English

Not applicable.

Artistic skills and knowledge of the theory and history of art demonstrated in the entrance exam to the master's degree. Previous experience with graphic techniques is not required.

The following conditions are set for granting the credit:
- active participation in classes (2 allowed unexcused absences) or submission of a task
prepared on the basis of an alternative assignment in agreement with the lecturers
- submission of completed assigned tasks
- the degree of fulfilment of the objectives of the subject is also assessed

Classes take place in the classrooms of FFA BUT; in the graphic workshops of the Studio of Drawing and Graphics in the hours set by the schedule and in external locations at times determined by the teachers. The minimum participation is 85%. Replacement of missed classes is possible after a discussion and agreement with the teacher in the form of alternative assignments.

The aim of the course is to merge theory and practice in the field of traditional printmaking. The key objective of this semester is for the students to gradually get familiarized with the "material turn" in contemporary art.

There are number of building blicks, essential for the course:
1) Gaining understanding that this, basically conceptual turn, requires a brilliant mastery of traditional material techniques.
2) Softening the postulated rigidity of these techniques, simply creating awareness of the "area" (including either conscious or unconscious violation of its rules) can lead to a creative impulse.
3) "Material turn" can be understood very broadly, but in the context of classical printmaking it can be understood as a usage of historical techniques such as relief, intaglio, surface printmaking or planographic (lithography) and stencil methods in contemporary art practice.

The course therefore offers practical procedures in both – historical and theoretical context. Students will learn to understand the classical medium not only as a historical relic, but more importantly as a functional means for their own creation and interpretation of contemporary art.

Getting acquainted with the basics of the printmaking techniques on both –theoretical and practical level. Gaining understanding of their media overlaps and potential for students' own artistic application.

Not applicable.

Not applicable.

FICK, Bill – GRABOWSKI, Beth. Printmaking: A Complete Guide to Materials & Processes. 2nd ed. London: Laurence King Publishing, 2015. 256 p. ISBN: 978-1780671949. (EN)

BENJAMIN, Walter. The Work of Art in the Age of Mechanical Reproduction. 1st ed. London: Penguin Books, 2008. 128 p. ISBN: 978-0141036199. (EN)
GOODMAN, Nelson – ELGIN, Catherine Z. Reconceptions in Philosophy and Other Arts and Sciences. 1st ed. Indianapolis: Hackett Publishing Company, 1988. 188 p. ISBN: 978-0872200524. (EN)
KOVARIK, Bill. Revolutions in Communication. Media History from Gutenberg to the Digital Age. 1st ed. New York: Continuum Publishing Corporation. 356 p. ISBN: 978-1441114600. (EN)
MITCHELL, William John Thomas. Picture Theory. Essays on Verbal and Visual Representation. 1st ed. Chicago: The University of Chicago Press, 1994. 462 p. ISBN: 978-0226532325. (EN)
PUCHNER, Martin. The Written World. The Power of Stories to Shape People, History, and Civilization. 1st ed. New York: Random House Trade. 464 p. ISBN: 978-0812988277. (EN)
ROMANO, Clare – ROSS, John – ROSS, Tim. The Complete Printmaker: Techniques, Traditions, Innovation. Revised and expanded ed. New York: Simon & Schuster, 2008. 352 p. ISBN: 978-0029273722. (EN)