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Course type
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major
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Didactic methods
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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
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Language of lecture
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polski;
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Liczba punktów ECTS:
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8
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Liczba godzin w bezpośrednim kontakcie z nauczycielem akademickim
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120 godz./semestr 8 godz./tyg. 2godz. wykład +6 godz. ćwiczenia dr hab. Mikołaj Dziekański Wtorek 14.00-18.00 Czwartek 14.00-17.00
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Liczba godzin samodzielnej pracy studenta związanych z osiągnięciem efektów uczenia się (zgodnie z profilem specyfiki kształcenia na wydziale)
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60godz./semestr, w tym: realizacja projektu indywidualnego, przygotowanie materiałów do zajęć, zapoznanie się z literaturą.
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Prerequisites
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successful completion of two semesters of the course
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Teaching goals (program content, subject description)
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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.
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The form of passing the course (assesment methods and criteria)
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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
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Final requirements
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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
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Compulsory literature used during classes
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1. Maria Hussakowska Minimalizm, Instytut Historii Sztuki Uniwersytetu Jagiellońskiego, Kraków 2003.
2. Współczesny Rysunek Polski , Wiesława Wierzchowska
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Additional literature recommended for the student's self learning
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Wiedza Tajemna. David Hockney, Universitas Kraków2007
Polska Awangarda Malarska. Bożena Kowalska wyd. PWN
Jurry Powrót Artysty. wyd. Zderzak Kraków 2010
Malarstwo Amerykańskie. Franceska Castrii Marchetti, wyd. Arkady 2005
Czapla Malarstwo. wyd. ASP Warszawa 2009
Jan Cybis, Notatki malarskie, Dzienniki, PIW, Warszawa, 1980
Cezanne. Rysunki , Arkady, Warszawa, 1989
Anselm Kiefer The Woodcuts. Hatje Cantz
Wokół Piękna. Władysław Stróżewski
Dialogi o sztuce. Zbigniew Taranienko
Kubuś Puchatek. Chatka Puchatka, Milne Alan Alexander
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| Learning outcomes
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| Knowledge | Skills | Social competences |
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GRADUATE KNOWS AND UNDERSTANDS:
1.key problems of drawing: composition, form, chiaroscuro, valence, selection of appropriate means of expression.
2. historical context, development and evolution and the place of contemporary drawing as an autonomous form of artistic expression
3. need for self-education and deepening knowledge of the importance of drawing in the context of art history and today through reading and following current artistic events.
4. importance of the originality of the artistic attitude. Understands the importance of the creative process leading to an authentic, own drawing expression.
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GRADUATE CAN:
1. consciously and innovatively use classical and contemporary means of imagery.
2. use their knowledge and talent in order to express and realize original artistic concepts (analytical and thorough work with model, spatial composition, problem tasks)
3. make conscious and independent decisions related to drawing creation (during classes in the studio and independent activities outside the university).
4. make appropriate and conscious use of drawing techniques (works in pencil, charcoal, graphite, pastel, ink)
5. consciously use theoretical knowledge in order to build their own drawing creation and be aware of the responsibility for the created work in terms of moral, legal and aesthetic aspects.
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GRADUATE IS READY TO:
1. accept responsibility for one's own artistic works and public expressions both among colleagues in and outside the studio while maintaining the artist's ethical attitude toward the audience of the stucco and society.
2. make self-assessment and constructive criticism of their own work and the work of other artists.
3. critically formulate and express their own thoughts in public debate on artistic, social and scientific issues related to their own work.
4. defend their own reasons and concepts of art during exhibitions and public appearances.
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| Metody weryfikacji przedmiotowych efektów uczenia się
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| Wiedza | Umiejętności | Kompetencje |
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| (en)-brak- |
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| The weekly number of hours of classes or lectures, the number of ECTS points assigned to the subject and information on the form and completion of the subject are included in the study program and Course Cataloque (information is displayed in Akademus system) |
