The impact of printmaking technique on recreating the motif

Pri pouku likovne umetnosti se neprestano srečujemo z likovnimi motivi, tudi na področju grafike. Grafika vsebuje veliko različnih grafičnih tehnik, ki imajo različne specifike v svoji izvedbi. Nekatere grafične tehnike omogočajo izdelavo tankih preciznih linij, spet druge so ploskovno naravnane. Vse to vpliva na izvedbo likovnega motiva. Želela sem ugotoviti, kakšen vpliv imajo grafične tehnike na izvedbo likovnega motiva, oziroma če katera od tehnik poda boljše izdelke glede na zadan motiv. Svojo raziskavo sem izvedla v aprilu in maju 2016, v dveh osmih razredih OŠ Vodice. Z enim razredom smo v petih šolskih urah izdelali linoreze, z drugim pa v enakem številu ur tehniko suhe igle. Zadan motiv je bila človeška figura. Po opravljenem pedagoškem delu sem s pomočjo ocenjevalne liste ocenila izdelke in ugotovila, da so izdelki narejeni v tehniki linoreza izvirnejši od izdelkov narejenih v suhi igli. Razgibanost kompozicije je enako zastopana pri obeh tehnikah. Suha igla, ki je risarsko naravnana grafična tehnika in omogoča večjo izdelavo podrobnosti, v raziskavi le tega ni potrdila. Ob koncu raziskave sem ugotovila, da učencem tehnika linoreza na zadan motiv bolj leži, da so bili v procesu dela bolj motivirani, zaradi česar so tudi izdelki izvirnejši. Raziskava je bila opravljena zgolj v dveh 8. razredih, zato ugotovitve ne morem posplošiti na celotno populacijo učencev v Sloveniji. Lahko pa so moje ugotovitve spodbuda k podajanju zanimivih likovnih motivov, ki bodo v učencih povzročili izvirno razreševanje.In the art classes we are constantly being challenged with motifs, including in the area of print making. Print making includes many different techniques with different attributes. Some techniques allow the making of thin and precise lines, whereas some of them contain a flat disposition. All of that influence in creating a motif. I wanted to research what kind of influences have those techniques in creating a motif or, in other words, do different techniques give better result than others. I made my research in April and May 2016, in two eighth grade of primary school Vodice. In five hours we made with one class linocut, in other drypoint. Given motif was a human figure. After completed pedagogic work I came to conclusion that works done in linocut are much more original than those done in drypoint. Diversity was present in both techniques. Drypoint, drawing oriented technique which allows greater attention to detail, in this research was not confirmed. In the end of this research I came to conclusion that linocut was more suited to the students, that in the process they were more motivated, which is why the end results were more original. This research was made in only two classes, which is why this finding cannot be generalized to the whole Slovenian student population. My findings, however, can encourage using different kinds of techniques, which will inspire originality in students

Weaving and texture in painting

V sodobnem slikarstvu je izrazni spekter umetnika zelo širok, začenši z izborom likovne tehnike. Sama sem za avtorski opus izbrala tehniko tkanja. Tkanje je obrt, ki zahteva veliko stopnjo ročnih spretnosti, natančnosti in vztrajnosti, kar je v nasprotju s tehnološko dobo v kateri živimo, kjer potreba po znanju ročnih spretnosti ni več esencialna. Poleg tkanja, je za moja dela značilna tudi tekstura, ki nastane kot posledica tkanja in kasnejših barvnih poseganj v sliko. Kljub temu, da sloni tkalska dejavnost na obrti, je zastopana tudi na umetniškem področju. Sami začetki tkanja v slikarstvu segajo že v srednji vek z izdelavo tapiserij. V kasnejših obdobjih se je uporaba tekstila, kot tudi samega tkanja pri slikarstvu, zelo razširila. Glede na dejstvo, da v sodobni umetnosti ni meje glede nabora likovnih materialov in tehnik, bi to lahko likovni pedagogi v veliki meri izrabljali. Sama sem tkanje, ki ne sodi v klasična slikarska izražanja, prenesla v pouk likovne umetnosti. Raziskava je bila izvedena na treh nivojih. V prvem likovno-praktičnem sklopu sem raziskovala izrazne zmožnosti tkanja. V drugem teoretičnem delu sem raziskala različne uporabe tekstila in tkanja v slikarstvu ter svojim delom poiskala vzporednice z deli priznanih avtorjev. V tretji sklop, ki vključuje kvalitativno raziskavo, pa sem tehniko tkanja vnesla v pouk likovne umetnosti šestega razreda osnovne šole. Z deskriptivno metodo pedagoškega raziskovanja sem izvedla analizo mnenj učencev do zadane likovne tehnike.In contemporary painting, the expressive spectrum of the artist is very wide, beginning with the selection of techniques. I selected the technique of weaving for the author\u27s opus. Weaving is a craft that requires a high level of hand skills, accuracy and perseverance, which is in contrast to the technological age in which we live, where the need for knowledge hand skills is no longer essential. In addition to weaving, my work is also characterized by texture, which arises as a result of weaving and subsequent color interventions into the paint. Despite the fact that the weaving activity is craft based, it is also presented in the artistic field. The very beginnings of weaving in painting date back to the Middle Age with the production of tapestries. In later periods, the use of textiles, as well as the very weaving of painting, has spread widely. Art pedagogues could take advantage of this more, given the fact that modern art does not have a limit on the range of fine arts and techniques. I took the weaving into my teaching of fine arts, which is not classical painting. The research was carried out on three levels. In the first artistic-practical part I have explored the expressive ability of weaving. In the second, theoretical part, I studied the various uses of textiles and weaving in painting, and I sought parallels with works by renowned authors. In the third part, which includes qualitative research, I introduced the technique of weaving into fine arts teaching in the 6th grade of elementary school. With a descriptive method of pedagogical research, I analyzed pupils\u27 opinions on the given art technique

Weaving and texture in painting

In contemporary painting, the expressive spectrum of the artist is very wide, beginning with the selection of techniques. I selected the technique of weaving for the author's opus. Weaving is a craft that requires a high level of hand skills, accuracy and perseverance, which is in contrast to the technological age in which we live, where the need for knowledge hand skills is no longer essential. In addition to weaving, my work is also characterized by texture, which arises as a result of weaving and subsequent color interventions into the paint. Despite the fact that the weaving activity is craft based, it is also presented in the artistic field. The very beginnings of weaving in painting date back to the Middle Age with the production of tapestries. In later periods, the use of textiles, as well as the very weaving of painting, has spread widely. Art pedagogues could take advantage of this more, given the fact that modern art does not have a limit on the range of fine arts and techniques. I took the weaving into my teaching of fine arts, which is not classical painting. The research was carried out on three levels. In the first artistic-practical part I have explored the expressive ability of weaving. In the second, theoretical part, I studied the various uses of textiles and weaving in painting, and I sought parallels with works by renowned authors. In the third part, which includes qualitative research, I introduced the technique of weaving into fine arts teaching in the 6th grade of elementary school. With a descriptive method of pedagogical research, I analyzed pupils' opinions on the given art technique

mentor: Mirko Bratuša, izr. prof.

Razstavo študentskih del pri predmetoma Osnove keramike in Kreativna keramika v študijskem letu 2012/13 sta 9. 10. 2013 otvorila vodja galerije Andrej Brumen Čop, doc. in mentor Mirko Bratuša, izr. prof

Razstava študentskih del pri predmetoma Osnove keramike in Kreativna keramika v študijskem letu 2012/13; mentor: Mirko Bratuša, izr. prof.

Razstavo študentskih del pri predmetoma Osnove keramike in Kreativna keramika v študijskem letu 2012/13 sta 9. 10. 2013 otvorila vodja galerije Andrej Brumen Čop, doc. in mentor Mirko Bratuša, izr. prof

Razstava študentskih del pri predmetih Osnove keramike in kreativna keramika v študijskem letu 2013/14

Razstava torej ponuja pogled na dela v keramiki prvega letnika, ki so številčnejša, kot tudi drugega letnika, katerih del je manj, vendar tudi po velikosti nekoliko izstopajo. Posebej je potrebno pohvaliti dve deli, ki ju žal ni na razstavi, saj sta bili odbrani za protokolarni namen Pedagoške fakultete. To sta deli Kristine Gruden in Eve Rak . Ne nazadnje pohvala velja vsem, ki prispevajo, da se keramika razvija in napreduje na naši fakulteti in izven nje, kar dokazujejo uspehi naših bivših študentov

Razstava študentskih del pri predmetih Osnove keramike in kreativna keramika v študijskem letu 2013/14

Razstava torej ponuja pogled na dela v keramiki prvega letnika, ki so številčnejša, kot tudi drugega letnika, katerih del je manj, vendar tudi po velikosti nekoliko izstopajo. Posebej je potrebno pohvaliti dve deli, ki ju žal ni na razstavi, saj sta bili odbrani za protokolarni namen Pedagoške fakultete. To sta deli Kristine Gruden in Eve Rak . Ne nazadnje pohvala velja vsem, ki prispevajo, da se keramika razvija in napreduje na naši fakulteti in izven nje, kar dokazujejo uspehi naših bivših študentov