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Lecturer(s)
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Course content
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The course focuses on the modelling of objects with an emphasis on maintaining the proportions of individual parts and the whole. The aim of the course is to master basic modelling skills. All will be demonstrated in class. 1. Assignment: Modelling a head according to a live model 2. Modeling a head from a live model 2. 3. Modeling a head according to a live model 2. 4. Live modeling of the head 5. Live modeling of the head 6. Live modeling of the head 7. Live modeling of the head 8. Live modeling of the head 9. Live modeling of the head 10. Live modeling of the head 11. Live modeling of the head 12. Head modelling according to live model 13. Head modelling according to live model
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Learning activities and teaching methods
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unspecified
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| prerequisite |
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| Knowledge |
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| - the student must have basic talent in seeing reality (models) of living and non-living nature and be capable of three-dimensional vision and its transfer to at least a two-dimensional surface. |
| - the student must have basic talent in seeing reality (models) of living and non-living nature and be capable of three-dimensional vision and its transfer to at least a two-dimensional surface. |
| Skills |
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| - the student can understand the basic requirements of the teacher, communicate with him/her and has minimal experience in model drawing. |
| - the student can understand the basic requirements of the teacher, communicate with him/her and has minimal experience in model drawing. |
| learning outcomes |
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| Knowledge |
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| - The student is then able to creatively combine the techniques and procedures learned in order to maximize the visual effect. |
| - The student is then able to creatively combine the techniques and procedures learned in order to maximize the visual effect. |
| - the student can name the basic bones of the skeleton of the skull and the muscles of the neck |
| - the student can name the basic bones of the skeleton of the skull and the muscles of the neck |
| - is aware of the proportions of the individual parts of the head in relation to the whole head. |
| - is aware of the proportions of the individual parts of the head in relation to the whole head. |
| - can see the angle of the head on the neck, as the basic movement accent of the model, expressing also the first basic moment for the type of the person. |
| - can see the angle of the head on the neck, as the basic movement accent of the model, expressing also the first basic moment for the type of the person. |
| - on reproductions of sculptural portraits, they will realize the possibilities of modelling methods on the examples of artists in different historical periods - to show hard bone tissues and soft tissues of mimic muscles, etc. |
| - on reproductions of sculptural portraits, they will realize the possibilities of modelling methods on the examples of artists in different historical periods - to show hard bone tissues and soft tissues of mimic muscles, etc. |
| Skills |
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| - The student can model objects while maintaining the harmony of all parts of the whole. |
| - The Student can consciously apply knowledge about the skull structure when modelling the head according to a live model |
| - The Student can consciously apply knowledge about the skull structure when modelling the head according to a live model |
| - The student can model objects while maintaining the harmony of all parts of the whole. |
| - The Student can define the basic spatial points ( plans) of the profile and the basic spatial arrangement of the mass. |
| - The Student can define the basic spatial points ( plans) of the profile and the basic spatial arrangement of the mass. |
| - The Student is aware of the proportions of the individual parts of the head in relation to the whole head. |
| - The Student is aware of the proportions of the individual parts of the head in relation to the whole head. |
| - The Student can see the angle of the head on the neck, as the basic movement accent of the model, expressing also the first basic moment for the type of the person. |
| - The Student can see the angle of the head on the neck, as the basic movement accent of the model, expressing also the first basic moment for the type of the person. |
| - Using reproductions of sculptural portraits, the student will become aware of the possibilities of modelling methods on examples of artists in different historical periods - to show hard bone tissues and soft tissues of facial muscles, etc. |
| - Using reproductions of sculptural portraits, the student will become aware of the possibilities of modelling methods on examples of artists in different historical periods - to show hard bone tissues and soft tissues of facial muscles, etc. |
| - The student can model objects while maintaining the harmony of all parts of the whole. |
| - The student can model objects while maintaining the harmony of all parts of the whole. |
| - The student is then able to creatively combine the techniques and procedures learned in order to maximize the visual effect. |
| - The student is then able to creatively combine the techniques and procedures learned in order to maximize the visual effect. |
| teaching methods |
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| Knowledge |
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| Practice exercises |
| Practice exercises |
| Individual work of students |
| Individual work of students |
| Skills |
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| Individual work of students |
| Individual work of students |
| assessment methods |
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| Knowledge |
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| Analysis of the student's performance |
| Analysis of the student's performance |
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Recommended literature
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.. .
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Dostupné monografie_ Římského antického portrétu, Jeana - Antoina Houdona, Agusta Rodina, Josefa Václava Myslbeka, Emila Antoina Bourdella, Jana Štursy, Charlese Despiauxe, Giacoma Manzua, Vincence Makovksého, Otty Gutfreunda. .
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Adkisson, Heidi. bject Modeling & Flow Diagramming for Designers: Methods for Designing with Ease and Confidence. Independently published. 2022.
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Barber, Barrington. Velká kniha anatomie pro výtvarníky: kompletní příručka o kresbě lidského těla. Praha: Svojtka. 2011.
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COAD, Peter. Object Models: Strategies, Patterns, and Applications. Pearson Technology Group. 2008.
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Flint, Tom, Stanyer, Peter. Anatomie pro výtvarníky. Praha : Svojtka a Co., 2005. ISBN 80-7352-243-8.
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