its relations, analyzing construction and light. Topics realized in the first year of studies in the Drawing Studio are aimed at developing drawing skills to present own projects.

1. Nude - figure study, anatomical analysis. Study of a figure based on observation of a living model with expanded problem of "a man in motion". Practice supported by a large number of quick sketches made with different tools (rag, brush, sponge, stick, ruler, graphite, etc.).

2. Drawing Workshop. Choose any fashion accessory, piece of clothing, or specific garment and create a drawing record in which you use a variety of tools workshop. Notice how the nature of the drawing depends on the tool used?
(Drawing tools, roller, brush, stencil, etc.)

3. Hand sketches, foot sketches. Structural, anatomical structure, tool variety. Topic for the whole year realization in student's sketchbook( outside of classes).

4. Natural world- drawing journal. Conduct a drawing journal showing analysis and synthesis of the observed world of plants or animals. Suggest a new value and an interesting final solution. Reflect on the meaning and form of the record-book-journal. Through a thorough analysis and synthesis, the exercise not only develops skills in using drawing tools (pen, watercolor, collage, markers), but at the same time indicates an infinite source of inspiration drawn from the natural world. The final form can be an object, an art book or take the form of a classic drawing journal.

5. Inspiration. Getting inspired by architecture: ancient, Gothic, Baroque or other, make a drawing composition in which the characteristics of the chosen style(era) are emphasized, e.g. line, color, shape. Formulate a drawing statement in which the individual features of the chosen style create a new, universal value.

For many artists architecture is a source of inspiration. The distinctive elements and structures of your chosen style can become a guiding element for you in your clothing design.

6. Multi-sided notation of the object. Detailed symbolism defines an object through its shape, function , character, origin, or color. Considering all the personal characteristics of the observed objects make a multilateral drawing notation.

In the realization take into account the values such as: structure-building, light, texture, color of the observed objects. Pay special attention to the composition of the drawing.

The credit for the Drawing course is given on the basis of a semester review and a final year review.The assessment includes: activities, involvement in the realization of the topics, the final grade of the realized work, the artistic level of the made works.Reading at least one item from the given literature of the subject. Keeping a compulsory sketchbook. Number of consultations (minimum 7 consultations). The degree of involvement in the implementation of the program and the ability to effectively translate the guidance and guidelines obtained in the course of training through discussion and didactic dialogue (master-student relationship) is assessed.

Each semester in the Drawing Studio ends with a credit, and in the second semester of the first year with an exam.In case of the necessity to work remotely the form of the exam may be modified, details will be provided before the exam.

Positive completion of the first year.Passed on time all individual and group projects carried out in the studio.
Attendance requirements: the number of absences cannot exceed 35% of the total number of classes, including 3 unexcused absences.

Student can analyze a drawing in terms of composition, technique, means of drawing, knowledge of the rules of drawing. A student is able to draw efficiently. The skill is necessary for realizing 2D and 3D design projects.

The student skillfully and logically connects various artistic phenomena. The student knows artistic conventions of different epochs. Student is able to analyze his own work and can critically evaluate it.

-Rudolf Arnheim „Sztuka i percepcja wzrokowa. Psychologia twórczego oka”, (Słowo/obraz terytoria, Gdańska 2004 )

-Gottfried Bammes „Sehen und Verstehen Die menschlichen Formen in didaktischen Zeichnungen „

-Jeno Barcsay „Anatomia dla artysty”, -Piotr Bogdanowicz „Człowiek i czas”, (Wydawnictwo szkolne i pedagogiczne Warszawa 1989)

-Piotr Bogdanowicz „Człowiek i przestrzeń”, (Wydawnictwo szkolne i pedagogiczne Warszawa 1998)

-Leonardo da Vinci „Traktat o malarstwie” - Ernst Hans Gombrich „O sztuce”, " Zmysł porządku. O psychologii sztuki dekoracyjnej"

-W. Kandiński „Punkt, linia i płaszczyzna”(Państwowy Instytut Wydawniczy, Warszawa 1986)

-John Berger "O patrzeniu", (Fundacja Aletheia Warszawa 1999)

-John Berger "Spotkania", (Fundacja Aletheia Warszawa 2001)

-John Berger "Sposoby widzenia” ", (Fundacja Aletheia Warszawa 2008)

-Jean E. Cirlot „Słownik symboli”, (Wydawnictwo Znak, Kraków 2006)

- Edward T.Hall „Ukyty wymiar"

- Juhani Pallasmaa "Myśląca dłoń" (Instytut Architektury, Kraków 2015)

- Juhani Pallasmaa "Oczy skóry" (Instytut Architektury, Kraków 2012)

-Joseph Beuys „Teksty, komentarze, wywiady”, (Akademia Ruchu CSW, Warszawa 1990)

-Grzegorz Dziamski “Awangarda po awangardzie”, (Wyd. Fundacji Humaniora, Poznań1995)

-Grzegorz Dziamski „Sztuka u progu XXI wieku”,(Wydawnictwo Fundacji Humaniora, Poznań 2002)

-Ryszard Appinguanesi “Postmodernizm”(Wydawnictwo Emblemat Warszawa 2001)

-Zbigniew Herbert „Barbarzyńca w ogrodzie”(Wydawnictwo Test, Lublin1991)

-Alicja Kępińska „Sztuka w kulturze płynności”,(Wydawnictwo Arsenał, Poznań)

-Piotr Piotrowski „Znaczenia modernizmu”, (Dom Wydawniczy Rebis, Poznań1999)