Drawing for Architecture

Access to individual students of the studios will be selected by specific assignments that will relate to their professional classification. The concept is based on the requirements for the use of drawing in the field of study and its application in presentations and projects of students in practice.

It is not only a virtuoso skill, but also the ability to abstract, re-evaluate and art transform into new artistic contexts. In the teaching of figural drawing, a whole host of general artistic criteria, concepts and phenomena appear, such as artistic-aesthetic feeling, artistic vision, aesthetic evaluation, artistic abstraction, analytical-synthetic thinking, and many other accompanying artistic phenomena. The content and aim of the course is to help students with professional teaching in his further individual artistic growth, enrich him with practical artistic experience, provide instructions for finding a source of inspiration, guard the qualitative growth of drawing skills and encourage him in a creative approach to solving his own subjective works.

The decisive prerequisite for successful mastering of this subject is the level of talent of the listener, his accessibility, communicativeness, creativity, intellectual

maturity, but also the professional foundation and prudence of an experienced teacher who is able to assess and identify with the current issues of the graduate, has ambitions to verbally define and clearly convey their own, often emotional observations. With his personality, the teacher of the drawing creates an environment in which the tolerance of the individual aesthetic feeling and the acceptance of the listener's own creative imagination reigns. It sensitizes the artistic feeling, and helps to refine the drawing expression.

For students of the Department of Architectural Creation, haptic confrontation in the process of drawing depiction is very important, by which I mean experiments with smearing carbon by hand. As well as experience with brush techniques such as ink, watercolor, tempera and the like. More frequent alternation of drawing material and its combination awakens and increases the listeners' interest and increases emotional commitment. This learning content should be understood loosely enough as an open system that should allow students individual artistic and aesthetic development.

Objectives and content

First year student

• He acquires knowledge on the basis of exercises in drawing a human figure according to a living model, in the disciplines nude, half-figure, portrait, anatomically detail and instruction through a variety of compositional and proportional laws and rules on examples from the history of fine arts and the teacher's own work.
• Skill and discernment in dealing with drawing material and the process of searching for means of expression, used to seize and display the seen model, with instructions on its effective use.
• Gaining knowledge in the field of anatomy and harmony of the human figure, based on the observation of a living model and the study of anatomically-proportional conditions.
• Ability to easily incorporate into the selected format, achieving plasticity and spatiality of the form with the use of light and shadow, determining the dominant and focus in the selected composition.
• Treatment of surface, space and form in the sense of a drawing abbreviation and instruction on the possibilities of intentional manipulation of their functions in the display.
• Expression of the spatiality of shapes and their relations in the form of linear, light drawing on the basis of observation and instruction by the artistic principle of point drawing and reduction of light and shadow to the contour line.

Second year student

• He acquires skills in expressing the human figure in its anatomical proportions and movement on the basis of visual observation and instruction in the principles of the structure of the human body and the recommended literature on the anatomy of the human body.
• It acquires an aesthetic sense of drawing, understanding and expressing plasticity, spaciousness, luminosity and the ability to build planar, building plans.
• In drawing exercises, he learns the relationships of area, light and form on the basis of observation of a given model and instruction with a way of evaluating their mutual connections into an illusory spatial expression.

The course of teaching.

• Figural drawing is taught in the form of exercises.
• Students draw according to the template (act) on large format pads with the possibility of changing the distance and position to the model.
• During the work, they are guided by the teacher in the form of corrections and clarification of the issue. Corrections are made individually and are understandable.
• With his presence, the teacher tries to create a creative atmosphere, harmonizes the needs of the model and students and takes care of a dignified course of teaching.
• Based on the individual results, it determines the changes in the positions of the models and the time schedule so that the students are guaranteed the completion of the work.
• The teacher organizes figural drawing workshops for students demonstrating above-average drawing results and thus prepares them for participation in international drawing drawing exhibitions such as FIGURAMA.