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Lecturer(s)
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Kahuda Klokočková Lenka, MgA. Ph.D.
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Kuriš Martin, doc. MgA. Ph.D.
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Brody Mikulicová Jitka, MgA.
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Course content
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1. Studio drawing, its analysis. 2. Studio drawing, its analysis. 3. Studio drawing, its analysis. 4. Studio drawing, its analysis. 5. Exercise: compositionality, proportionality, location in space. 6. Exercise: compositionality, proportionality, location in space. 7. Analysis and interpretation: both traditional and nontraditional visual canons, composition of drawing. 8. Studio or imagination drawing, its analysis. 9. Studio or imagination drawing, its analysis. 10. Studio or imagination drawing, its analysis. 11.-13. Presentation, analysis and classification of the student's activity and their work.
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Learning activities and teaching methods
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unspecified, unspecified
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Learning outcomes
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Graphic Techniques I / Drawing Compulsory teaching of drawing as a discipline intrinsically connected with artistic practice, respects the classical pattern of teaching art disciplines at universities. The concept of this course is not just to pursue respect for the craft and tradition, but also to reflect the currently perceived danger of extinction of the connection brain - hand in a grasp gesture - a traditional drawing tool. In the "rococo" era of electronic technologies and devices generating alternative drawing outputs, this concept represents a mainstay enabling students to encounter the physical experience of creation in real time, in a natural scale and in proportion to the space in which they are found. For this reason too, teaching of drawing is based primarily on sketches according to models. Therefore, students are required to carry out not only conceptual, but also real physical activity, and to perceive a drawing gesture as an extension of their own body leading to stimulation of creative inspiration, loosening of the wrist, mastering the proportions, structure, model construction, to expression of the nature of material, learn various drawing techniques, their graphic effect, observation techniques, object perception and classification of information. This complementary interpretation understands drawing as a specific "filter" by which the creator reflects the surrounding world (or creates their own, imaginary world).
The gained capabilities constitute an encompassment and an aquirement of knowledge and experience in the given field of study, they result from a concrete annotation of the subject and are aimed at a profile´s fulfilment of the graduate of the given field of study.
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Prerequisites
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Successful completion of the previous study
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Assessment methods and criteria
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unspecified
Attendance
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Recommended literature
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Eco,Umberto. Dějiny krásy.. Praha: Argo, 2005.
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Eco,Umberto. Dějiny ošklivosti. Argo, 2015.
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Hale, Robert Beverly. Drawing Lessons from the Great Masters. Watson-Guptill Public, 1989.
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PATRASOVÁ, Taťána (ed.); ŠVÁCHA, Rostislav (ed.). Dějiny umění v českých zemích 800-2000. Praha, 2017. ISBN 80-904-5348-1.
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SÝKOROVÁ, Lenka (ed.). Postkonceptuální přesahy v české kresbě. FUD UJEP, 2015. ISBN 978-80-7414-956-6.
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SZUNYOGHY, András; FEHÉR, György. Anatomie pro výtvarníky - Člověk. Slovart, 2013.
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ZATLOUKAL, Pavel; BINDER, Ivo; DANĚK, Ladislav; ŠIMKOVÁ, Anežka; MILÁČKOVÁ, Martina. Uhlem, štětcem, skalpelem. Muzeum umění Olomouc, 2016.
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