maria curie-sklodowska university in lublin the...

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MARIA CURIE-SKLODOWSKA UNIVERSITY IN LUBLIN

THE FACULTY OF ARTS, THE INSTITUTE OF FINE ARTS

GRAPHIC ARTS STUDIES

MASTER OF FINE ARTS DEGREE

DESCRIPTIONS OF INDIVIDUAL COURSE UNITS

Course title: HISTORY OF MODERN GRAPHIC ARTS AND PAINTING

Course code: 2GE1

Type of course: compulsory

Level of course: preliminary

Year of study: 1

Semester: 1

Number of ECTS credits: 1

Name of lecturer: dr Ewa Letkiewicz

Objectives of the course: Introduction to the history of graphic arts and painting, as well as the

iconography, terminology and esthetics of modern art related to these issues. Besides the facts

presented with reference to the chronology of works, detailed issues are discussed, the aim of which

is to reveal the specific formal differences between the analyzed artists’ works, schools and techniques.

Entry requirements: Knowledge of basic facts and terms of art history, as well as graphic and painting

techniques.

Course contents:

1. The birth of Renaissance. The leading role of Florence and patronage of the Mediceans in the

development of Quattro cento arts. The significance of the works of Masaccio, Paolo Uccello, Filippo

Lippi, Piero della Francesca, Sandro Boticelli

2. The 15th century arts outside Italy. Development of graphic techniques related to the invention of

printing.

3. The technological breakthrough of oil painting in the 15th century Netherlands. The works of Jan

van Eyck and the Netherlands school.

4. The German art of the Reformation. Albrecht Dürer: graphic artist, painter, and art theoretician.

5. Italian art of mature renaissance. Works of Leonardo da Vinci, Raphael Santi and Michelangelo.

6. The significance and development of reproductive graphic art in the 16th century.

7. The Venetian painting and its great masters: Giorgione, Tizian, Veronese, and Tintoretto.

8. The Polish Renaissance. The significance of first printing houses for the development of graphic arts

in Poland.

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9. Movement, light and space in Baroque painting and graphic arts.

10. Classical tendencies in French Baroque painting on the example of works by Nicolas Poussin.

11. The Rococo art on the example of the works by Antoine Watteau, Jean-Honore Fragonard,

Francois Boucher, Jean-Baptist Chardin.

12. Flanders painting and graphic arts in the 17th century. Peter Paul Rubens and his disciples.

13. Rembrandt van Rijn and Dutch painting and graphic arts in the 17th century (still life, portrait,

landscape and genre scenes).

14. Sdrty Spanish painting and graphic arts. The works by Diego Velasquez, Bartolomeo Murillo,

Francisco Zurbaran, Jose de Ribera.

Form of classes: lecture

Recommended reading:

1. Cole Bruce, Art of the Western World, Simon &Schuster 1991.

2. Philip Megg, A History of Graphic Design, John Wiley & Sons 1998.

3. Glenn Andrews, The Art Of Florence, New York 1990.

4. Gombrich Erich H., New Light on Old Masters, Oxford 1986.

5. Spear Richard, Caravaggio and His Followers, Cleveland 1971.

6. Pignati T., Master Drawings, New York 1982.

Delivery methods: The discussed issues are presented against the cultural background of a given

epoch. To present the images during classes vast resources of diapositive and DVD collection (prepared

especially for the needs of this subject) are used.

Assessment methods: The condition of obtaining credit for this subject is passing oral examination.

Language of instruction: English

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Course title: HISTORY OF POLISH ART AFTER 1945

Course code: 2GE2



Year of study: 1

Semester: 2


Name of lecturer: dr Piotr Majewski

Objectives of the course: The lecture will focus on the Polish art after 1945 year in the context of

political and social changes as well as in connection with international art after The Second World War.

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The similarities and differences will be underlined. The goal will be to show the most influential artists,

movements and directions in the Polish art of the period.

Entry requirements: Basic knowledge of art history in 20th Century.

Course contents: The main problems discussed will be as follows:

- centers of modern art after the Second World War in Poland

- so called colorist painters

- social realism between 1949 and 1955

- “modernization” of the Polish art in the second half of 1950s

- the art and theater of Tadeusz Kantor

- the Polish School of Posters

- Polish artists in Paris about 1960

- neo-avant garde of ‘60s and ‘70s

- so called “independent culture” of ‘80s

- “critical art” movement artists of ‘90s

- Polish art today – main directions



1. Jolanta Chrzanowska-Pieńkos, Andrzej Pieńkos, Leksykon sztuki polskiej XX wieku, Kurpisz, Poznań

1996.

2. Od awangardy do postmodernizmu. Encyklopedia kultury polskie XX wieku, pod red. Grzegorza

Dziamskiego, Instytut Kultury, Warszawa 1996.

3. Piotr Piotrowski, Znaczenia modernizmu. W stronę historii sztuki polskiej po 1945 roku, Rebis,

Poznań 1999.

4. Anda Rottenberg, Sztuka w Polsce 1945-2005, Stentor, Warszawa 2005.

5. Wojciech Włodarczyk, Sztuka polska 1918-2000, Arkady, Warszawa 2000.

Delivery methods: Lecture, images presentation.

Assessment methods: During the exam you will analyze the works seen during the lecture as well as

the “unknowns”, neither seen nor discussed in class in relation to things that were.


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Course title: SOCIOLOGY OF ART

Course code: 2GE3


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Year of study: 2

Semester: 3


Name of lecturer: dr Małgorzata Stepnik

Objectives of the course: The course will investigate the history of sociological reflection on arts. It’s

main aim is to examine “classical” theoretical concepts, ( associated with, among others, Pierre

Bourdieu), as well as the newest approaches. Students will be given the opportunity to explore and

discuss such topics as p. ex. societal support and constraints of art production, globalization of the arts,

the role of cultural institutions. By the end of the course, students should be well versed in the

sociology of the arts and well equipped to pursue their own research in this area.

Entry requirements: -

Course contents:

1. Studying the art object sociologically. The work of art as a cultural text. E. Panofsky’s iconological

method.

2. “Classical” concepts in social reflection on art, (J. Duvignaud, A. Hauser, P. Francastel,

S. Ossowski). P. Bourdieu’s theory: the genesis and structure of the literary field, symbolic capital and

symbolic violence.

3. Sociology of art today – key problems and prospects. Sociological examination of art as collective

action on a basis of H. Becker’s Art Worlds concept. Modern typology of artists: integrated

professionals, mavericks, folk artists and naive artists. Problems in the study of artistic change, (V.

Zolberg). Postmodern reflection on cultural (artistic) production, (J. Baudrillard’s The Conspiracy of

Art).

4. The eclipse of art? Symptoms of crisis. Mass culture and globalization. Art market and ‘art industry’.

The institutional theory of art, (A. Danto G. Dickie).

5. An artist as a „product” of his/her times. Towards the modern mythology of artist – from poétes

maudits (accursed poets) to Andy Warhol.



1. H. S. Becker, Art Worlds, University of California Press, 1984.

2. P. Bourdieu, Rules of Art: Genesis and Structure of the Literary Field, Stanford University Press,

1996.

3. V. L. Zolberg, Constructing a Sociology of the Arts, Cambridge University Press, 2006.

Delivery methods: Lecture, discussion, multimedial presentation.

Assessment methods: Students will be oblidged to write an essay on a chosen topic, proposed by the

lecturer.


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Course title: VISUAL ARTS AND LITERATURE

Course code: 2GE4



Year of study: 1

Semester: 2



Objectives of the course: The course will be focused on varied relations between plastic (visual) and

literary imagery. Topics will include: avangarde and post-avangarde philosophy, the notion of realism,

mythologies of modern artists. Oeuvres of chosen visual artists, poets, writers and film-makers will be

presented during the lectures and discusses with the students.


Course contents:

1. Forms of realism in the visual arts and literature.

2. William Blake’s artistic oeuvre. His poetry and painting in the context of Swedenborgian philosophy.

3. History of Avantgarde. Anti-art and anti-aesthetics. Aleatorism in plastic arts and literature.

4. Visual literature – from Apollinaire’s Calligrammes to concrete poetry.

5. Art of counter culture. Novelists and poets of the Beat Generation. From J. Kerouac’s concept of

journey to a road film. Plastic arts after May 1968.

6. Origins of a pop-star. Andy Warhol and his Diaries.

7. Synaesthetical phenomena in literature, ( O. Pamuk’s My Name is Red and P. Süskind’s

Perfume).

8. Peter Greenaway and his love for Rembrandt’s work.

9. Relations between postmodern philosophy and architecture.



1. From modernism to postmodernism: an anthology, Blackwell Publishers, Oxford 2001.

2. Adams, Laurie Schneider. Looking at Art, Upper Saddle River, New Jersey: Prentice Hall, 2002.

3. J. Thompson, How to Read a Modern Painting, Ludion Ghent 2006.

Delivery methods: Lecture, discussion, multimedial presentation.

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Assessment methods: Students will be oblidged to write an essay on a chosen topic, proposed by the

lecturer.


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Course title: DRAWING

Course code: 2GE5



Year of study: 1-2

Semester: 1, 2, 3

Number of ECTS credits: 3+3+3=9

Name of lecturer: as. mgr Jakub Ciezki

Objectives of the course: In all its forms and aspects, drawing is the basis of all other artistic activities.

The objective of the Drawing course is to develop skills, teach traditional drawing techniques and

inspire individual forms of expression. During the course, the students will:

Master the bases of perspective, anatomy and composition; Improve their observation skills as well as

develop the ability of committing remarks and impressions to paper as thumbnail sketches; Get

acquainted with the importance of the color, line, space, shape, form, pattern, texture, contrast,

rhythm, composition, balance, movement, unity and other components of the drawing; Training

results and expected competences:

1. Proficient drawing media skills (e.g. ink, charcoal, pastels).

2. Conscious use of the perspective principles.

3. Proper interpretation of anatomy.

4. Purposeful selection of drawing techniques and means of expression.

5. Control over the light, texture and contrast.

6. Ability to create diverse types of drawings as well as to select and use multiple media to create a

mixed media drawing.

Entry requirements: Basic drawing skills. The ability to evaluate perspective properly. Basic knowledge

of human anatomy. Basic knowledge of plane composition. Proper figure study skills.

Course contents: Basic drawing techniques and forms of drawing (thumbnail sketch, structural

drawing, contour drawing, value drawing). Observation skills on the basis of perspective and anatomy

principles. Drawing still life and nude figure from direct observation of a model (posing and gesturing).

Mixed media exercises.

Form of classes: practical


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1. A. Gair, Artist's Manual: A Complete Guide to Paintings and Drawing Materials and techniques,

Madison Books 1996

2. R. Gill, Zasady rysunku realistycznego, Galaktyka, Warszawa 1998.

3. Sz. Kobylinski, Podszeptnik rysownika, Młodzieżowa Agencja Wydawnicza, Warszawa 1989.

4. New Perspectives in Drawing, praca zbiorowa, Phaidon, Londyn 2005.

5. J. M. Parramón, Rysunek artystyczny, Wydawnictwa Szkolne i Pedagogiczne, Warszawa 1993.

6. W. Pogany, The art of drawing, Madison Books 1996

7. A. Ryder, The Artist's Complete Guide to Figure Drawing: A Contemporary Perspective on the

Classical Tradition, Watson-Guptill Publications, New York 2000

8. S. Simblet, Anatomia dla artystów, Arkady.

9. K. Teissig, Techniki rysunku, Wydawnictwa Artystyczne i Filmowe, Warszawa 1982.

10. W. Wierzchowiska, Współczesny rysunek polski, Wydawnictwa Artystyczne i Filmowe, Warszawa

1982.

Delivery methods: The course is based on individual drawing tasks in and outside of the studio such as:

Direct nature observation using the process of contour drawing; Studio drawing to create highly

finished drawings that depict value, volume, depth and atmosphere;

Technique, structure and composition exercises; Drawing from a model; Mixed media

exercises;Unassisted semester tasks; Revisions and discussions over realized tasks.

Assessment methods: Examination based on the quality of drawings, attendance, individual progress,

artistic maturity, originality and drawing skills.


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Course title: PAINTING

Course code: 2GE6



Year of study: 1

Semester: 1, 2

Number of ECTS credits: 3+3=6

Name of lecturer: as. mgr Jakub Ciezki

Objectives of the course: During the course the students will:

- Learn and understand painting terminology as well as different types of artistic expression;

- Develop the ability to use various painting techniques efficiently;

- Develop the ability of analytic perception of reality resulting in artistic creations;

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- Develop the ability to create a project (sketch, photography, digital recording) and use it to

individual realization;

The course is designed to:

- Stimulate the development of student’s imagination as well as creative perception of reality;

- Introduce students with painting techniques and composition principles;

- Training results and expected competences;

- Appropriate use of painting tools;

- Effective and efficient use of variety of paint application techniques;

- Understanding of the relativity of color;

- Proficient painting media skills (e.g. oil, acrylic, tempera);

- Ability to paint still life from direct observation;

- Purposeful selection of painting techniques and means of expression;

- Control over the composition, colour, texture and perspectives;

- Ability to create diverse types of paintings as well as to select and use multiple media to create a

mixed media painting;

Entry requirements: Basic skills to use various painting techniques. The ability to consciously use

different types of composition: closed, open, static, dynamic. Basic knowledge of fine arts history and

theory.

Course contents: The principles of composition. Use of sketch, photography or digital recording in

creating a painting. Painting technology. Exercising the ability of conscious preparation of the painting

as far as texture and structure is concerned. Painting from direct observation. Use the features of

acrylic and oil paints



1. J. Aristides, Classical Painting Atelier: A Contemporary Guide to Traditional Studio Practice, Watson-

Guptill 2008.

2. R. Arnheim, Sztuka i percepcja wzrokowa. Psychologia twórczego oka, WAiF, Warszawa 1978.

3. A. Gair, Artist's Manual: A Complete Guide to Paintings and Drawing Materials and techniques,

Madison Books 1996.

4. E. Gombrich, Sztuka i złudzenie. O psychologii przedstawienia obrazowego, PIW, Warszawa 1981.

5. W. Kandinsky, Punkt i linia a płaszczyzna: przyczynek do analizy elementów malarskich, PIW,

Warszawa 1986.

6. H. Read, O pochodzeniu formy w sztuce. Warszawa 1973.

7. N. Reyner, Acrylic Revolution: New Tricks and Techniques for Working with the World's Most

Versatile Medium, North Light Books 2007.

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8. M. Rzepinska, Historia koloru w dziejach malarstwa europejskiego. Wyd. Literackie, Kraków 1983.

9. H. Speed, Oil Painting Techniques and Materials, Dover Publications 1987.

10. W. Strzeminski, Teoria widzenia. Wyd. Literackie, Kraków 1974

Delivery methods: The course is based on individual painting tasks in and outside of the studio such

as: Painting still life from direct observation; Technique, texture and structure exercises; Composition

exercises; Mixed media exercises; Unassisted semester tasks.

Revisions and discussions over realized task.

Assessment methods: Examination based on the quality of paintings, attendance, individual progress,

artistic maturity, originality and painting skills.


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Course title: MOSAIC

Course code: 2GE7



Year of study: 2

Semester: 3


Name of lecturer: mgr Paulina Hortynska

Objectives of the course: Brief introduction to the history of mosaics. Instructional information

includes detailed descriptions of materials, tools, bases, adhesives, and technology that covers the

skills you need to create mosaics, from cutting and shaping the tesserae to preparing the base and

mixing various colour of grout.

Entry requirements: Basic knowledge of composition, contrast between the subject and the

background, tonal, textural and shape contrast.

Course contents: The process of creating a mosaic is captivating on many levels: the colours, textures,

and reflective qualities. The basic principles of good practice that will turn an assemblage of media into

a hard surface that is durable and permanent.

Form of classes: laboratory


1. Elaine M. Goodwin, Decorative Mosaics, New Holland Publishers Ltd. 2005.

2. Viv Foster, The Mosaic Artist`s Handbook, Quantum Publishing Ltd. 2007.

3. Reham Aarti Jacobsen, Mosaics for the first time, by Reham Aarti Jacobsen 2004.

4. Peter Massey – Alison Slater, Beginner`s Guide to Mosaic, Search Press Limited 1999

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5. Vicki Payne, Stained Glass in an afternoon, Prolific Impressions, Inc. 2002.

Delivery methods: Lectures, historical and contemporary images slide shows. Practical exercises for

individual student working on flat, rounded and other surfaces. Tutorial critics and discussion with

students.

Assessment methods: Evaluation of the final grade will be adequate to and based on activity and

progress of creative work and attendance.


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Course title: MASTER'S DEGREE SEMINAR

Course code: 2GE8


Level of course: intermediate – advanced

Year of study: 1-2

Semester: 2, 3, 4

Number of ECTS credits: 1 + 4 + 10 = 15


Objectives of the course:

The objective of the seminar is to equip students with knowledge and skills indispensable in the process

of writing the thesis, as well as to prepare them for successful defence.

Entry requirements: none

Course contents:

1. Sociological reflection on arts - from “classical” theoretical concepts to the newest approaches.

2. Postmodern reflection on cultural (artistic) production.

3. Art market today. Merchandising strategies, trends, globalization and peculiarities of local markets.

4. Artist myths and mythologies in context of mass culture.

5. Naive art as a sociological phenomenon. Artists’ biographies, motivations and inspirations.

Form of classes: seminar


1. J. Baudrillard, The Conspiracy of Art, Semiotext(e)/MIT Press, 2005.

2. H. S. Becker, Art Worlds, University of California Press, 1984.

3. P. Bourdieu, Rules of Art: Genesis and Structure of the Literary Field, Stanford University Press,

1996.

4. V. L. Zolberg, Constructing a Sociology of the Arts, Cambridge University Press, 2006.

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Delivery methods: Short lectures, presentations prepared by students, work on texts written by

students.

Assessment methods: Credit and mark assessed on the basis of active participation in classes, term

papers and progress in work on the MA thesis.


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Course title: RELIEF PRINTING

Course code: 2GE9



Year of study: 1

Semester: 1


Name of lecturer: dr Agnieszka Zawadzka

Objectives of the course: Understanding of printmaking skills, materials, terminology, tools and their

uses. Variety of relief printing procedures including black and white reduction and additive relief and

colour print from a single block. Exploring and developing the creative process and visual language

necessary for personal expression. Developing the ability to critically analyze artwork and progress.

Entry requirements: Drawing skills to create preparatory sketches for each print.

Basic knowledge of history of art.

Course contents: Introduction to relief painting techniques (woodcut, wood engraving and linoleum

cut) and studio problems in platemaking and printing. Explanation of basic printmaking terms: matrix,

relief, proof, unique proof, numbered print, limited edition, state, artist proof, bon à tirer, ukiyo-e

print, bookplate. Presentation of examples of relevant artworks.

Assignments:

Black and white large linocut;

Colour linocut from single block;

Small graphic form – bookplate.

Purpose of these assignments is to explore principles of composition, perspective, colour, light,

contrast, balance, shape, positive and negative space and line.

Preparatory drawings that precede the print are considered very importanat in the development of

each print.

During group critiques students’ work and individual progress will be discussed.



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1. Hayward A., Wood Engraving and Linocuting, 2008.

2. Rumpel H., Wood engraving, Geneve 1972.

3. Westley A., Relief Printing ( Printmaking Handbook), London 2001.

4. Dictionary of Printmaking Terms, http://www.philprintshop.com/diction.html

5. Ukiyo-e, The Picture of Floating World, http://www.ukiyo-e.se/

Delivery methods: Studio practice, discussions and critiques, short lectures.

Assessment methods: The final grade will consist of the average derived from the grades per each

assignment. This grade will be modified by factors such as attendance, participation in critiques,

attitude and individual progress. The grade of each assignment will consist of two grades: technique

(how student effectively handles the materials and process of printing) and content (how student

interpret the assignment in a creative way).


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Course title: INTAGLIO PRINTMAKING

Course code: 2GE10


Level of course: intermediate

Year of study: 1

Semester: 1


Name of lecturer: ad. Alicja Snoch-Pawlowska

Objectives of the course: Practical training concerning the main intaglio techniques. Developing the

requisite skills and conceptual basis necessary for own innovative work. Ability to provide highly

informed commentaries, analyses and promotions of graphic creativity.

Entry requirements: Basic ability of drawing and picture composition.

Course contents: Introduction into main intaglio techniques: dry point, etching, aquatint, soft ground,

mezzotint. Intaglio workshop: tools and materials, kinds of graphic paints and papers, etching press,

ferric chloride as the etching factor. Education of systematic, consequential work from ideas through

sketches, creating the matrix (on copper plate), printing of the planned edition and proper signature

till preparing works to exhibition.

Characteristic issues of graphic language: lines and spots, solids and chiaroscuro, gray scale and

texture. Individual artistic creation of independent student’s graphic works.

Form of classes: practical - laboratory


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1. Manly Banister, Practical Guide to Etching and Other Intaglio Printmaking Techniques, Dover

Publications Inc,1987.

2. Mychael Barratt, Intaglio Printmaking, A&C Black Publishers Ltd, 2008.

3. Ray Smith, The Artist’s Handbook, Dorling Kindersley Ltd, 1987.

4. International Print Triennial Krakow homepage: http://www.triennial.cracow.pl/

Delivery methods: Lecture, demonstration and studio practice. Exercises made on the base of the

introduced task and demonstrated examples under regular lecturer’s supervising. Individual corrects

at each students project and during realization of graphic prints in chosen techniques. Introduction to

the increase scale of difficulties. Organization of students’ works review as a group exhibition.

In case of higher level of student’s abilities, there is a possibility of individual program.

Assessment methods: To pass the course student is ought to make minimum 3 works prepared

according to accepted projects. Each exercise is discussed and evaluated by the lecturer. Artistic level,

manual abilities development, participation during the course, and individual research of formal

problem solutions are taken into consideration at final grading. There is a group review of all the works

at the end of semester.


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Course title: SERIGRAPHY

Course code: 2GE11



Year of study: 1

Semester: 1


Name of lecturer: mgr Małgorzata Gorzelewska

Objectives of the course: Preparing students for working in the screen-printing technique (also in

colour) and all its aspects. Using serigraphy tools and print techniques. Working on the different kinds

of basic materials (paper, canvas, wood, plastic etc.). T-shirt printing.

Entry requirements: Preliminary knowledge of making projects by using drawings, paintings,

photography, collage. Ability to auto-expression. Basic knowledge of using picture computer editors

(f.e. Adobe Photoshop, Corel Graphics Suite) and typography.

Course contents: Learning about the history of serigraphy and its way of evolution. Presentation of

artists who specialize in this technique. Solving graphic tasks, making projects and individual

realization. Preparing transparencies by hand and using photography. Multicolour printing.



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1. Andre Peyskensa, Technical bases of executing the screen printing convention, the SAATI ed.,1998.

2. Catalogues of serigraphy exhibitions.

Helpful links:

1. http://www.screenulacra.at/

2. http://www.220voltage.net/screen-print-the-diy-way/

3. http://home.earthlink.net/~intothewoods/id28.html

4. http://www.wisegeek.com/what-is-serigraphy.htm

5. http://cybermuse.gallery.ca/cybermuse/showcases/techniques/print/seri/print_seri_intro_e.jsp

Delivery methods: Creative projects, discussions, choosing the method of realization, individual

printing process.

Assessment methods:

Creativity, activity in the studio, printing precision, involvement and final artistic effect will be taken

into account. (The average of the marks received for the tree required tasks will make the final grade.)


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Course title: GRAPHIC EXPERIMENTAL TECHNIQUES

Course code: 2GE12



Year of study: 1

Semester: 2


Name of lecturer: prof. Artur Popek

Objectives of the course: Presentation of varied forms of mixing classical print techniques with new

solutions resulting from digital knowledge and opportunity to discovering new fields of connecting

artistic and design graphic. Using different kinds of basic materials (paper, canvas, wood, plastic

etc.).Intentional breaking of rules of classical printmaking, penetration of monoprint, chine-colle,

collograph, natural imprint method, thermo- and photo-transfer.

Entry requirements: Intermediate knowledge of making graphics by using classical printmaking. Ability

to auto-expression. Basic knowledge of using picture computer editors (Adobe Photoshop CS, Corel

Graphics Suite). Using of digital camera, film camera, scanner, printer.

Course contents: Presentation of examples from art history and contemporary creativity of selected

artists. Solving graphic tasks, making projects in possible wide spectrum of fine arts media and

individual realization. Preparing experimental matrix by using own created technical solutions.

Multicolour printing.

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1. B. Miecikowska Słowo-obraz-dźwięk. Literatura i sztuki wizualne w koncepcjach polskiej awangardy

1918-1939, Kraków 2005.

2. R. Mayer Gedruckte Kunst, VEB Verlag der Kunst Dresden 1984.

3. A. Jurkiewicz, Podręcznik metod grafiki artystycznej, Arkady, Warszawa 1975.

4. A. Krejća, Techniki sztuk graficznych, Arkady, Warszawa 1984.

5. J. Werner, Podstawy Technologii Malarstwa i Grafiki, PWN, Warszawa 1985.

6. J. Werner, Technika i technologia sztuk graficznych, Wyd. Literackie, Kraków 1972.

7. J. Newell D. Whittington, Monoprinting, A&C Black, London 2004

8. B. Hartill, R. Clarke, Collagraphs and Mixed-Media Printmaking, A&C Black London 2007

Delivery methods: Each student is supposed to do minimum three works during the semester. The

subjects are preceded by short introductory lectures at the successive stages of realization. Student’s

progress will be tested systematically from both a formal point of view and concerning the substance.

Assessment methods: Creativity, activity in the studio, printing precision, involvement and final artistic

effect will be taken into account. The average of the marks received for the tree required tasks will

make the final grade.


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Course title: DIGITAL PRINT

Course code: 2GE13



Year of study: 2

Semester: 3




Realization of the cycle of 4 works in individual chosen digital technique.

Presentation of works in the chosen exhibition space.

Introduction to the undertaking of individual artistic way.

Entry requirements: Advanced knowledge on the subject of techniques and graphic, computer

technologies and the history of graphic arts

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Course contents:

Introduction to the digital graphic workshop - indispensable programs materials, tools and devices.

Introduction of basic visual techniques based on computer peripheries.

Realizing the individual projects based on own drawings, paintings, photography, interpretations of

the nature in coexistence with technique.

The realization graphic works using digital printer, plotter, projector and test of the creation of own

workshop environment. The preparation of graphic works to the exposition, demonstration space

arrangement.



1. R. Mayer Gedruckte Kunst, VEB Verlag der Kunst Dresden 1984.

2. A. Jurkiewicz, Podręcznik metod grafiki artystycznej, Arkady, Warszawa 1975.

3. A. Krejća, Techniki Sztuk Graficznych, Arkady, Warszawa 1984.

4. J. Werner, Podstawy Technologii Malarstwa i Grafiki, PWN, Warszawa 1985.

5. J. Werner, Technika i technologia sztuk graficznych, Wyd. Literackie, Kraków 1972.

6. J. Newell D. Whittington, Monoprinting, A&C Black, London 2004

7. B. Hartill, R. Clarke, Collagraphs and Mixed-Media Printmaking, A&C Black London 2007

8. M. Bóbr, Mistrzowie grafiki europejskiej od XV do XVIII w., Warszawa 2000.

9. J. Catafal, C. Oliva, Techniki graficzne, Warszawa 2004.

Delivery methods: Each student is supposed to do minimum three works during the semester. The

subjects are preceded by short introductory lectures at the successive stages of realization. Student’s



effect will be taken into account. The average of the marks received for the tree required tasks will

make the final grade.


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Course title: GRAPHIC DESIGN

Course code: 2GE14



Year of study: 1

Semester: 1


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Name of lecturer: dr Malgorzata Baldyga-Nowakowska

Objectives of the course: Graphic design is a field of artistic activity which enables development of

conscious creative abilities. The subject is to show basic principles of constructing a message by means

of graphic forms. The abilities which the students should acquire is using a mental shortcut for design

purposes, operating an allusion, accurate commentary of reality, finding original formal solutions and

precision of message. They will have the possibility of putting their graphic technique in order and to

completing it, which may have practical applications in other artistic forms.

They will have the opportunity of developing their creative imagination and deepening their aesthetic

sense.

Entry requirements: Preliminary knowledge of drawing, paining and graphic techniques. Ability of

using base text and picture computer editors.

Course contents: The basic principles of composition – the kinds of composition and how to put them

into practice. Searching for balance, harmony in contrasting and analogical arrangements . Using

different stylistic means of expression for presenting subjects. The problems of graphic synthesis as an

instrument of getting rid off the burden of decorativeness aiming at clarity. Preparations for designing

a graphic sign as an important means of conveying ideas. Organizing a layout according to hierarchic

principles of dividing. Using the play of associations, allusion, synthesis - the necessary means to design

posters. Creating authentic graphic presentation as an introduction to illustration design.



1. A. Frutiger, Człowiek i jego znaki, Warszawa 2003.

2. A. Głowacki, W kręgu In design. Projektowanie - harmonia przeciwieństw, Kraków 1994

3. Ellen Lupton; Thinking with Type, Princeton Architectural Press 2004

4. Marty Neumeier; The Brand Gap, AIGA 2006

5. Ellen Lupton; Abbott Miller Design Writing Research, Phaidon Press Limited, 1999

6. Paul Rand; From Lascaux to Brooklyn, Univ. of Tennessee, Knoxville 1996

7. Edward R. Tufte; Beautiful Evidence. Cheshire, CT: Graphics Press 2006

8. Philip Meggs; A History of Graphic Design Wiley, John & Sons, Incorporated 2006

9. Johannes Itten; Design and Form: The Basic Course at the Bauhaus Wiley, John & Sons, Inc. 1976

10. Leslie Cabarga; Logo & Font Lettering Bible http://www.mediafire.com/?jwoinatyt2n

11. Graphics Artists Guild; Graphics Artists Guild Handbook: Pricing & Ethical Guidelines 1994

Delivery methods: Each student is supposed to do three to five assignments during the semester. The

subjects are preceded by short introductory lectures at the successive stages of realization. Students'


Assessment methods: Realization of every task in time is a condition of receiving a credit for the course.

The criterion of being tested positively is a capability of creating the visual message, the authenticity

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and originality of solutions and the quality of the execution. The survey of students' realizations

enables comparing different approaches to the same issues.


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Course title: BOOK ILLUSTRATION

Course code: 2GE15



Year of study: 1-2

Semester: 2, 3

Number of ECTS credits: 2 + 2 = 4


Objectives of the course: Ability to transform of phenomenon of the nature to visual information

language. Education of abilities to combination of narration and formal values in illustrated picture.

Skills of abstractive perception of nature. Conscious using of painting, drawing, graphic techniques with

combination of photography and digital media in order to create illustration with individual values.

Entry requirements: Preliminary knowledge of drawing, paining and graphic techniques. Ability of

using base text and picture computer editors. Using of digital camera, film camera, scanner, printer.

Course contents: Presentation of artists profiles, most interesting phenomenon in contemporary

illustration. Solving of problems of visualization of verbal and emotional contents. Creative approach

to issues of join text with picture. Issues of style, composition, color and mood. Ability of mix of variety

of drawing, painting, print and photography techniques and transform them on the electronic media.

Experimental approach to character, environment; illustration for children. Selection of specific literary

form, and next concept work on set of illustration projects to this text, aiming editorial whole of chosen

item. Personal signs vocabulary, auto-expression. Realization as series of illustrations to the chosen

book.



1. B. Bieńkowska, H. Chamerska, Zarys dziejów książki, Warszawa 1987.

2. Svend Dahl, Dzieje książki, Ossolineum, Wrocław 1965.

3. Encyklopedia wiedzy o książce, Ossolineum, Wrocław 1971.

4. J. Muszkowski, Życie książki, Wyd. 2 ilustrowane i rozszerzone, Kraków 1951.

5. Polska ilustracja książkowa, Warszawa, Wydawnictwa Artystyczne i Filmowe, 1964.

6. J. M. Szancer, Curriculum vitae, Warszawa, Czytelnik, 1969.

7. I. Witz, Grafika w książkach Naszej Księgarni Warszawa, Nasza Księgarnia, 1964

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8. J. Wilkoń, Ilustracja książkowa, Warszawa, Ministerstwo Kultury i Sztuki, 1994

Delivery methods: Training of creative solving of problems, „brain storming”, presentation of variety

of plastic art techniques, as well computer techniques, self-work, discussions.

Assessment methods: Common assessment, report of group working effects. Self-correction,

assessment realized by author of project as a balance: intention-effect. Correction with grade drawing

up by teacher. Final grade – credit of subject with note on the basis of attendance, activity and created

works.


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Course title: PHOTOGRAPHY

Course code: 2GE16


Level of course: intermediate.

Year of study: 1

Semester: 1-2

Number of ECTS credits: 2 + 2 = 4

Name of lecturer: as. Danuta Kuciak

Objectives of the course: Perception of the reality as the living, “talking” structure and ability of

recognizing meanings contained in its elements and their activities. Conscious using this knowledge in

the individual creativity. Ability of transformation of the conceptual ideas into the field of photography.

Initiation of long lasting process of development of the imagination and interest in the contemporary

art. Ability of realization of the photographic works characterized by artistic values.

Entry requirements: Possession of a digital camera. Having a basic knowledge of the composition.

Interest in photography as an art form.

Course contents: Photography as a medium of art. Photographic picture – constructive elements of

the composition and their role in arising of the visual message. Reality as an infinitive area of the

opportunities for creative imagination. An issue of transforming invisible into visible in the language

of photography. Creativity as a process of coding meanings based on formal solutions. Staged

photography – meaningful photography. Arrangement as a form of expression of the individual artistic

vision. Documentary photography – subjective record of the objective reality. Text as the integral part

of the photographic realization. “Reading” of the photographs – a massage coded in the single

photographic picture and in the series of photographs. Artistic values of the photographic realization.

Form of classes: practical.


1. R. Barthes, Światło obrazu. Uwagi o fotografii. Wydawnictwo KR, Warszawa 1995.

2. B. von Brauchitsch, Mała historia fotografii, Wydawnictwo Cyklady, Warszawa 2004.

3. M. Freeman, Fotografia studyjna, Wydawnictwa Naukowo-Techniczne, Warszawa 1993.

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4. A. H. Hoy, Wielka księga fotografii, National Geographic Society, Wydawnictwo G+ J RBA, Warszawa

2006.

5. F. Hunter, S. Biver, P. Fuqua, Światło w fotografii. Magia i nauka. Galaktyka, Łódź 2009.

6. D. Lezano, Biblia fotografii, Book House, 2004.

7. E. Pontremoli, Nadmiar widzialnego. Słowo/obraz terytoria, Gdańsk 2006.

8. A. Rouille, Między dokumentem a sztuką współczesną, Universitas, Kraków 2007.

9. S. Sontag, O fotografii, Wydawnictwa Artystyczne i Filmowe, Warszawa 1986.

10. F. Soulages, Estetyka fotografii. Strata i zysk. Universitas, Kraków 2007.

Delivery methods: Introduction into the subject of the exercises. Conceptual work supported by the

lecturer. Taking pictures in the studio and in the other individually chosen spaces. Systematic show of

current work progress connected with a discussion within a group.

Assessment methods: Final grade results from attendance, activity and work effects. The criterion of

estimation are: an accordance of the author's intention with the final visual message, originality of

applied formal solutions, formal unity within the piece of work, a quality of execution and visual

attraction of the works done during the course.

Language of instruction: English.

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Course title: MULTIMEDIA

Course code: 2GE17


Level of course: advanced

Year of study: 1-2

Semester: 1, 2, 3

Number of ECTS credits: 2 + 2 + 2 = 6

Name of lecturer: dr Tomasz Kozak


Aesthetics and history of montage. Basic elements of the visual discourse of modern cinema. Avant-

garde paradigm of found footage film: it’s modern background and postmodern forms. Inquiring into

Walter Benajmin’s theory of Allegory in the context of avant-garde film and video art. Analysing the

problem of practical application of ideas of “Détournement.” and “Appropriation”. Developing the

ability of creating and transforming (or “interpreting”) sense and message of classical cinematic

master-pieces with the help of “critically” applied found footage procedures.

1. Introduction to the arcane of work in the environment of the digital media.

2. Preparation to the creation of multimedia works, in the full cycle of the realization: from concept

phase through heuristic actions, the records of plans, screenplay, storyboard, production,

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postproduction to obtaining of the final effect in the work's form executes in the technological

standard adapted to the mediumistic environment, in which it will be exposed.

3. Introduction to the varied questions of the technology of the digital media, with regard of the variety

of the technological possibilities of the new media and extended field of their uses.

4. The realization of multimedia works about the wide thematic and formal spectra, being comprising

in the range: from the „pure" art - the realization of experimental artistic creations - to the „usable"

art - works from the borders of science, art and advertisement.

Entry requirements: Basic experience with non-linear video editing software (Adobe Premiere Pro) and

working with digital camera.

Course contents:

1. Introduction with procedures and the standards used in postproduction studies;

2. Introduction to the bases of theory and the aesthetics of the digital art;

3 .Techniques of the concept work and the workshop's questions of the next phases of the

formation of the project, from the preliminary idea to the final realizing script;

4. Introduction to knowledge in equipment and software, their possibilities of technical and new

qualities which they bring in to the artist's present workshop;

5. Realization of multimedia miniatures in the full cycle of their production, from concept phase to

final „product" in the form of multimedia introduction, movie miniature with the elements of

animation or interactive film, saved on suitable memory media.

Multimedia course is based on the idea of developing and completing a video project. Process of

designing and directing a video-work consists of the following steps: 1) Working on a script. 2) Shooting

live-action or working with a found footage. 3) Editing video and audio. 4) Exporting movie to DVD.

Multimedia laboratory is also an interdisciplinary enterprise and practical feature of the course must

be supplemented by its theoretical aspect. Within the course framework students analyze the model

examples of montage modi chosen by lecturer from the history of cinematography.



1. P. Arthur, Lost and Found: American Avant-Garde Film In the Eighties [w:] Passage Iluminated:

The Avant-Garde Film 1890-1990, Amsterdam 1991

2. W. Benjamin, The Origin of German Tragic Drama, London, New York, 2003

3. B. Buchloh, Allegorical Procedures: Appropriation and Montage In Contemporary Art, „Artforum”,

September 1982

4. Bürger P.: Teoria awangardy, Kraków 2006

5. C. Owens, Allegorical Impulse. Towards a Theory of Postmodernism, “October” 1980, nr 12

6. Ł. Ronduda, Strategie subwersywne w sztukach medialnych, Kraków 2006

Delivery methods: Discussing modern and postmodern theories of montage (texts by Eisenstein,

Benjamin, Adorno, Bürger, Buchloh, Owens). Mapping student progress during group discussions and

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individual consultations. Analysing, assessing and grading students live-action and found footage

exercises.

Assessment methods: Student receives a final grade for the course on the basis of attendance, activity

and completed video-work (also a theoretical essay might be one of the elements of credit grade basis).


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PRINTMAKING SPECIALTY:

Course title: PRINTMAKING

Course code: 2GE18p

Type of course: optional


Year of study: 1

Semester: 2


Name of lecturer: prof. Artur Popek, dr Agnieszka Zawadzka, ad. Alicja Snoch-Pawlowska, mgr

Małgorzata Gorzelewska

Objectives of the course: Ability to choose the graphic means of expression adequate to achieve a

specific project. Using colour in printmaking.

Entry requirements: Credit course of chosen printing technique in the previous semester.

Course contents: Student works in one or two of the graphic arts studio workshop: relief, intaglio,

serigraphy. Further printing techniques. The question of color in printmaking. Graphics using multiple

stencils and various formats. Modern tools to preparing the stencil.












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Delivery methods: Demonstration and studio practice. Individual corrects at each students project and

during realization of graphic prints in chosen techniques.


effect will make the final grade.


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Course title: ADDITIONAL COURSE – GRAPHIC DESIGN

Course code: 2GE19p



Year of study: 1-2

Semester: 2, 3


Name of lecturer: dr Malgorzata Baldyga-Nowakowska

Objectives of the course: Traditional- and computer media compose a base to innovative graphic

design, rigorous typography, dynamic motion graphics, narrative film, experimental video, cutting-

edge Web and wireless applications, and many other design disciplines.

Entry requirements: Intermediate use of design art techniques. Preliminary ability to use visual means

of expression.

Course contents: The course provides grounding in real-world conditions that help students introduce

innovative ideas into business and culture. Students possess a balance between creative enthusiasm

and practical knowledge of design, business, technology, and popular culture. They go beyond simply

creating imaginative designs to communicate innovation in visual, spoken, and written forms.











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Delivery methods:

Assessment methods:


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Course title: MASTER'S DEGREE WORKSHOP - PRINTMAKING

Course code: 2GE20p



Year of study: 2

Semester: 3, 4



Objectives of the course: Ability to establish formally and semantically coherent series of graphic works

as an independent artistic expression. Developing the concept of artistic thesis, including the execution

of a set of 6-10 prints. Ability of conscious creativity. Readiness for independent graphic artistic work.

Entry requirements: Skilled use of graphic art techniques. In-depth ability to use visual means of

expression.

Course contents: The concept of an artistic thesis is built on the knowledge and skills acquired during

the 2-year period of study. Work should be consistent, semantically and formally present the originality

and independence of the student's creative approach. Student is free to choose technique (techniques)

in one of the graphic arts studio workshop: relief, intaglio, serigraphy. Techniques used for the diploma

may, in addition to the classic, be mixed or using the digital media.












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Delivery methods: Individual course work adapted to the student’s concept. Corrections and

discussions at every stage of the formation of a diploma.

Assessment methods: Semester 3 – completion with a grade, semester 4 - public exam of the thesis.


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GRAPHIC DESIGN SPECIALTY:

Course title: GRAPHIC DESIGN

Course code: 2GE21d



Year of study: 1

Semester: 2


Name of lecturer: prof. Artur Popek, dr Malgorzata Baldyga-Nowakowska

Objectives of the course: Traditional and computer media compose a base to innovative graphic

design, rigorous typography, dynamic motion graphics, narrative film, experimental video, cutting-

edge Web and wireless applications, and many other design disciplines.

Entry requirements: Intermediate use of design art techniques. Preliminary ability to use visual means

of expression.

Course contents: The course provides grounding in real-world conditions that help students introduce

innovative ideas into business and culture. Students possess a balance between creative enthusiasm

and practical knowledge of design, business, technology, and popular culture. They go beyond simply

creating imaginative designs to communicate innovation in visual, spoken, and written forms.










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Delivery methods:

Demonstration and studio practice. Individual corrects at each students project and during realization

of graphic projects in chosen techniques.

Assessment methods: Creativity, activity in the studio, self-evaluation in decisions process,

involvement and final artistic effect will make the final grade.


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Course title: ADDITIONAL COURSE – PRINTMAKING

Course code: 2GE22d



Year of study: 1-2

Semester: 2, 3


Name of lecturer: dr Agnieszka Zawadzka, ad. Alicja Snoch-Pawlowska, mgr Małgorzata Gorzelewska

Objectives of the course: Ability to choose the graphic means of expression adequate to achieve a

specific project. Using color in printmaking.


Course contents: Student works in one or two of the graphic arts studio workshop: relief, intaglio,

serigraphy. Further printing techniques. The question of color in printmaking. Graphics using multiple

stencils and various formats. Modern tools to preparing the stencil.











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effect will make the final grade.


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Course title: MASTER'S DEGREE WORKSHOP – GRAPHIC DESIGN

Course code: 2GE23d



Year of study: 2

Semester: 3, 4




Students in the Graphic Design program think in terms of synergies, creatively innovating across media

types, while always striving for the most effective communication to achieve the best research, design,

and results. Ability to establish formally and semantically coherent design project as an independent

artistic expression. Developing the concept of artistic thesis, including the execution of a specific design

situation.

Entry requirements: Skilled use of design art techniques. In-depth ability to use visual means of

expression.

Course contents: The Master’s Degree Workshop develops students with skills in transmedia design,

visual communication, design research, collaborative process.

The course provides grounding in real-world conditions that help students introduce innovative ideas

into business and culture. They go beyond simply creating imaginative designs to communicate

innovation in visual, spoken, and written forms. They continue to define and elevate the design

profession.








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Assessment methods: High value is placed on individual creativity and personal voice.


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