6 - Creative Practicum III

This course is part of the programme
Bachelor's programme in Digital Arts and Practices

Objectives and competences

Students will be acquianted with a varietyof creative tools and techniques, which they will be able to use in their work within the key modules. At the same time, the students will learn about various methods and approaches towards a creative assignment or problem.

The student will be able to acquire the following general competence swithin the module: * development of critical and self-critical discernment within the seminar work and products analysis; * ability to use knowledge in practice; * autonomy in professional work; * development of communicationabilitie and skillswithin the group work.


Fundamental knowledge of fine arts.The basic prerequisite for the student to join the university work is his willingness to be acquainted with tools, skills, regularities and theories related to development of creativity, and to learn how to use them in practice. To do this, the student should at the same time be willing to do independent research and additional independent assignments, especially if the student does not have much pre-knowledge and experience that may be of help in a quality-based advancement of his studies.


The Creative Practicum encompasses the content swhich will teach students how to use various methods and approaches to a creative assignment or problem. Thereis a diversity of expressive means taught and used within the Digital Arts and Practice programme, and the same applies to this module.
The fine artsunits of the Creative Practicum encompass the basics of classical study drawing, perspectives, composition, tonal drawing and painting, sculpture three-dimensional modelling, as well as visualisation of a story within the comics mode and the shooting script. This type of knowledge will equip students with the fundamentals of fine arts creativity in the classical media, which they will be able to apply to the work within the digital media.
The students will be able to test the key concepts of the fine arts theory within a variety of practical subjects, which they will be able to experience in real practice and master themat an appropriate level of knowledge. For instance, the students will be able to test the elements of colour theories in a digital studio as well as through lectures and demonstrations of the light theory.
The visual deconstruction content unit aims to break up the student's dogmatic acceptance of the principles under lying the fine arts theory and practicum, and to encourage them to develop critical and independent judgement. The Creative practicum also includes units that focus on linear narration, including, for example, screen play writing exercises (for feature and animatedfilms); the major part of the modul's content units are devoted to specific independent fields which make support content units within the Digital Artsprogrammes, suchas stage setting, lighting design, graphic design.

Interchangableunits for yearstwo and three: * Graphic design (2 ECTS) * Visual deconstruction (2 ECTS) * Lighting design and stage setting (2 ECTS) * Scene construction (2 ECTS) * Creative subversion of the media (2 ECTS) * Unit by a visiting professor (2 ECTS)
the contentswill be taughtprovidedthere are atleastsevenstudentsattending the course.

Electivecontents for years two and three (in agreement with his mentor, the student may choose these contents within the elective contents of other modules - mIv, mDP, nM): * Architectural drawing (2 ECTS) * Drawing III (2 ECTS) * Sculpture for animators (2 ECTS)

Intended learning outcomes

  • knowledge of the key fine art disciplines, of sculpture and visual arts, as forerunners of digital arts and practices;
  • ability to embed new information and interpretations into the context of digital media;
  • development of fine arts skills and abilities in applying knowledge in the field of digital arts.


  • Barcsay, Jeno: Anatomy for the artist. Octopus Books, 1982. Catalogue E-version
  • Itten, Johannes: Umetnost barve. Reichmann, 1999. Catalogue
  • Butina, Milan: Mala likovna teorija. DEBORA, 2000. E-version
  • Mazzini, Miha: 2 priročnika in 3 scenariji, Triona, 1998.
  • Carriere, Jean-Claude in Bonitzer, Pascal: Scenaristova vadnica, CZ, 2000. Catalogue
  • Mckee, Robert: Zgodba: substanca, struktura, stil in načela scenarističnega pisanja, UMCO d.d. 2008. Catalogue
  • Blake Snyder: Save the cat. M. Wiese Productions, cop. 2005. Catalogue Catalogue Catalogue Catalogue E-version E-version E-version
  • Vrzeli filma in arhitekture (zbornik pripravil in uredil Stojan Pelko, Slovenska kinoteka 2001) Catalogue
  • Mi gradimo film, film gradi nas (11.mednarodni kolokvij filmske teorije in kritike, Slovenska kinoteka: Revija Ekran, 2001)
  • Wired to Create: Unraveling the Mysteries of the Creative Mind (pisec: Scott Barry Kaufman) Catalogue E-version
  • "Storyboarding the Simpsons' way" E-version
  • Veščina risanja (1., 2., Veščina kompozicije) Tone Rački, JSKD Catalogue Catalogue Catalogue

Additional literature:

  • Giuliana Bruno: Atlas of Emotion: Journeys in Art, Architecture, and Film. Verso, 2007
  • Peter Ettedgui: Production Design and Art Direction (Screencraft Series). Focal Press, 2000 E-version
  • Vincent LoBrutto: By Design: Interviews with Film Production Designers. Praeger, 1992
  • John Truby: The Anatomy of Story: 22 steps to becoming a master storyteller. Farrar, Straus and Giroux, 2008 Catalogue E-version
  • Blatnik, Andrej: Šola kreativnega pisanja, Aleph, 1990 Catalogue
  • David Howard , Edward Mabley: The Tools of Screenwriting: A Writer's Guide to the Craft and Elements of a Screenplay, St. Martin's Griffin, 1995 E-version
  • Scott McCloud: "Kako nastane strip". KINO!, 2010 Catalogue
  • Scott McCloud: "Kako razumeti strip - O nevidni umetnosti". Cankarjeva založba, 2011
  • Syd Field: Scenarij: Temelji scenarističnega pisanja; UMco, 2015 Catalogue
  • Michel Chion: "NAPISATI SCENARIJ". Ekran, 1987 Catalogue
  • Juhani Pallasmaa: Misleča roka: Eksestencialna in utelešena modrost v arhitekturi. Založba Varia, 2012 Catalogue
  • Isabel Seligman (Editor): Pushing Paper - Contemporary Drawing From 1970 to Now. Thames & Hudson, 2019
  • Mack Maslen and Jack Southern: Drawing Projects – an exploration of the language of drawing. Black Dog Publishing, 2011
  • Schmidt, Richard: Alla Prima. Richard Schmidt, 2013.
  • Butina, Milan: Elementi likovne prakse. MK, 1982. Catalogue
  • Mikuž, Jure: Rehabilitacija barve. V: Mojca Zlokarnik: Mali Benares, Ribnica: Galerija Miklova hiša, 2007. Catalogue E-version
  • Mikuž, Jure: Fizično in duhovno prežarjeni prostor. V: Mojca Zlokarnik: Žarenje, Kostanjevica na Krki, Galerija Božidar Jakac, 2009. Catalogue E-version
  • Pečjak, Vid: Psihološka podlaga vizualne umetnosti, DEBORA 2006.


Creative assignment 20%, Practice and group work 50%, Exam 30%

Lecturer's references

BOŠTJAN POTOKAR is the dean of the School of Arts of University of Nova Gorica. He was the co-founder of Famul Stuart School of Applied Arts. He was its head since 1994 and so the person responsible for managing and operational functioning of the school and all its projects. He also supervised the school's numerous collaborations in Slovenian and international partnerships. He received a diploma from the Academy of Fine Arts in Ljubljana. Boštjan Potokar is a visual artist, exhibiting in diverse simposia and workshops, set designer (together with Rene Rusjan) and an awarded writer-author.

2012 Chiang Mai Art Centre, Thailand (residency and exhibition)
2011 - Slovenski kulturni praznik - Prešernova proslava 2011 scenografija (skupaj z Rene Rusjan) režija Neda R. Bric, Cankarjev dom, Ljubljana 7. 2. 2011
2010 - Dan upora proti okupatorju - državna proslava, scenografija (skupaj z Rene Rusjan) režija Neda R. Bric, SNG Nova Gorica 26. 4. 2010
2010 - HOMMAGE SEDMA VRSTA - drama treh dejanj v sedmih prizorih (nominacija za izvirno dramsko besedilo, ki naj bi se navdihovalo v ustvarjalnosti in življenju Danila Kiša natečaj je razpisalo Kraljevsko gledališče Zetski dom iz Cetinja za pisce v jezikih držav nekdanje Jugoslavije)
2009 - EDA - Zgodba bratov Rusjan, scenografija (skupaj z Rene Rusjan) gledališka predstava Nede R. Bric, produkcija Slovensko Mladinsko gledališče