🔵 🔴 🟡 Course description

[The course is offered to ERASMUS students]

The course aims to understand the process by which the initial conception of the idea in the form of a sketch, draft or sketch develops into the most complete visual composition, without negating the artistic value of the primary drawing. The structuring of the final visual composition will be carried out with the knowledge of the elements of the Drawing and the study and comparison of visual compositions by artists and movements that associated the Fine with the Applied Arts.

At the end of the course, students should be able to:

• draw fluently, knowing the formal and expressive elements of the Plan.
• clearly compose their ideas through visual vocabulary.
• perceive spatial relationships and comparable design elements, and their role in shaping space.
• develop the ideas of a design into visual compositions on the theme of shaping a space, costume or object.
• document the process of organizing their idea, researching themes and collecting artistic material. 

🔵 🔴 🟡 Theory (1 hour)

1. Sketch-Drawing I
2. Sketch-Drawing II
3. Sketch-Drawing III
4. Sketch-Drawing IV
5. Sketch-Drawing V
6. Color-Pattern I
7. Color-Drawing II
8. Principles of Composition I
9. Principles of Composition II
10. Visual Composition I
11. Visual Composition II
12. Visual Composition III
13. Design in Space

The process of evolution from the sketch, to the draft, the sketch, the design study, which leads to the Visual Composition as a more complete, final stage, will be examined. We will mainly be concerned with artists of Modernism and Formalism who connected the Good with the Applied Arts and the corresponding schools and movements (P. Cezanne, H. Matisse, Cubism, Russian avant-garde, Constructivism, Bauhaus, De Stijl, Neo-plasticism, Minimalism, Art Concrete, Conceptual art, P. Mondrian, H. Bayer, H. Oiticica). The visual vocabulary, the elements, the rules and the ways of Composition and analysis of the composition as a structure and style.

🔵 🔴 🟡 Workshop (2 hours)

1. Sketch-Drawing I
2. Sketch-Drawing II
3. Sketch-Drawing III
4. Sketch-Drawing IV
5. Sketch-Drawing V
6. Color-Pattern I
7. Color-Drawing II
8. Principles of Composition I
9. Principles of Composition II
10. Visual Composition I
11. Visual Composition II
12. Visual Composition III
13. Design in Space

Discussion of ideas for configuration (design of objects, poster, space, installation or theatrical garment), and the final presentation can be an individual visual proposal or project (group work), accompanied by documentation texts. Design modes-materials. The importance and properties of materials. Compositions of objects, studies in "still lifes", assemblages, man as a "model". Studies in the rendering of volume, texture, color and light. Research on personal style, aesthetics and functionality of artists' visual compositions.

Language of assessment: Greek and English

🔵 🔴 🟡 Evaluation method:

• Formative assessment (40%) including:

  - Presentation of the folder and Draft of the final work, with a documentation text of 300 words. 10%

  - Presentation of a folder and artistic work, with a documentation text of 300 words. 10%

  - Progress: presentation of a dossier and the progress of the initial Draft, with a documentation text of 300 words. 20%

• Final evaluation (60%) which includes: a) the final presentation in digital form or plastic model or project in the space. The final presentation can also be group, but will be accompanied by an individual documentation text of 300 words that will include influences/references to artists, bibliography, artists' works, and presentation of the folder

   

  Note: The folder refers to the personal research done by the students in stages, from the beginning of the course and may contain sketches, photographs, videos, notes-remarks, references to artists, collages, and general sketches-drafts (dated), in relation to the processing of the final work. Also all presentations (with presentation date) which precede the final work.

• Face-to-face
• Use of ICT in teaching
• Use of ICT when communicating with students.

• Use of audiovisual examples, support of the learning process through eClass by providing audiovisual material, links, photos, extra bibliography and related information (exhibitions, cultural institutions, etc.)

https://eclass.uop.gr/courses/PDA175 

🔵 🔴 🟡 Course Textbooks [Eudoxus]

• R.Arnheim, (2005) Art and Visual Perception, Themelio Publications
• Kyriakopoulos (2016) The Bauhaus movement and its influences on contemporary visual communication, Sarantos Publications
• Frangopoulos, M. (2006) Introduction to the History and Theory of Graphic Design. Futura Publications.
• Sylvester, N. (1989) The rawness of things. Agra Publications

Extra Bibliography

• A.B.Nakov,Non-Objectivity: Art of the Russian Avant-Garde,ed. Continents, 2016
• R.Arnheim,The Power of the Center, A Study on Composition in the Visual Arts,St.University Press,2022
• G.Minissale,Rhythm in Art,Psycology and new Materialism,Cambridge University Press,2021
• P. Klee, On Modern Art, ed. Kalvos, Athens
• A. Charalambidis, I see, I know, I feel, ed. University Studio Press
• F. Ambler, Bauhaus, ed. Melissa
• L.Hoptman, Drawing Now: eight propositions, N.Y.,2002
• J. Berger, The Image and the Gaze, Odysseus Publications
• G. Apollinaire, The Cubist Painters, ed. Nefeli 
• T. Trodd: The Art of Mechanical Reproduction: from Duchamp to the Digital
• E.Dexter. Vitamin D: New Perspectives in Drawing, New York and London, 2005