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Communicating Experiences Through Portraits
No full textCilj istraživanja ovog diplomskog rada bio je proučiti koliko učenici poznaju sebe i druge, te kako likovnim izražavanjem mogu međusobno graditi odnose. Istraživanje je provedeno u sedmom razredu (13-14 godina), a tema kojom su se bavili bila je portret. Tema portreta je odabrana jer služi kao sredstvo pomoću kojeg se istražuje i oblikuje identitet. Isto tako pomaže učenicima razumjeti i cijeniti sličnosti i razlike među ljudima. Istraživanje je provedeno tijekom triju povezana blok – sata. Učenici su dobili pitanja koja su vezana uz karakter i osobnost. Pitanja su razmijenili s prijateljem iz klupe te su na temelju odgovora izvršili likovni zadatak, odnosno prikazali portret prijatelja. Neka od pitanja su se ponavljala tijekom svih triju etapa istraživanja, a neka pitanja su bila nadodana i oblikovana kako bi se dobili dublji odgovori i kako bi se mogli uspoređivati rezultati nakon svakog sata. Na prvome blok - satu započeto je istraživanje, učenici su se prvi put susreli sa pitanjima koja su sami odgovorili te su zamijenili papire sa svojim kolegom. Na temelju tih odgovora tehnikom tuša su crtali portret. Na drugome je blok satu proveden isti princip, a učenici su portrete slikali tehnikom tempere. Na trećem blok satu, učenici su istim principom slikali unutarnji svijet svog prijatelja. Koristili su se dvjema tehnikama: tušem i temperom, kako bi iskoristili drugačije izražajne mogućnosti koje one nude. Istraživanje je pokazalo kako bavljenje ovom temom potiče propitivanje odnosa među učenicima, te otkrivanje novih stvari o sebi i o osobi koju su portretirali. Također, istraživanje je potaknulo poboljšanje odnosa među učenicima što pozitivno utječe na razvoj socijalnog aspekta ličnosti.The aim of the research of this thesis was to study how well students know themselves and others, and how they can build relationships with each other through artistic expression. The research was conducted in the seventh grade (ages 13-14), and the topic they dealt with was portraiture. The subject of the portrait was chosen because it serves as a means by which identity is explored and shaped. It also helps students understand and appreciate the similarities and differences between people. The research was conducted during three connected block hours. Students were given questions related to character and personality. They exchanged questions with a friend from the bench and, based on the answers, completed an art task, i.e. presented a portrait of their friend. Some of the questions were repeated during all three stages of the research, and some questions were added and shaped in order to get deeper answers and to be able to compare the results after each lesson. In the first block lesson, the research was started, the students met for the first time with questions that they answered themselves, and they exchanged papers with their colleagues. Based on these answers, they drew a portrait using the douche technique. In the second block lesson, the same principle was implemented, and the students painted portraits using the tempera technique. In the third block lesson, students used the same principle to paint the inner world of their friend. They used two techniques: ink and tempera, in order to take advantage of the different expressive possibilities they offer. Research has shown that dealing with this topic encourages questioning of relationships between students, and the discovery of new things about themselves and the person they portrayed. Also, the research encouraged the improvement of relations between students, which has a positive effect on the development of the social aspect of personality
States
No full textOvaj diplomski rad se sastoji od pregleda i proučavanja teme portreta i autoportreta i prati njihovu evoluciju od prapovijesti do danas. U ovom radu se također nastavlja eksperimentalni pristup započet 2021. godine. Autoportreti su crtani lijevom, nedominantnom rukom kako bi se u što je moguće većoj mjeri izbjegla stilizacija, te kako bi se dobilo na svježini i neposrednosti poteza. Tema praktičnog dijela rada su autoportreti koji prikazuju različite emocije, ekspresije i reakcije primjerene različitim životnim situacijama, epizodama i okruženjima. Istraživanje i izrada ovih autoportreta su pokušaj prikaza borbe sa samim sobom, propitivanja sebe kao pojedinca, vlastite introspekcije i samorefleksije, te pronalazak ljepote i inspiracije u osjećajima koji se javljaju u melankoličnim aspektima života. Inspiracija za ovaj rad je izjava „Nitko nije savršen“ i sama spoznaja da svi prolazimo kroz teže periode u životu i kako nas neke stvari progone, koliko smo se promijenili, kako smo se osjećali tada, koliko izrastamo iz takvih perioda te kako nas oni čine osobom kakva smo danas. Iz takvih perioda i emocionalnih stanja možemo naučiti lekciju i uzeti ih kao polaznu točku za transformaciju u osobu kakvom oduvijek želimo biti.This thesis consists of an overview and study of the topic of portraits and self-portraits and traces their evolution from prehistory to the present day. This work also continues the experimental approach started in 2021. The self-portraits are drawn with the left, non-dominant hand in order to avoid stylization as much as possible, and to gain the freshness and immediacy of the strokes. The subject of the practical part of the work is self-portraits that show different emotions, expressions and reactions appropriate to different life situations, episodes and environments. The research and creation of these self-portraits is an attempt to portray the struggle with oneself, questioning oneself as an individual, one's own introspection and self-reflection, and finding beauty and inspiration in the feelings that arise in the melancholic aspects of life. The inspiration for this work is the statement "No one is perfect" and the realization that we all go through difficult periods in life and how some things haunt us, how much we have changed, how we felt then, how much we grow from such periods and how they make us the person we are today. We can learn a lesson from such periods and emotional states and take them as a starting point for transformation into the person we always want to be
The Process of Sign Language Formation
No full textOvo diplomsko istraživanje promatra intuitivan nastanak znakovnog jezika među čujućom djecom osnovnoškolske dobi. Istražuju se utjecaji i razlike između znakova učenika četvrtog i sedmog razreda, a uz stvaranje znakova učenici su stvorili i sustav kojim bi ih zapisali. Istraživanje je provedeno kroz četiri dvosata (dva dvosata u svakom razredu). Tijekom prvog dvosata učenici su poticali vizualizaciju pojmova na temelju teksta, u grupama stvarali znakove kako bi prenijeli informacije dobivene u tekstu neverbalnim putem i analizirali odnos znakova vlastite grupe sa znakovima ostalih grupa. U drugom dvosatu učenici su se prisjetili znakova koje su stvorili i u istim grupama stvarali sisteme kojima bi ih zapisali. Na kraju istraživanja u svakom razredu bila je kratka rasprava o učeničkim radovima. Primjenjivost ovog istraživanja u izvođenju nastave likovne kulture izražava se u poticaju korištenja neverbalnih komunikacija i korištenju pokreta vlastitog tijela u prenošenju informacija.This graduate research examines the intuitive emergence of sign language among hearing children of primary school age. The influences and differences between the signs of fourth and seventh grade students are researched, and along with creating signs, the students also created a system to write them down. The research was conducted over four two-hour periods (two two-hour periods in each class). During the first two hours, students encouraged the visualization of concepts based on the text, created signs in groups to convey the information obtained in the text, and analyzed the relationship between the signs of their own group and the signs of other groups. In the second two hours, the students repeated the signs they had created and in the same groups created systems to write them down. At the end of the research in each class there was a short discussion about the students' work. The applicability of this research in art classes is expressed in the encouragement of using non-verbal communication and the use of body movements in conveying information
Creativity and environment - the Effects of the Physical Space on Students' Creativity in Art Education
No full textU ovom diplomskom radu istražuje se utjecaj fizičkog prostora (učionice) na kreativnost učenika. Mnoge teorije ukazuju na to da prostor u kojem učenici borave i uče značajno utječe na način procesuiranja informacija, na motivaciju te, u ovom slučaju, na konačni produkt na satu likovne kulture. Istraživanje je provedeno u dva peta razreda, tijekom kojeg je praćeno ponašanje učenika unutar grupa, tijekom radnog procesa i za vrijeme analize radova. Da bi analiza i rezultati istraživanja bili jasniji, odrađena su dva različita nastavna sata. Prva tema zahtijevala je od učenika da naslikaju apstraktnu sliku svojih trenutnih emocija, dok su u drugoj učenici oblikovali maketu u trodimenzionalnom prostoru. U oba nastavna sata učenici su iskazivali različita ponašanja i rješenja koja će u ovom diplomskom radu biti pomno analizirana i teoretski obrađena. U ovom radu istražuju se odgovori na sljedeća pitanja: Kakav utjecaj ima okolina na kreativnost učenika? Koje su razlike u likovnim radovima učenika na temelju vanjskih faktora? Kako poboljšati okolinu za učenje da odgovara potrebama učenika?In this master's thesis, I will present my research on how the physical environment (the classroom) has an effect on students' creativity. Many theories have shown how the surrounding environment has a big impact on students' information processing, motivation, and in this case, their artistic expression in art class. The research was conducted on two fifth grade groups during which I have observed their behavior while working in a group, their work process and analysis. In order to derive more information, I have presented two different class topics. The first topic was for the students to paint an abstract representation of their current emotions, while the other topic focused on making a 3D model o fan imaginary machine. During these two classes, the students have exhibited different behavior and solutions which will be analyzed and backed up theoretically in this master's thesis. In this thesis, the following questions will be reviewed: How does physical space affect students' creativity? Which differences are shown in students' artwork based on external factors? How to adapt the physical space of the classroom based on students' needs
Genesis
No full textPogledom na svijet oko sebe opažamo bića i njihove forme; neizmjeran broj formi i njihovih varijacija. Sva se bića rađaju i preobražavaju, stoga su te forme u pokretu, dinamične su. Taj pokret možemo promatrati kao jednu sveprisutnu kretnju koja uzima na sebe razne pojavne oblike. Stoga čovjeka, biljku, životinju ili predmet možemo gledati kao da su pokrenuti istom silom. Tu su ‘’silu’’ neki filozofi, primjerice Schopenhauer, povezivali s pojmom volje. Čitav je svijet pritom izraz volje za životom. Ja promatram čovjeka, biljku, životinju ili predmet kao istaknuto biće. Prizori tih bića u njihovoj okolini mi naglo bljesnu i ostaju zamrznuti. Zamjećujem ih velike, kadriram ih unutarnjim okom kao protagoniste. Njihova forma i njihova boja titra oko njih kao radijantno polje, a ne fiksirana površina. Boje isijavaju iz napetosti između sjene i svjetla, pokreti izbijaju iz napetosti između kontrakcije i ekspanzije. Među svim stvarima je dinamika. Ono što iskrsne iz napetosti krajnosti zovemo stvarima. U slici pokušavam stvoriti atmosferu jedinstva i dramu opažaja koje sam proživjela, s ciljem da prikažem golo, glasno i nemušto postojanje, s ciljem da se promatrač osjeća živim.Looking at the world around us, we perceive beings and their forms; an immense number of forms and their variations. All beings are born and transformed, therefore these forms are in motion, they are dynamic. We can regard this movement as one ubiquitous movement that takes on various forms. Therefore, we can see a man, a plant, an animal or an object as if they were moved by the same force. Philosophers such as Schopenhauer associated this "force" with the concept of will. The whole world is an expression of the will to live. I observe a man, a plant, an animal or an object as a distinguished being. The scenes of those beings in their surroundings suddenly flash before me and remain frozen. I notice them as large figures, frame them with my inner eye as protagonists. Their form and their color vibrate around them like a radiant field, not a fixed surface. Colors radiate from the tension between shadow and light, movements emerge from the tension between contraction and expansion. Among all things there is a dynamic. What emerges from the tension of extremes we call things. In my paintings, I try to create an atmosphere of unity and the drama of the observation that I have experienced, with the aim of depicting loud and inarticulate mere existence, with the aim of making the observer feel alive
Subconcius. Fog.
No full textNišta ne nastaje ni iz čega. Kada sve bitke stanu i zvukovi eksplozija utihnu, kada vatreni jezici izblijede i okus željeza na usnama nestane, kada padnu posljednje kapi života i heroji se slegnu u čvrsto tlo, te kada ostaci prepoznatljivog izgaraju i nijedan neprirodan zvuk više ne ometa tijek života, okrenut ćemo se oko sebe i prepoznati ruševine i spaljenu zemlju. Udahnut ćemo dim ugašene vatre i osjetiti opor miris tinjajuće prošlosti. Iskusit ćemo razaranje, a tišina će nas obuhvatiti snažnije nego stotinu eksplozija. Bit ćemo sami, u društvu gustoće svojih misli. Pogledat ćemo u tamu, a ona će uzvratiti pogled. Ova prazna gustoća komunicira snažnije nego što možemo zamisliti ili se nadati. Što je prvotno percipirano kao kraj, pretvorit će se u novi početak. Na mjestu gdje je ostalo samo ništa.Gdje smo napustili svoje nade, ideje i snove – ne ostaje ništa. Prazno platno koje možemo ispuniti, ali ne moramo. U ovom radu, površina platna služi kao medij za dokumentiranje razmišljanja o početnoj točki u životu, u trenutku kada je jedan period prošao i potrebno je odlučiti o daljnjem smjeru. Također se razmatraju sjećanja, objekti i odnosi koje bilježi memorija, te se prepoznaje unutarnja osjetljivost. Uz to, istražuje se odnos između slojevitosti stvarnosti i naših odluka, koji se povezuje s određenim autobiografskim vremenskim periodima i događajima, odražavajući duboku introspektivnost.Opisat ću proces stvaranja serije slika pod nazivom „Podsvjest.Magla“.When all battles cease and the sounds of explosions quiet, when fiery tongues fade and the taste of iron on our lips disappears, when the last drops of life fall and heroes sink into the firm ground, and when the remnants of the familiar burn away and no unnatural sound disrupts the flow of life, we will look around and recognize the ruins and scorched earth. We will inhale the smoke of extinguished fires and sense the acrid smell of smoldering past. We will experience devastation, and the silence will envelop us more profoundly than a hundred explosions. We will be alone, in the company of the density of our thoughts. We will gaze into the darkness, and it will gaze back at us. This empty density communicates more forcefully than we can imagine or hope. What was initially perceived as an end will transform into a beginning. In the place where only emptiness remains, where we have left our hopes, ideas, and dreams—there is nothing left. An empty canvas that we can fill, but need not. In this work, the canvas surface serves as a medium for documenting reflections on a starting point in life, at a moment when one period has ended and a decision must be made about the next step. It also examines memories, objects, and relationships recorded by memory, recognizing the inner sensitivity. Furthermore, it explores the relationship between the layers of reality and our decisions, which is connected to specific autobiographical periods and events, reflecting profound introspection. I will describe the process of creating a series of paintings titled "Subconscious. Fog.
