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Yarilo and Morana
No full textAnimirani film u sklopu ovog diplomskog rada izrađen je tehnikom stop animacije, odnosno lutka filma. On se bavi adaptacijom staroslavenske pretkršćanske legende o nastanku ciklusa godišnjih doba. Animirani film prikazuje godišnja doba kroz tragičnu ljubavnu priču između dvoje slavenskih bogova, Jarila i Morane. Rad se sastoji od cjelokupnog procesa izrade animiranog filma, od prvotne ideje, istraživanja, dizajna likova, dizajna zvuka, produkcije i postprodukcije. Također u ovom diplomskom radu obrazložena je inspiracija iza cijelog ovog djela.Animated film that is a part of this Master's thesis is a stop motion animated film, more precisely a puppet film. It tells an old slavic, pre-christian legend about the making of the cycle of the seasons. Animated film presents the seasons through a tragic love story between two slavic deities Yarilo and Morana. The thesis consists of the whole filmmaking process, from the first idea, the research, the character design, the sound design, the production and the post production. There is also an explanation of the inspiration behind this whole work
Metodika nastave likovne kulture: Održivi razvoj i igrifikacija u nastavi likovne kulture
No full textSvrha diplomskog rada “Održivi razvoj i igrifikacija u nastavi likovne kulture” bila je preispitati odnos učenika prema zaštiti okoliša budući da se od suvremenog čovjeka očekuje aktivno i pravilno zbrinjavanje otpada zbog globalnih ekoloških problema. Cilj ovog istraživanja bio je približavanje teme očuvanja okoliša učenicima pomoću edukativne igre pod nazivom “Eco Art Explorer”. Igrom se kod učenika poticalo stvaranje dobrih navika vezanih za zaštitu okoliša. Ciljana skupina su bili učenici petih razreda. Istraživanje je bilo provedeno kvalitativnom metodom i akcijskim istraživanjem u tri koraka. Rezultatima istraživanja pokušalo se odgovoriti na sljedeća istraživačka pitanja: 1. Kakav je učenički stav prema temi zaštite okoliša? 2. Pokazuju li učenici inicijativu u zbrinjavanju kućnog otpada? 3. Poznaju li učenici globalne probleme vezane uz temu otpada? 4. Mogu li učenici pomoću igre usvojiti nova znanja o temi zaštite okoliša? Istraživanje je bilo provedeno akcijskom metodom u tri akcijska koraka. U prvom akcijskom koraku ispitivalo se učeničko poznavanje teme zaštite okoliša te njihove osobne navike odnosno inicijalni stav učenika prema zaštiti okoliša te koliko učenici znaju o toj temi okoliša. Drugi akcijski korak bio je učeničko igranje igre Eco Art Explorer, dok se u trećem akcijskom koraku vršilo ispitivanje promjena u navikama učenika nakon igranja edukativne igre. Pretpostavka na početku ovog istraživanja bila je da djeca lakše i kvalitetnije usvajaju znanja i vještine procesom igrifikacije. Najvažniji je rezultati istraživanja postizanje većeg interesa kod učenika za temu zaštite okoliša te stvaranje pozitivnih navika o zbrinjavanju otpada.The aim of this research was to bring the topic of environmental protection closer to students through an educational game called "Eco Art Explorer". The game encouraged students to create good habits related to environmental protection. The target group was fifth graders. The research was conducted by a qualitative method and action research in three steps. The research will try to answer the following research questions: 1. What is the student's attitude towards the topic of environmental protection? 2. Do students show initiative in disposing of household waste? 3. Do students know about global issues related to the topic of waste? 4. Can students use the game to acquire new knowledge on the topic of environmental protection? The research was conducted qualitatively or by the action method in three action steps. The first action step examined students' knowledge of the topic of environmental protection and their personal habits, the initial attitude of students towards environmental protection, and how much students know about this topic of the environment. The second action step was the student playing the game Eco Art Explorer, while in the third action step was the changes in the habits of the students after playing the educational game were examined. The assumption at the beginning of this research was that children acquire knowledge and skills more easily and with quality through the process of gamification. The most important results of the research were the achievement of greater interest among students in the topic of environmental protection and the creation of positive habits about waste management
Autoportret lijevom rukom / Venera / Art Block
No full textAutoportretom sam htio staviti sebe na mjesto ljevaka, te se ujedno odmaknuti iz svoje zone komfora. Ovaj rad je ujedno i eksperiment u kojemu isprobavam nova područja i testiram svoje sposobnosti. U radu Venera sam htio prikazati nove ideale ljepote koji su postali trend današnjice. Glavni motiv rada je opsesija vlastitim izgledom i potraga za savršenom fizičkom slikom osobe koja ujedno postaje i žrtva vlastitih ideja. Skulptura je prikazana kao spoj humora, bizarnog, vulgarnog i ljepote. Tema rada Art Block je kako sugerira naslov rada, umjetnička kriza kroz koju prolazi svaki umjetnik. Svoje emocije i manjak inspiracije sam koristio kao motive i prenio ih na papir i time sam pronašao svjetlo na kraju tunela. Ponekad svoje mane i nedostatke možemo preokrenuti i pretvoriti u vrline, ili u ovome slučaju, umjetničko djelo
Primordij
No full textOvaj diplomski rad je moj vlastiti doživljaj fascinantnih organizama uz koje sam odrastala i koje sam uzgajala i održavala na životu tokom diplomskog studija
Second life: Researching of transferring street graffiti to a museum
No full textOvim se radom obrađuje, teorijski problematizira i praktičnom izvedbom dokazuje kompleksnost determiniranja i valoriziranja grafita – njegova povijest, vrste, semiotika, odnosi prema muzeju, argumenti koji podupiru ili relativiziraju takvu praksu te konzervatorsko-restauratorski procesi koji su primjenjivi za grafit. Rad je rezultat znanstvenog i empirijskog traganja za argumentiranjem repozicioniranja navedene vizualne forme. U tijeku osam godina istraživanja raščlanjeno je više od 110 grafita i autora raznorodnih praksa. Osobnim istraživanjem na licu mjesta, bilježenjem atmosferskim ili ljudskim utjecajem nastalih promjena na odabranim grafitima kroz četverogodišnje razdoblje i raščlambom rezultata, u radu se postavlja teza da se i navedenoj likovnoj formi treba omogućiti spašavanje intervencijom. Rabeći metode kompilacije, komparacije recentnih znanstvenih spoznaja s rezultatima iz vlastitih istraživanja i kritičko-teorijske modele, donose se empirijski potvrđene metode, tehnike i sredstva za spašavanje grafita prije njegova oštećivanja. Naposljetku, ovim se radom prinosi izvorna, tehnološki i umjetnički inovativna metoda prijenosa grafita u muzej, koja je praktično potvrđena smještajem novokreiranoga grafita u muzej kako bi se kao trajna vrijednost čuvao u toj ustanovi.This thesis, titled „The Second Life of Graffiti: An Exploration of the Transfer of Street Art into the Museum”, examines, theorizes, and with a final execution in practice, proves the complexity of determining and evaluating graffiti – from its origins, history, types, artists and actors to semiotics and the socio-anthropological context. It offers a problem-based approach to the relationship between the practice of graffiti and its creations towards the phenomenon, institution, and current practice of museums through arguments that describe this practice as dubious and those that support it and, in relation to the this (graffiti and the idea of the museum), conservation and restoration processes that are applicable to graffiti. This thesis seeks a reexamination of the view of graffiti as a part of culture. Graffiti is a contemporary art form with links to urban communication rituals. Based on the knowledge gained by examining recent literature, experiential insights, communication and direct interaction with the artists, personal participation in the creation of the research subject and the technical and technological examination of methods and techniques, restoration, and the re-creation of graffiti, proposed is an shift away from the established view of graffiti as an act of vandalism. Therefore, a more layered relationship towards the message and the meaning of this visual form is postulated. The first layer is a semantic and cultural examination of the graffiti phenomenon as a communication platform for information mediation between social groups and subcultures in the urban context. The second layer is the creative application of technology that could be used to preserve graffiti in museum collections - musalization. In this new understanding of graffiti both layers work together, in an interdisciplinary manner. The critical insight into the graffiti phenomenon is concluded and rounded out by the technology of musealization. All of the above contributes to the understanding of graffiti as a form of communication. This thesis proposes that graffiti is urban land art. While in the familiar land art, inscription is done through the landscape and forms are inscribed in it, a comparison can be made here: in urban land art the inscription is done in an urban environment, through graffiti. Therefore, in 12 inscription, the text is in the creation itself, literally executed via the inscribed text, a painted image or via text and image on the urban landscape, the street, the walls of buildings, and fences. Furthermore, in the theoretical part, an anthropological analysis is made: in the treatment of the origin, history and types of graffiti, special attention is paid to exceptional Glagolitic graffiti that are preserved on cultural monuments of the past, and appear as a recent code of younger generations that, driven by the primeval urge, are searching for their own roots (national, family, gender). In addition, this thesis provides an overview of existing theories and a personal reflection on how images relate to words. Based on an eight-year study of known and available sources of information on the subject – from the most recent scholars on the subject to the early theorists of graphitic expression – scholarly literature, wide-ranging and diverse, professional and popular articles in domestic and foreign journals and websites, video and audio materials, the following conclusions have been established as a contribution to the theoretical framework for a dynamic understanding of several of the aforementioned aspects of the dubious position and determination of graffiti. Furthermore, theoretical support and practical experiment give a technological and artistic contribution to the innovative and practical implementation of the purposeful transfer of work created specifically for this research, a piece of graffiti, to the museum. The doctoral candidate agreed to have the graffiti placed in a Croatian museum. With an innovative approach, using a technology never applied before – by applying original methods, techniques, and a combination of materials and supplies – the candidate found a solution for how to transfer the graffiti: transfer it to the surface of a wall and then remove it. The timely intervention – the removal of the graffiti from the wall – prevented its possible damage, disappearance, and the termination of his life. This thesis is the result of a scientifically systematic, consistent and theoretically grounded search, examination, research, recording, and analysis of more than 110 works of graffiti and the artists of various practices (countries of origin) who created them, as well as museum selections in more than 50 countries. Doctoral candidate Vlatka Rudeš Vončina recorded changes to the graffiti over time through photographs and descriptions. She created a collection of photographs. On a carefully selected sample, she recorded the changes that occurred. By 13 first-person observation, studying the object in situ, recording data over time (3 to 4 years) on select graffiti the effects of changes caused by natural and atmospheric influences (atmospheric instability, inconsistent temperature, humidity, UV rays, precipitation) or human influences (passers-by, city services, other graffiti artists, rivals), the doctoral candidate postulates that graffiti, as a creation, an expression worth preserving, should be given the opportunity to be saved by intervention. Based on the conducted research, empirically validated conclusions, in the author's personal long-term professional practice, methods, techniques and tools for rescuing graffiti, are made, even before the situation arises in which they can be damaged. The chosen innovative material for executing graffiti is silicone. Prior to selecting a piece of graffiti, the doctoral candidate made paintings. She recreated the selected graffiti on a wall and then removed it and prepared the agreed transfer to the museum. She recorded a video of this process. It is particularly significant that the candidate’s initial purpose and goal were achieved in re-determining and re-evaluating graffiti by the fact that she managed to broker the reception of the piece by a public institution that is within the traditional system of national culture – a museum which will preserve it as an object of long-term value. In the preparation of her doctoral thesis, the candidate applied the methods of compilation and comparison of existing knowledge and facts from study of art with results obtained in her own research. Using critical and theoretical models in the evaluation of graffiti and the trial and error method, the most appropriate technologies, chemical substances and materials for the performance and transfer of graffiti to the museum were investigated. Through the research of the historical development and theoretical assumptions of the functioning and evaluation of graffiti, and discovering ways to conserve and transfer it, and in particular, synergy with citizens in the course of candidate’s work in the street, an effort was made to influence society, from observers, artists and museums to narrowly-specialized professionals. Positioning graffiti in the context of art offers an indication of how to save it from decay and try to sensitize the government, professionals, and the public to reserve some space for graffiti in museums, that is, how one can create value from a short-lived form of communication that is worthy of restoration and conservation, an enduring value that is a part of the cultural heritage
