Sculpture - 1 EP-3F-RZE1

1. Drawing exercise (act) - working on proportions and relations of masses, searching for the equivalent of space - 6 hours
2. Drawing from a sketchbook - bas-relief - sculptural interpretation of a drawing or painting record (play of planes, space, plans, rhythm, texture, dynamics), learning basic sculptural materials - 12 hours
3. Dynamic abstract composition of geometric solids - the basics of composition and formal means in sculpture. Initial activities with a sculptural body, weight, counterpoint, rhythm, movement, balance, space - 12 hours
4. Head, model study - searching for the right structure, balance of solids, individual proportions and character. Detail as a compositional element subordinated to the whole - 18 hours
5. Technology of gypsum casting - 6 hoursSearching for references and associations as the basis for working with your own interpretation of the topic.

Thinking is accompanied by drawing sketches, which are notes of the thought process, graphic records of emerging ideas. The transition from a note to a spatial form is a fascinating process that the student will explore.

The exercise introduces you to spatial thinking and makes you aware of the process of creating a work from sketches and drawing studies to the creation of a spatial form, taking into account both the right proportions and the structure of the object.

Students perform a number of sculptural tasks introducing the basic concepts of creating spatial forms and teaching spatial thinking.

By doing the exercises, students learn about the role of composition, direction, color, counterpoint, dynamics and other means known so far from two-dimensional actions in sculpture.

Students learn the technology of casting and the principles of sculpture construction

1. Drawing exercise (act) - working on proportions and relations of masses, searching for the equivalent of space - 6 hours
2. Drawing from a sketchbook - bas-relief - sculptural interpretation of a drawing or painting record (play of planes, space, plans, rhythm, texture, dynamics), learning basic sculptural materials - 12 hours
3. Dynamic abstract composition of geometric solids - the basics of composition and formal means in sculpture. Initial activities with a sculptural body, weight, counterpoint, rhythm, movement, balance, space - 12 hours
4. Head, model study - searching for the right structure, balance of solids, individual proportions and character. Detail as a compositional element subordinated to the whole - 18 hours
5. Technology of gypsum casting - 6 hoursSearching for references and associations as the basis for working with your own interpretation of the topic.

Thinking is accompanied by drawing sketches, which are notes of the thought process, graphic records of emerging ideas. The transition from a note to a spatial form is a fascinating process that the student will explore.

The exercise introduces you to spatial thinking and makes you aware of the process of creating a work from sketches and drawing studies to the creation of a spatial form, taking into account both the right proportions and the structure of the object.

Students perform a number of sculptural tasks introducing the basic concepts of creating spatial forms and teaching spatial thinking.

By doing the exercises, students learn about the role of composition, direction, color, counterpoint, dynamics and other means known so far from two-dimensional actions in sculpture.

Students learn the technology of casting and the principles of sculpture construction

1. Drawing exercise (act) - working on proportions and relations of masses, searching for the equivalent of space - 6 hours
2. Drawing from a sketchbook - bas-relief - sculptural interpretation of a drawing or painting record (play of planes, space, plans, rhythm, texture, dynamics), learning basic sculptural materials - 12 hours
3. Dynamic abstract composition of geometric solids - the basics of composition and formal means in sculpture. Initial activities with a sculptural body, weight, counterpoint, rhythm, movement, balance, space - 12 hours
4. Head, model study - searching for the right structure, balance of solids, individual proportions and character. Detail as a compositional element subordinated to the whole - 18 hours
5. Technology of gypsum casting - 6 hoursSearching for references and associations as the basis for working with your own interpretation of the topic.

Thinking is accompanied by drawing sketches, which are notes of the thought process, graphic records of emerging ideas. The transition from a note to a spatial form is a fascinating process that the student will explore.

The exercise introduces you to spatial thinking and makes you aware of the process of creating a work from sketches and drawing studies to the creation of a spatial form, taking into account both the right proportions and the structure of the object.

Students perform a number of sculptural tasks introducing the basic concepts of creating spatial forms and teaching spatial thinking.

By doing the exercises, students learn about the role of composition, direction, color, counterpoint, dynamics and other means known so far from two-dimensional actions in sculpture.

Students learn the technology of casting and the principles of sculpture construction

1. Drawing exercise (act) - working on proportions and relations of masses, searching for the equivalent of space - 6 hours
2. Drawing from a sketchbook - bas-relief - sculptural interpretation of a drawing or painting record (play of planes, space, plans, rhythm, texture, dynamics), learning basic sculptural materials - 12 hours
3. Dynamic abstract composition of geometric solids - the basics of composition and formal means in sculpture. Initial activities with a sculptural body, weight, counterpoint, rhythm, movement, balance, space - 12 hours
4. Head, model study - searching for the right structure, balance of solids, individual proportions and character. Detail as a compositional element subordinated to the whole - 18 hours
5. Technology of gypsum casting - 6 hoursSearching for references and associations as the basis for working with your own interpretation of the topic.

Thinking is accompanied by drawing sketches, which are notes of the thought process, graphic records of emerging ideas. The transition from a note to a spatial form is a fascinating process that the student will explore.

The exercise introduces you to spatial thinking and makes you aware of the process of creating a work from sketches and drawing studies to the creation of a spatial form, taking into account both the right proportions and the structure of the object.

Students perform a number of sculptural tasks introducing the basic concepts of creating spatial forms and teaching spatial thinking.

By doing the exercises, students learn about the role of composition, direction, color, counterpoint, dynamics and other means known so far from two-dimensional actions in sculpture.

Students learn the technology of casting and the principles of sculpture construction

1. Drawing exercise (act) - working on proportions and relations of masses, searching for the equivalent of space - 6 hours
2. Drawing from a sketchbook - bas-relief - sculptural interpretation of a drawing or painting record (play of planes, space, plans, rhythm, texture, dynamics), learning basic sculptural materials - 12 hours
3. Dynamic abstract composition of geometric solids - the basics of composition and formal means in sculpture. Initial activities with a sculptural body, weight, counterpoint, rhythm, movement, balance, space - 12 hours
4. Head, model study - searching for the right structure, balance of solids, individual proportions and character. Detail as a compositional element subordinated to the whole - 18 hours
5. Technology of gypsum casting - 6 hoursSearching for references and associations as the basis for working with your own interpretation of the topic.

Thinking is accompanied by drawing sketches, which are notes of the thought process, graphic records of emerging ideas. The transition from a note to a spatial form is a fascinating process that the student will explore.

The exercise introduces you to spatial thinking and makes you aware of the process of creating a work from sketches and drawing studies to the creation of a spatial form, taking into account both the right proportions and the structure of the object.

Students perform a number of sculptural tasks introducing the basic concepts of creating spatial forms and teaching spatial thinking.

By doing the exercises, students learn about the role of composition, direction, color, counterpoint, dynamics and other means known so far from two-dimensional actions in sculpture.

Students learn the technology of casting and the principles of sculpture construction

Słonina S., Masters of Sculpture, National Museum in Warsaw, Warsaw 2005
Chrzanowska-Pieńkos J (ed.), Figure in Polish art of the 19th and 20th centuries, Zachęta National Gallery of Art, Warsaw 1999
Hermansdorfer M., Between expression and metaphor, National Museum in Wrocław, Wrocław 1999
Simblet S., Anatomy for Artists, Warsaw 2004.
Kotula A., Krakowski P., Contemporary sculpture, Warsaw 1980.
Schanti A., Die Liebe zu den Objekten / The love of Objects: Aspekte Zeitgenoessischer Skulptur / Aspects of Contemporary sculpture, Springer, 2008.

Słonina S., Masters of Sculpture, National Museum in Warsaw, Warsaw 2005
Chrzanowska-Pieńkos J (ed.), Figure in Polish art of the 19th and 20th centuries, Zachęta National Gallery of Art, Warsaw 1999
Hermansdorfer M., Between expression and metaphor, National Museum in Wrocław, Wrocław 1999
Simblet S., Anatomy for Artists, Warsaw 2004.
Kotula A., Krakowski P., Contemporary sculpture, Warsaw 1980.
Schanti A., Die Liebe zu den Objekten / The love of Objects: Aspekte Zeitgenoessischer Skulptur / Aspects of Contemporary sculpture, Springer, 2008.

Słonina S., Masters of Sculpture, National Museum in Warsaw, Warsaw 2005
Chrzanowska-Pieńkos J (ed.), Figure in Polish art of the 19th and 20th centuries, Zachęta National Gallery of Art, Warsaw 1999
Hermansdorfer M., Between expression and metaphor, National Museum in Wrocław, Wrocław 1999
Simblet S., Anatomy for Artists, Warsaw 2004.
Kotula A., Krakowski P., Contemporary sculpture, Warsaw 1980.
Schanti A., Die Liebe zu den Objekten / The love of Objects: Aspekte Zeitgenoessischer Skulptur / Aspects of Contemporary sculpture, Springer, 2008.

Słonina S., Masters of Sculpture, National Museum in Warsaw, Warsaw 2005
Chrzanowska-Pieńkos J (ed.), Figure in Polish art of the 19th and 20th centuries, Zachęta National Gallery of Art, Warsaw 1999
Hermansdorfer M., Between expression and metaphor, National Museum in Wrocław, Wrocław 1999
Simblet S., Anatomy for Artists, Warsaw 2004.
Kotula A., Krakowski P., Contemporary sculpture, Warsaw 1980.
Schanti A., Die Liebe zu den Objekten / The love of Objects: Aspekte Zeitgenoessischer Skulptur / Aspects of Contemporary sculpture, Springer, 2008.

Słonina S., Masters of Sculpture, National Museum in Warsaw, Warsaw 2005
Chrzanowska-Pieńkos J (ed.), Figure in Polish art of the 19th and 20th centuries, Zachęta National Gallery of Art, Warsaw 1999
Hermansdorfer M., Between expression and metaphor, National Museum in Wrocław, Wrocław 1999
Simblet S., Anatomy for Artists, Warsaw 2004.
Kotula A., Krakowski P., Contemporary sculpture, Warsaw 1980.
Schanti A., Die Liebe zu den Objekten / The love of Objects: Aspekte Zeitgenoessischer Skulptur / Aspects of Contemporary sculpture, Springer, 2008.

Godziny kontaktowe
Wykład, ćwiczenia, korekty i omawianie koncepcji 45
praca warsztatowa w kontakcie z prowadzącym 30
przegląd zaliczeniowy 2 h
łącznie: 77 h

Samodzielna praca studenta
Własna praca warsztatowa 10 h
Przygotowanie do zajęć - lektury, filmy 5 h
Inne aktywności przygotowujące -( wizyty w galeriach i muzeach) 5 h
łącznie: 20 h

Razem : 97 godzin

Godziny kontaktowe
Wykład, ćwiczenia, korekty i omawianie koncepcji 45
praca warsztatowa w kontakcie z prowadzącym 30
przegląd zaliczeniowy 2 h
łącznie: 77 h

Samodzielna praca studenta
Własna praca warsztatowa 10 h
Przygotowanie do zajęć - lektury, filmy 5 h
Inne aktywności przygotowujące -( wizyty w galeriach i muzeach) 5 h
łącznie: 20 h

Razem : 97 godzin

Godziny kontaktowe
Wykład, ćwiczenia, korekty i omawianie koncepcji 45
praca warsztatowa w kontakcie z prowadzącym 30
przegląd zaliczeniowy 2 h
łącznie: 77 h

Samodzielna praca studenta
Własna praca warsztatowa 10 h
Przygotowanie do zajęć - lektury, filmy 5 h
Inne aktywności przygotowujące -( wizyty w galeriach i muzeach) 5 h
łącznie: 20 h

Razem : 97 godzin

Godziny kontaktowe
Wykład, ćwiczenia, korekty i omawianie koncepcji 45
praca warsztatowa w kontakcie z prowadzącym 30
przegląd zaliczeniowy 2 h
łącznie: 77 h

Samodzielna praca studenta
Własna praca warsztatowa 10 h
Przygotowanie do zajęć - lektury, filmy 5 h
Inne aktywności przygotowujące -( wizyty w galeriach i muzeach) 5 h
łącznie: 20 h

Razem : 97 godzin

Godziny kontaktowe
Wykład, ćwiczenia, korekty i omawianie koncepcji 45
praca warsztatowa w kontakcie z prowadzącym 30
przegląd zaliczeniowy 2 h
łącznie: 77 h

Samodzielna praca studenta
Własna praca warsztatowa 10 h
Przygotowanie do zajęć - lektury, filmy 5 h
Inne aktywności przygotowujące -( wizyty w galeriach i muzeach) 5 h
łącznie: 20 h

Razem : 97 godzin