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Lecturer(s)
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Kahuda Klokočková Lenka, MgA. Ph.D.
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Brody Mikulicová Jitka, MgA.
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Course content
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1. Introductory presentation, analysis of selected works of art, group discussion. 2. Studio drawing: study of the head, its analysis. 3. Studio drawing: study of the head, its analysis. 4. Studio drawing: half-figure, its analysis. 5. Studio drawing: half-figure, its analysis. 6. Studio drawing: figure / nude, its analysis. 7. Studio drawing: figure / nude, its analysis. 8. Studio drawing: figure / nude, its analysis. 9. Studio drawing: figure / nude, its analysis. 10. Studio drawing: figural composition, its analysis. 11. Studio drawing: figural composition, its analysis. 12.-13. Presentation, analysis and classification of student work and his 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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Art Techniques III / Drawing Compulsory teaching of drawing as a discipline intrinsically connected with artistic or design practice, respects the classic composition of university teaching of art disciplines. The concept of this course not only seeks respect for the craft and tradition, but reflects even the currently perceived danger of extinguishing the brain - hand in grip gesture - a traditional drawing tool. In the "Rococo" era of electronic technologies and devices generating alternative drawing outputs, this concept provides a basic basis, enabling students to meet the physical experience of creation in real time, on a natural scale and in proportion to the space in which it is located. For this reason, too, the teaching of drawing is based primarily on sketches according to models. Thus, students are required not only conceptual but also real physical activity and perception of drawing gesture as an extension of their own body leading to stimulation of creative inspiration, relaxation of wrists, acquisition of proportions, construction, model construction, expression of material, mastery of various techniques. drawings, their artistic effect, observation techniques, perception of the object and sorting of information. Thus, the drawing is thus holistically perceived as a specific "filter" by which the creator reflects the surrounding world (or creates his own, imaginary world).
The gained capabilities constitute an encompassment and an aquirement of knowledge and experience in 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
1. Fulfililing partial tasks and assignments throughtout the semestr 2. Active participation in the Studio tutoring
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Recommended literature
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Eco, U. Dějiny krásy. Argo, Praha, 2005.
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Eco, U. 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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