|
Lecturer(s)
|
|
|
|
Course content
|
1. Assignment of the first task: modeling according to nature in the form of enlargement (shells, animal bones, stones, etc.) 2. Modeling the first task 3. Continuation of the first task 4. Continuation of the first task 5. Continuation of the first task 6. Assignment of the second task: modeling a leg or a hand according to plaster casts from living bodies 7. Modeling the second task 8. Modeling the second task 9. Modeling the second task 10. Modeling the second task 11. Modeling the second task 12. Modeling the second task 13. Modeling the second task
|
|
Learning activities and teaching methods
|
|
unspecified
|
| prerequisite |
|---|
| Knowledge |
|---|
| - 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 |
|---|
| - 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 |
|---|
| Knowledge |
|---|
| - 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 |
|---|
| - l- can consciously apply knowledge about the skull structure when modelling the head according to a live model |
| - l- can consciously apply knowledge about the skull structure when modelling the head according to a live model |
| - can define the basic spatial points ( plans) of the profile and the basic spatial arrangement of the mass. |
| - can define the basic spatial points ( plans) of the profile and the basic spatial arrangement of the mass. |
| - 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. |
| - I 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. |
| - I 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. |
| teaching methods |
|---|
| Knowledge |
|---|
| Practice exercises |
| Practice exercises |
| Skills |
|---|
| Individual work of students |
| Individual work of students |
| assessment methods |
|---|
| Knowledge |
|---|
| Analysis of the student's performance |
| Analysis of the student's performance |
|
Recommended literature
|
-
.. .
-
Adkisson, Heidi. bject Modeling & Flow Diagramming for Designers: Methods for Designing with Ease and Confidence. Independently published. 2022.
-
Barber, Barrington. Velká kniha anatomie pro výtvarníky: kompletní příručka o kresbě lidského těla. Praha: Svojtka. 2011.
-
COAD, Peter. Object Models: Strategies, Patterns, and Applications. Pearson Technology Group. 2008.
-
Flint, Tom, Stanyer, Peter. Anatomie pro výtvarníky. Praha : Svojtka a Co., 2005. ISBN 80-7352-243-8.
|