Degree programme field of study



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SYLLABUS



COURSE TITLE

monumental painting

Faculty/Institute

FACULTY OF ARTS

COURSE CODE

1E36

DEGREE PROGRAMME

FIELD OF STUDY

Degree LEVEL

Forma studiów/STUDY MODE

Art education in the arts

First degree

Full-time




COURSE FORMAT




YEAR AND SEMESTER

Semester 3, 4, 5

Name of the teacher

prof. Tadeusz Boruta

dr KaTarzyna cwynar



COURSE OBJECTIVES

Classes in monumental painting will give the opportunity to learn the techniques, principles and ways to create large format images. Taking jobs in architecture into account the specificities of aesthetic and formal resulting from both the technology of painting, monumental scale, as well as diverse forms of objects and architectural barriers, the reality of the space in which the work will function. The student will be taught to express himself in forms of abstract, decorative and figurative, narrative and symbolic. An important element posed in the lab tasks will be to develop the skills of building a painting compositions entering into a relationship with architecture, skillfully highlighting its qualities or transforming it. The adepts of this workshop should understand the principles of multi-figure compositions and creatively apply them.


PREREQUISITES

The student should be counted items: Painting, Drawing, Visual structures, history of art. Possess knowledge of the above mentioned items and Intermediate skill level artistic and painting in particular, the efficiency of drawing and painting qualities of sensitivity chromatic- illuminated.


LEARNING OUTCOMES


KNOWLEDGE: Provides technical knowledge and skills to apply basic artistic painting techniques. Knows determinants of quality of canvas/wall on which to carry out the work of a painter, able to analyze and choose the right painting technique.

SKILLS: He can make himself less complicated technologies in painting a wall/canvas/wood. Able to choose appropriate measures for artistic expression in his own painting to express his personality and emotions.

FINAL COURSE OUTPUT - SOCIAL COMPETENCES

Able to work in teams pursuing painting walls in buildings of architectural. Able to verbalize the critical evaluation of both on their own work and the work of other artists (selected relevant arguments), is willing to discuss and revise their position.



COURSE ORGANISATION –LEARNING FORMAT AND NUMBER OF HOURS

Laboratory - 170 hours.



COURSE DESCRIPTION

• Introduction of issues including painting the human figure: the act of image, a portrait in the context of the theory of artistic, aesthetic and art history. characterization and preparation of the canvas
1. Practice exercises for a monochrome image. Discussion of the problem and still life’s in the technique of chiaroscuro.
2. Painting study of the spatial objects.
3. Building the image around one dominant color.
4. Understanding the fundamental truths of the anatomy - painting studies of the model.
5. Painting study of the several figures.
6. Study foreshortening perspective.
7. Study the model in the interior.

• Discussion of problems encountered in the implementation of the artist his works in monumental architectural space. The autonomy of architectural space, the diversity of its structure. Reading architectural drawing.


• Learn how to work in wet fresco technique (al fresco):
1. Discussion of the wet fresco technique (al fresco)
a. characterization and preparation of the canvas
b. specific work on wet plaster
c. pigments and tools
2. Preparation of projects in a scale of 1:10
3. Transfer (to scale) projects drawings - templates (scale 1:1).
4. Execution sinopia
5. Preparing the mix.
6. Painting the mural (work divided into work day).

METHODS OF INSTRUCTION

The basis of teaching in this direction are training workshop, in which the student paints a set arrangement of objects or form using the individual teacher’s correction, learns to build a painting composition. In parallel, the student learns the various painting techniques and their practical use.

REQUIREMENTS AND ASSESSMENTS

• Presentation made ​​during the course of painting, which are a response to the tasks formulated by the teacher.
Presentation of sketches, paintings and drawings made independently, outside the classroom.
• making a final art work
a) the preparation or presentation of the project,
b) execution of the final (specific substantive and technical) art work.
• Review and assessment of the work done

GRADING SYSTEM

When assessing taken the following criteria:
- Systematic and active participation in exercises
- Implementation of the tasks assigned in the studio and outside the studio (isolated)
- Presenting and discussing work done at home.
The amount of the assessment is dependent on the fulfillment of the above criteria (minimum), as well as:
- from visible progress in the artistic development of student
- from the artistic quality of the work performed

TOTAL STUDENT WORKLOAD NEEDED TO ACHIEVE EXPECTED LEARNING OUTCOMES EXPRESSED

IN TIME AND ECTS CREDIT POINTS

The remaining amount of student workload - 105 hours
• preparation for classes - 7 hours.
• independent reading secondary literature-11 hours.
• Watching the implementation of the painting, both historical and contemporary - 11 hours.
• Individual studies from nature - 21
• exercising outside in studio art works - 23
• Preparation of design sketches - 13 hours.
• participation in the consultations in the form of direct contact with the teacher or via the internet - 3 hours.
• preparation of the project - 11 hours.
• Self preparation for the review - 5 hours.

LANGUAGE OF INSTRUCTION

Polish, English

INTERNSHIP

plein air painting

MATERIALS

  • PRIMARY OR REQUIRED BOOKS/READINGS:
    Max Doerner „Materiały Malarskie i ich zastosowanie” (Painting Materials and Their Application)

  • Władysław Ślesiński „Techniki malarskie, spoiwa mineralne” (Painting techniques, mineral binder)

  • Jerzy Werner „Podstawy technologii malarstwa i grafiki” (Fundamentals of painting and graphics)

  • A.A. Komarow „Technologia materiałów w malarstwie ściennym” (Technology of materials in wall paintings)

  • Jan Hopiński „Farby i spoiwa malarskie” (Paints and adhesives Paint)

  • Maria Rzepińska „Historia koloru w dziejach malarstwa europejskiego” (History of color in the history of European painting)

  • Tadeusz Boruta „O malowaniu duszy i ciała” (The painting of soul and body)

SUPPLEMENTAL OR OPTIONAL BOOKS/READINGS:

  • Cennini C. „Rzecz o malarstwie”(The thing about painting)

  • Leonardo da Vinci „ Traktat o malarstwie” (Treatise on Painting

  • R. Arnheim „Sztuka i percepcja wzrokowa. Psychologia twórczego oka” (Art and visual perception. Psychology of the creative eye)

  • R. Arnheim „Myślenie wzrokowe” (Visual Thinking)

  • Mieczysław Porębski „Sztuka a informacja” (Art and information)

  • „Teoretycy, pisarze i artyści o sztuce” (theorists, writers and artists of the Art)

  • Tadeusz Boruta „Szkoła Patrzenia” (Avoid looking at School)

  • Władysław Stróżewski „Wokół piękna” (About Beauty)

  • W. Kandyński „O duchowości w sztuce” (Concerning the Spiritual in Art)





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