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Izgraditi brod
No full textProces nastanka slika prati proces nastanka broda. Jedno je analogija za drugo. Problematiziraju se teme rada, vremena, prikazivanja (slikanja bez predloška i prema predlošku)
Proces
No full textDiplomski rad pod nazivom Proces nastao je prema ideji o stvaranju umjetničkog djela i kakve se promjene dešavaju kroz to stvaranje kombinacijom tradicionalne i digitalne umjetnosti.
Rad je izveden kroz skice (crteže), uređenu drveno-staklenu konstrukciju i digitalno oblikovanje likova koji se kasnije projiciraju unutar konstrukcije pomoću monitora
Konzervatorsko-restauratorski radovi na fragmentu transfera zidne slike Osvalda Biertia sa svoda crkve Blažene Djevice Marije u Jastrebarskom i vraćanje na izvorni nosilac
No full textOvaj diplomski rad obuhvaća konzervatorsko-restauratorske radove na fragmentu odvojene zidne slike umjetnika Osvalda Biertia te vraćanje in situ zajedno s preostalim fragmentima. Zidna slika se nalazi na svodu svetišta crkve Blaţene Djevice Marije u Jastrebarskom. Iako mali grad, udaljen 30 km od Zagreba, Jastrebarsko sadrţi mnoge kulturno povijesne spomenike, meĊu kojima je franjevaĉki samostan s crkvom ĉiji najstariji dijelovi datiraju iz 16. stoljeća.
Na središnjem dijelu zakrivljenog svoda svetišta, na nekoliko starijih slikanih slojeva, nalazio se medaljon iz 1908. godine spomenutog majstora. Radi izbjegavanja oštećenja prilikom statiĉke sanacije svoda, medaljon je 2012. godine odvojen stacco metodom. Odvojen je u 5 fragmenata/dijelova, od kojih je jedan konzerviran i restauriran u sklopu diplomskog rada Dominika Marijića 2016. godine te dva u sklopu diplomskog rada Benedikte Vilenice 2018. godine. Nakon radova, fragmenti su pripremljeni za spajanje i vraćanje in situ.
Prije poĉetka konzervatorsko-restauratorskih radova na fragmentu D, prouĉeni su rezultati prethodno izvedenih istraţivanja te korišteni materijali i metode primijenjene na prethodno konzerviranim i restauriranim fragmentima kako bi postupci na fragmentu D bili usklaĊeni s ostalima. Radovi su ukljuĉivali obradu poleĊine, konsolidaciju izvorne ţbuke, reintegraciju ţbuke intonaca na poleĊini fragmenta, polaganje intervencijskog sloja, izradu novog nosioca, uklanjanje facinga, ĉišćenje slike te reintegraciju slikanog sloja.
Nakon što su izvedeni svi potrebni zahvati na fragmentu, napravljen je plan vraćanja fragmenata in situ. Fragmenti su adekvatno skladišteni te prevezeni u crkvu Blaţene Djevice Marije gdje su vraćeni na svod svetišta, jedan po jedan zbog lakšeg rukovanja te zbog praćenja procesa spajanja. In situ, prije montiranja pojedinog fragmenta, nosilac je obraĊen kako bi omogućio prianjanje fragmenata. Montirani su fiziĉki, graĊevinskim ljepilom pri ĉemu se poštivalo naĉelo povratnosti - omogućavanje naknadnog uklanjanja veziva fragmenata. Naposljetku, medaljon se integrirao u ostatak oslika, odnosno u dekorativne elemente koji okruţuju medaljon.This Master thesis includes conservation and restoration work on a fragment of a detached wall painting made by the artist Osvaldo Bierti and later returning it in situ together with the remaining fragments. The wall painting was located on the vault of the church of the Blessed Virgin Mary in Jastrebarsko. Although a small town, Jastrebarsko has many cultural and historical monuments, including a Franciscan monastery with a church whose oldest parts date from the 16th century.
In the central part of the curved sanctuary vault, on several older paint layers, there was a medallion from 1908. made by the mentioned master. To avoid damage during the static restoration of the vault, the medallion was detached in 2012 by the stacco method. It was separated into 5 fragments/parts, of which one was restored as a part of Dominik Marijić's Master thesis in 2016 and two as part of Benedikta Vilenica in 2018. The fragments were also prepared for connecting and retuning in situ.
At the very beginning of the conservation and restoration work of the fragment,previously made research results were studied as well as used materials and methods applied on previously conserved and restored fragments, so that the procedures on the fragment D could be harmonized with others. The works included treatment of the backing, consolidation of the original plaster, reintegration of the intonaco plaster on the back of the fragment, laying of the intervention layer, making a new carrier, removal of facing, cleaning the image, and reintegration of the painted layer.
After all the necessary interventions, a detailed plan for returning the fragments in situ was made. The fragments were adequately stored and transported to the church of the Blessed Virgin Mary, where they were returned to the vault, one by one, for easier handling and for monitoring the process of connecting them together. In situ, before mounting the individual fragment, the carrier was processed to allow the fragments' better fitment. The fragments were physically mounted with construction adhesive, which respected the principle of reversibility – enabling the subsequent removal of the fragments. At the end, the medallion was integrated into the rest of the painting, respecting the decorative elements surrounding the medallion
Konzervatorsko-restauratorski radovi na zidnom osliku u palači Šećerane u Rijeci
No full textOvaj diplomski rad obuhvaća konzervatorsko-restauratorske radove na dekorativnoj zidnoj slici nepoznatog autora, datacije i naziva koji se nalazi u upravnoj zgradi Šećerane u Rijeci. Ova palača izgrađena je 1752. godine te je kroz svoju povijest zadržala barokne karakteristike. Uvrštena je u popis zaštićenih kulturnih dobara od 1970. godine. To je trokatna jednokrilna zgrada masivnog dvoosnog pročelja. Interijerom palače dominiraju oslici koji se ističu svojim obimom i raznolikošću prikazanih motiva.
Hrvatski restauratorski zavod je 2003. započeo opsežna povijesna, arhivska i konzervatorsko-restauratorska istraživanja arhitektonskih elemenata, štuko dekoracije, zidnih slika i dekorativnog oslika prostorija, inventara te ispitivanja fizičkog stanja i statike zgrade. U sklopu projekta obnove 2019. g. radovima u organizaciji Hrvatskog restauratorskog zavoda se pridružio Odsjek za konzerviranje i restauriranje umjetnina. Rezultat te suradnje je i ovaj diplomski rad koji obuhvaća konzervatorsko-restauratorske radove na zidnom osliku na sjevernom zidu u sobi 208 koji je do početka radova bio prekriven slojevima naknadnih naliča. Pretpostavlja se da zidni oslici u tom dijelu drugog kata datiraju s početka 19. stoljeća.
Oslik u sobi 208 predstavlja pojednostavljeni dekorativni prikaz motiva zastora u kombinaciji s arhitektonskim elementima. Slika je bila značajnije oštećena u sloju nosioca na donjem, lijevom bočnom dijelu te gornjem dijelu ispod zidne profilacije te je bilo nužno rekonstruirati nedostajući dio slike kako bi se poboljšala čitljivost likovnog prikaza i postigla cjelovitost slikanog prizora. Cilj radova bio je prezentacija najbolje očuvanog sloja-dekorativnog zidnog oslika kojim je nekoć čitava prostorija bila oslikana. Na zidnom osliku izvršeni su svi potrebni konzervatorsko-restauratorski radovi: čišćenje, injektiranje, reintegracija oštećenja u sloju žbuke, retuš i rekonstrukcija te istraživanja oslika susjednih zidova koja su prethodila konzervatorsko-restauratorskim radovima. Uz pregled povijesti objekta bivše šećerane i opis konzervatorsko-restauratorskih radova, u ovom radu obrađeni su i neki povijesni primjeri prikaza zastora na zidnim slikama.
Konzerviranje i restauriranje ovog zidnog oslika samo je manji dio neophodnih radova na zgradi bivše šećerane sa ciljem da joj se u što većoj mjeri vrati izvorni izgled i zaustavi daljnje propadanje. Osim problematike očuvanja zidnih oslika koji se tiču estetskih i kulturnih vrijednosti palače bivše Šećerane, projektom obnove cilj je ponovno vratiti utilitarnost cijelog kompleksa koji će svojom prenamjenom postati novo kulturno žarište grada Rijeke i time biti na usluzi svim građanima i posjetiteljima.This master thesis includes conservation and restoration works undertaken on decorative wall painting painted by unknown author, and also, unknown dating and name. The wall painting itself is located in the main building of former sugar refinery in Rijeka. Since 1970, the baroque palace of sugar refinery is listed as protected cultural heritage. It is a single winged three-storey building with a vast biaxial façade. The palace interior is dominated by a large imperial staircase which is one of the most famous in the region.
Throughout its history it has retained the characteristics of baroque palace, and the Croatian Restoration Institute began in 2003 an extensive historical, archival research, conservational and restorarative research of architectural elements, stucco decoration, wall paintings and decorative room paintings, inventory and examination of physical condition and statics of the building. As a part of the renovation project in 2019, the Department of the Conservation and Restoration of Arts joined the works organized by Croatian Restoration Institute. In 2019 the project organized by the Croatian Restoration Institute was joined by the Department of the Conservation and Restoration of Arts and this thesis represents one of the fruits of their joint labor. It features conservation and restoration works performed on the wall painting on the north wall in room 208, on the second floor, the most representative and best preserved part of the palace. The wall paintings in that part of the palace’s second floor presumably date from the beginning of the 19th century.
The painting in room 208 is a simplified illusionistic depiction of a curtain motif combined with architectural elements. The painting was damaged in the carrier layer on the lower, left side and the upper part below the plaster cornice, and it was necessary to reconstruct it in order to improve readability of the visual representation and achieve the integrity of painted scene.
All required conservational and restorative works were performed, including cleaning, grout injection, reintegration, reconstruction and stratigraphical investigation of adjacent walls that preceded the very conservation and restoration steps. In addition with historical overview of the former sugar refinery and depiction of conservation-restoration works this paper deals also with historical examples of curtains on wall paintings. It needs to be remarked, however, that conservation and restoration represents but a small part of the necessary proceedings on the building of the former sugar refinery with the aim of restoring it to its original appearance as much as possible and prevent its further deterioration.
Apart from the issue of preserving wall paintings concerning aesthetic and cultural values of the former factory, the goal of the renovation project is to restore the function and previous state of the whole complex, which, with its conversion and adaptation, has the potential to become the new cultural center of the city of Rijeka and thus be at the service to all its citizens and visitors
Clumsy Efforts
No full textU ovom radu ukratko opisujem pristup izradi svog diplomskog filma pod nazivom „Nespretni pokušaji”. Tehnika kojom je rađen film je kompjutorska 3D animacija gdje sam za finalni render odabrao raditi u engineu za videoigre, Unreal Engine 4. Faze kroz koje sam prolazio radeći film su pisanje scenarija, izrada knjige snimanja, slaganje animatika, modeliranje i teksturiranje, simuliranje tkanine itd. Svaki dio produkcije radio sam na određeni način sa razlozima koje sam izložio u ovom radu. Film je nastao kroz akademsku godinu 2019./2020. uz pomoć mentora Daniela Šuljića i kolegice Valentine Cindrić koja je bila zadužena za crtani dizajn likova po kojima sam modelirao u 3D-u.In this paper I will describe how I approached the making of my graduation film by the name “Clumsy Efforts”. I used 3D computer animation technique and rendered the final product in a real-time engine called Unreal Engine 4. The production pipeline I’ve worked on consists of writing a scenario, making of a storyboard, animatic, modeling and texturing, cloth simulation and other. For every aspect of production I’ve worked in a certain way for a certain reason which I’ve described in this written work. The film was made in the academic year of 2019./2020. with a help from my mentor Daniel Šuljić and a colleague Valentina Cindrić who worked as a Concept Artist
Metodika nastave likovne kulture: Metafora i naracija kao poveznice popularne vizualne kulture i nastave Likovne kulture
No full textSvrha ovoga diplomskog rada bila je proučiti metaforu i naraciju kao poveznice popularne vizualne kulture i nastave Likovne kulture. Temu je bilo vrijedno istražiti zbog odgojne uloge umjetnosti kod učenika te njihova osobnoga i društvenoga razvoja kako u likovnoj kulturi tako i u životnom aspektu.
Problem od kojega je krenulo ovo istraživanje jest činjenica da se u Nastavnom planu i programu za Likovnu kulturu (MZOŠ, 2006) ne spominju metafora i naracija u nastavi Likovne kulture niti se spominje bavljenje kreativnošću. Pojam popularne vizualne kulture mijenja se generacijama. Idući problem koji je prisutan u izradi likovnih zadataka i općenito u likovnom izražavanju jesu šablone kojima se učenici koriste.
Cilj je bio potaknuti kreativni proces učenika koristeći metaforu i naraciju kao metode građenja osobnoga likovnog izražavanja te poticanja kreativnosti učenika u nastavi Likovne kulture. Također, cilj je bio i udaljiti učenike od šabloniziranja prilikom likovnoga izražavanja.
Istraživačka pitanja na koja su rezultati istraživanja odgovorili su sljedeća:
Gdje se pojavljuje metafora u popularnoj vizualnoj kulturi?
Gdje se pojavljuje naracija u popularnoj vizualnoj kulturi?
Kako se upotreba metafore i naracije u vizualnoj kulturi može primijeniti na poticanje kreativnosti u nastavi Likovne kulture?
Ovo je istraživanje provedeno u trima akcijskima koracima. Prvi je korak proveden izvan neposredne nastave pregledom učeničkih radova od petoga do osmoga razreda, dok su ostala dva koraka provedena tijekom četiriju nastavnih sati u osmom razredu osnovne škole za vijeme nastave Likovne kulture. Tijekom drugoga akcijskog koraka učenici su uvedeni u način izražavanja pomoću metafore i naracije, a u trećem akcijskom koraku trebali su zadani problem riješiti koristeći metaforu i naraciju te to vizualizirati u svojem likovnom uratku.
Navedeno se ostvarilo tijekom drugoga i trećega akcijskog koraka, iako se u drugom akcijskom koraku metafora pretežito prikazuje pomoću šablona. Iduće je očekivanje uključivalo da će učenici prepoznati šablone te da će one izostati u daljnjem likovnom radu učenika što se u potpunosti ostvarilo tijekom trećega akcijskog koraka. No rezultati u drugom akcijskom koraku pokazali su da je učenicima uporaba šablona vrlo bliska zbog lakšega rješenja i izbjegavanja nepoznanice. Također, očekivao se napredak osobnoga razvoja učenika u osmišljanju i nizanju originalnih ideja, odnosno razvoj kreativnosti učenika. Uspoređujući drugi i treći akcijski korak, navedeni je napredak u trećem koraku bio značajno u porastu, šablonizacija se izbjegavala te su metafora i naracija zadovoljavajuće upotrijebljeni.The purpose of this thesis is to explore metaphor and narrative as links between visual culture and the teaching of fine arts. The topic is worth exploring because of the educational role of art in students’ personal and social development, both within the visual arts in the cultural aspect.
The problem from which this research started is that in the Arts Education curriculum (MSES, 2006) does not mention metaphor and narrative in the teaching of fine arts, nor does it mention engaging in creativity. The notion of popular visual culture has changed through the generations. Another problem that is present when performing visual tasks and, in general, when expressing art outside the teaching of fine arts, is the patterns that students use mainly to facilitate the visual interpretation.
The goal was to encourage the creative process of students, using metaphor and narrative as methods of better understanding and building personal artistic expression, and encouraging students' creativity in the teaching of fine arts. The goal was also to distance students from using patterns in art expression.
The research results will answer the following questions:
Where does the metaphor in popular visual culture come from?
Where does the narrative come from in popular visual culture?
How can the use of metaphor and narrative in visual culture be applied to stimulating creativity in the teaching of fine arts?
This research was conducted in three action steps. The first step was carried out outside the classroom through a review of student works from fifth to eighth grade, while the other two steps were carried out through four teaching hours in eighth grade in a primary school during art classes. In the second action step, students introduced into the mode of expression through metaphor and narrative, and in the third action step, they should have solved the default problem, also by using metaphor and narrative, and and visualize it in their artistic work.
This expectation was met during the second and the third action steps, although in the second one the metaphor was predominantly presented through patterns. The following expectation consisted in students recognizing the patterns and avoiding them in the further artistic work, which was fully realized in the third action step, while the results in the second action step showed that the students used patterns in order to find easier solutions and avoid what was unfamiliar to them. The progress of students' personal development in designing and arranging original ideas i.e. creativity was also expected. This progress was made, patterns were avoided, and metaphor and narrative were used satisfactorily
Metodika nastave likovne kulture: Odgojni učinak stvaralačkog procesa
No full textSvrha ovog diplomskog rada bila je razviti kritičko mišljenje o vizualnim informacijama iz svakodnevne životne okoline učenika. S obzirom na neprestani razvoj tehnologije i njezinu primjenu u vizualnoj kulturi, školovanje treba usmjeriti na stalno kritičko promatranje vizualnih sadržaja koje učenici konzumiraju tijekom slobodnog vremena. Ovo diplomsko istraživanje ukazuje na problem nesvjesnog oblikovanja ličnosti učenika pod utjecajem masovnih medija. Ono također sugerira i pozitivne strane korištenja istih u nastavnom procesu.
Cilj ovog diplomskog istraživanja bio je ponuditi moguće načine razvoja kritičkog promišljanja o pojedinim medijima s kojima se učenici svakodnevno susreću (društvene mreže, reklame, YouTube videa itd.) kroz kreativno izražavanje na nastavi likovne kulture.
Tijekom akcijskog istraživanja proveden je upitnik kojim je dobiven uvid u interese i stavove učenika te se na taj način nastava mogla učiniti osobnijom, a sadržaj relevantnijim. Učenici su, potom, kroz promijenjen oblik nastave i korištenjem novih medija bili usmjereni na analizu i sagledavanje pojedinih vizualnih informacija s kritičkim odmakom, donoseći zaključke o njihovoj kvaliteti, namjenama, subliminalnim porukama, učincima na promatrača te sličnim pozitivnim i negativnim aspektima. Rezultatima ovog diplomskog istraživanja odgovorena su sljedeća istraživačka pitanja:
- Kako učenici čitaju vizualne informacije i na koji način konzumiraju medijske sadržaje?
- Kako se kritičko promišljanje o dominantnim suvremenim medijima može razviti tijekom nastave likovne kulture?
- Kakvi su rezultati vidljivi prilikom usporedbe inicijalnih stavova učenika i nakon nastave likovne kulture usmjerene na razvoj kritičkog mišljenja o masovnoj, dominantno vizualnoj kulturi?
Konačni rezultati ovog diplomskog rada jesu kritički stavovi o vizualnim informacijama s kojima se učenici svakodnevno susreću, potvrda neophodnosti uključivanja navedenih sadržaja u nastavu u svrhu odgoja te podizanje razine kvalitete vizualnog mišljenja i izražavanja.The main purpose of this thesis is to improve critical thinking about the visual information in pupils’ everyday environment. Due to the constant development of technology and its use in the visual culture, the process of education should be focused on constant critical assessment of the visual content which pupils consume in their free time. This thesis points to the problem of unconscious shaping of pupils’ personalities under the impact of mass media. It also suggests some positive sides to the usage of mass media in the educational process.
The main goal of this thesis is to give an overview of the possibilities for the development of critical thinking about certain media (social networks, advertising content, YouTube videos) which pupils encounter on a daily basis with the help of various creative tasks in the school subject of Art.
A survey was conducted as part of an action research study. The survey offered an insight into pupils’ interests and attitudes. Because of this, the learning process was personalized and the learning content was made more relevant to pupils. After these alterations to the learning process and content and the introduction of new media, pupils became more focused on the analysis and observation of specific visual information with critical distance, bringing conclusions about its quality, purpose, subliminal messages, impact on the viewer and similar positive and negative aspects. The results of this research study answer the following questions:
- How do pupils read visual information and in which way do they consume the media content?
- How can critical thinking about the dominant contemporary media be improved with the help of the school subject of Art?
- Which results can be seen when we compare the initial attitudes of pupils and those they formed after they had been exposed to art education focused on the development of critical thinking about the dominant visual mass culture?
The results of this study offer an insight into critical attitudes about the visual information which pupils encounter on an everyday basis. The results also point to the absolute necessity of the inclusion of visual content in the process of formal education for the sake of one’s general knowledge. Another outcome of this thesis is the improvement in the quality of visual thinking and visual expression
Metodika nastave likovne kulture: Kabinet čuda - Utjecaj vizualne kulture na percepciju i kreativnost učenika osnovne škole
No full textProblem proizlazi iz sustava, odnosno onoga što ne funkcionira unutar njega, a to je da se ne bavi kritičkim promišljanjem vizualne okoline učenika. Zbog nedostatka znanja u području vizualne kulture, učenici ne pridaju dovoljnu važnost procesu gledanja i promatranja što dovodi do brzopletog usvajanja vizualnih informacija i stvaranja manipulativnih utjecaja na razvoj učenikove percepcije.
Cilj je ovog diplomskog rada ispitati i provjeriti učenikovu svijest o prisutnosti vizualne kulture kojom je okružen u svakodnevnom životu i utjecaju nametnutih društvenih vrijednosti koje se očituju kroz razne oblike vizualne kulture i manipulira učenikovu jedinstvenost.
Istraživanje je bilo provedeno kvalitativnom metodom, uz primjenu ankete, pisanih bilješki vođenih tijekom nastavnih sati i fotodokumentacije učeničkih radova. Kao rezultat istraživanja očekuje se promjena iz koraka u korak vizije okoline i odnosa sebe u okolini. Kroz prvi korak, mentalnu mapu, učenici su spoznali suvremeni kontekst i način koji utječe na njega / nju i na njegov/njezin izbor ( izražavanje vlastite osobnosti).
U drugom koraku naglasak je bio na vlastitom kabinetu čuda danas, individualni izbor za svakog učenika, odnosno interpretaciji osobnog kabineta čuda, odnosno kolekcije.
Koncept kabineta čuda naglasak je stavljao na vlastitu „kolekciju“ omiljenih predmeta.
Provodio se manji projekt sakupljanja van škole u kojem je učenik odabirao što mu se sviđa i zašto mu se sviđa.
U trećem koraku formirala se ideja vlastitog putnog kofera današnjeg tinejdžera za odlazak ili „preživljavanje“ u školi.
Istraživačka pitanja na koje je ovo istraživanje odgovorilo svojim rezultatima su:
1. Kako se vizualna kultura odražava u vizualnim radovima učenika?
2. Kako usmjeriti učenike na kritičko promišljanje i kreativno interpretiranje vizualne kulture iz svakodnevnog okruženja?
Rezultatima istraživanja potvrđeno je da sadržaji popularne vizualne kulture utječu na oblikovanje osobnog identiteta učenika. Zbog nedostatka znanja u području vizualne kulture učenici nesvjesno usvajaju nametnute manipulativne prikaze, interese i pravila ponašanja zbog čega gube svoju individualnost, kreativnost i jedinstvenost. Kroz likovni zadatak najčešće se predstavljaju poput ostalih, odnosno priklanjaju se nametnutim utjecajima društvenih normi. Preispitivanjem i promatranjem vlastitog vizualnog iskustva kroz likovni rad učenici uočavaju važnost utjecaja vizualne kulture i razvijaju kritičko mišljenje koje doprinosi stvaranju zdrave samosvijesti i samopouzdanja.The purpose of this research was to find out what and how much visual culture encompasses, in which branches it is involved in art design, and how many students it surrounds on a daily basis. Also, the purpose was to encourage students' attention on the appearance of everyday objects. Through work they come across the influence of visual culture on their own identity.
The problem arises from the system which does not work well within. It does not deal with critical reflection on the visual environment of students. Due to the lack of knowledge in the field of visual culture, students do not give enough importance to the process of seeing and observing. That leads to the hasty adoption of visual information and the creation of manipulative influences on the development of student perception.
The aim of this thesis is to examine and verify the student's awareness of the presence of visual culture which surrounds the everyday life. The impact of imposed social values is manifested through various forms of visual culture and manipulates the student's uniqueness.
The research was conducted by a qualitative method, with the application of a survey, written notes taken during classes and photo documentation of student work. As a result of the research, a change from step to step of the environment vision and the relationship of oneself in the environment is expected. Through the first step; mental map, students learned about the contemporary context and the way it affects him / her and his / her choice (expressing his / her own personality).
In the second step; the emphasis was on one's own cabinet of curiosity today, an individual choice for each student i.e. the interpretation of a personal collection inside a cabinet of curiosity.
The concept of the Cabinet of curiosity placed emphasis on its own "collection" of favourite items.
A small out-of-school collection project was conducted in which the student chose what he liked and why he liked it.
In the third step; the idea of today's teenager's own suitcase of "surviving" at school was formed.
The questions this research will give answers to with its results are:
1. How is visual culture reflected in students ’visual works?
2. How to encourage students to critically reflect and creatively interpret visual culture from the everyday environment?
The results of the research have proven that the contents of popular visual culture influences the formation of students' personal identity. Due to the lack of knowledge in the field of visual culture, students unconsciously adopt the imposed manipulative representations, interests and rules of behaviour. As a result students lose their individuality, creativity and uniqueness. Through the art task, they most often present themselves like others by adapting to the imposed influences of social norms. By reviewing and observing their own visual experience through art work, students perceive the importance of the influence of visual culture. As such they develop critical thinking that contributes to the creation of a healthy self-awareness and self-confidence