6 - Creative Practicum I

Students will be acquianted with a varietyof creative tools and techniques, whichtheywill be able to use in their work within the keymodules. At the same time, the studentswilllearmaboutvariousmethods and approachestowards a creative assignment or problem.
The studentwill be able to acquire the following general competenceswithinthemodule: * development of critical and self-criticaldiscernmentwithin the seminar work and productsanalysis; * ability to use knowledge in practice; * autonomy in professional work; * developmentofcommunicationabilitie 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 uality-based advancement of his studies.

The Creative Practicumencompasses the contentswhichwillteachstudentshow to use variousmethods and approaches to a creative assignment or problem. Thereis a diversity of expressivemeanstaught and usedwithin the Digital Arts and Practiceprogramme, and the sameappliestothismodule.The fine artsunits of the Creative Practicumencompass the basics of classicalstudydrawing, perspectives, composition, tonaldrawing and painting, sculpturethree-dimensionalmodelling, aswellasvisualisation of a story within the comics mode and the shooting script. Thistype of knowledgewillequipstudents with the fundamentalsof fine artscreativity in the classical media, whichtheywill be able to apply to the work within the digital media.The studentswill be able to test the keyconcepts of the fine artstheorywithin a variety of practicalsubjects, whichtheywill be able to experience in realpractice and master themat an appropriate level of knowledge. For instance, the studentswill be able to test the elements of colourtheoriesin adigital studio aswellasthroughlectures and demonstrations of the light theory.
The visualdeconstructioncontentunitaims to break up the student'sdogmaticacceptance of the principlesunderlying the fine artstheoryand practicum, and to encouragethem to developcritical and independentjudgement. The Creative practicumalsoincludesunitsthat focus on linear narration, including, for example, screenplaywritingexercises (for feature and animatedfilms); the major part of the modul'scontentunits are devoted to specificindependentfieldswhichmakesupportcontentunitswithin the Digital Artsprogrammes, suchas stage setting, lighting, graphic design.
The following are obligatorycontentunits for Year one: * Drawing I (3 ECTS) * Sculpture for animators(2 ECTS) * Fine artstheory (1 ECTS) * Stage settingexercises (1 ECTS) * From an idea to a videofilm (1 ECTS)

• 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 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. Catalogue

Practice and group work 70%, Exam 30%

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.

SELECTED PROJECTS AND EXHIBITIONS 2012 – 2007
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