COURSE DESCRIPTION
Quest of the Modern Art in public places of the city. The Art of everyday life. Analysis of the work of artists that decorate the metro stations of the city, the open-air places with sculptures, the walls with graffiti. Search of modern aspects of art through the lexicon of visual arts of the second half of the 20th century. References on selected international artists who have influenced arts.

BIBLIOGRAPHY
1. Melita Emmanouil, History of Art.From 1945 into 5sections.Kapon Publication, EUDOXOS
2. Mario de Mikeli, The Avant-garde of the 20th century, pub. Odysseas,
3. Tania Kovats, The Drawing Book, Black Dog Publishing, 2007
4. Katerina Zaharopoulou, ‘For the things which are missing' Agra, 2009

COURSE: INTRODUCTION TO COLOUR
COURSE ID: N1-1030
COURSE TYPE: Theory-Laboratory
COURSE CATEGORY: Compulsory
HOURS PER WEEK: 5
ECTS: 8
TYPICAL SEMESTER: 1st

AIMS AND OBJECTIVES OF THE COURSE

• Perception of color classification: clear and grey colors
• Familiarization with the categorization of color
• Identification of the spectrum of materials mixture
• Being aware of the principles of drawing, the students transfer the three-dimensional object to their cardboard by using color
• Application of the qualitative approach of synthesis through color
• Comprehension of the special characteristics of material
• Objective interpretation of composition

COURSE DESCRIPTION
The Workshop of the course "Drawing and Color" contains a sequence of exercises on the imprinting of composition of objects located in special pedestals in space in still life. Both drawing and color exhibit a parallel evolution in relation to proportional depiction and exploration of materials. It focuses on the synthesis of shapes on the basis of tension, size, complexity and rhythm so that a new piece of art is generated and displays an aesthetic interest.

EXPECTED LEARNING OUTCOMES

• Articulation of critical thinking on the substantial and non-substantial parts of synthesis
• Enhancement of the student's composition ability
• Analysis of the chromatic potential and the special features of every drawing
• Familiarization with the materiality and the ability to recognize the material and render it recognizable in drawing
• Exploration of the color potentials through different versions

BIBLIOGRAPHY
1. Julian Bell, Mirror of the World ; A New History of Art, Thames &Hudson, 2007
2. Chronis Botsoglou, The color of the study, Patakis Pablications, 2005
3. New perspectives in Painting, pub. Phaidon, 2002
4. Art since mid-Century, Thames & Hudson, 1991
5. Tate Modern-The Handbook, Blazwick & Wilson, pub. TATE
6. Artempo-where Time Becomes Art, musei Civili Veneziani
Artists
1. Sigmar Polke, MOMA, N.Y, 2014
2. Joseph Beuys, Schirmer\Mosel 1989
3. Marina Abramovic, Academy Editions, 1995
4. Malkom Morley, Itiraries-Reaction books, London
5. Francis Bacon, Meine Bilder, pub. Prestel 1981

COURSE: INTRODUCTION TO DRAWING
COURSE ID: N1-1030
COURSE TYPE: Laboratory
COURSE CATEGORY: Compulsory
HOURS PER WEEK: 3
ECTS: 8
TYPICAL SEMESTER: 1st

AIMS AND OBJECTIVES OF THE COURSE

• Comprehension of the transfer of three-dimensional space to two-dimensional one
• Familiarization with notions, forms-shapes, volume-plasticity
• Interpreting the composition on the basis of space levels and perspective
• Familiarization with qualitative-color line
• Introduction to understanding drawing in terms of sketch
• Inquiry of imprinting using the fewest means
• Understanding the reaction while mixing and contrasting different drawing material

COURSE DESCRIPTION
The workshop of this course on the one hand deals with the comprehension of the importance of drawing in the act of depiction and on the other hand with the freedom to express personal ideas.
A sequence of exercises is provided in order to gradually explore the well-made drawing through different versions and circumstances. This course seeks to achieve the understanding of the structure of synthesis.

EXPECTED LEARNING OUTCOMES

• Viewing synthesis as a whole (background and theme)
• Introduction to the notion of simplification by selecting the important surfaces
• The expression of composition through clear distinction between light and dark
• Introduction to basic rules of synthesis

BIBLIOGRAPHY
1. Robert l. Herbert, The Herbert History of Art and Architecture, The Twentieth Century, Maurice Besset
2. Μaurice Merleau Ponty,L oeil et l Esprit Sens et non-sens, Nefeli publications, 1991
3. Monroe C.Beardsley, The History of Aesthetic Theories, pub Nefeli
4. Manos Hatgidakis, The Mirror and the Knife, Ikaros, 1988
5. Giannis Tsarouchis, Εgo eimi ptohos kai penis, Kastaniotis, 1988
6. Sigmar Polke, Work on Paper, MOMA, N.Y, 2002