AIM AND OBJECTIVES OF THE COURSE
The aim of the course is to guide the students towards a deeper study and analysis of the drawing and the color. By passing from the strict representation to more personal abstract combinations of color and shapes, the students are called to achieve a profound understanding of the parameters that define a balanced composition.
The aim of the theoretical part of the course is to provide the students an analysis of the plastic form (two or three dimensional) as this is seen in the works of several artists and designers, in order to make evident the importance of the abstract use of the drawing and color.
The theoretical part of the course informs the students about the Modernist artists and designers of the beginning of the 20th century and gives them the opportunity to deeply understand the interrelationship between the plastic arts, architecture and design since the Modernist movement.

COURSE DESCRIPTION
Each project of the course is concentrated on a deductive approach of the visual form and color and furthermore, the students are requested to develop a 3-Dimentional perception out of them.
This is achieved through the following type of projects: a. still-life with objects and photographic material is combined with colored surfaces in collages; b. two dimensional abstract compositions are converted into small scale three dimensional constructions.
The theoretical part of the course is concentrated on the formalistic and conceptual analysis of Modernist works of art and design, which have renovated the visual language and have introduced abstraction in the center of a common direction for Fine Arts and Design. (Cubism, Constructivism, De Stijl, Futurism, Bauhaus).
For the creation of their task during this semester the students are encouraged to experiment on the combination of different materials (pencil, charcoal, ink, acrylics, photographs, cardboard, collage images etc.)

EXPECTED LEARNING OUTCOMES
The students will learn the parameters that define a balanced composition, the minimalistic approach of presenting architectural elements in interior spaces, they will also learn how to generate 3-Dimensional constructions with a subject reference. They are also keen on image editing techniques with the use of the programme Adobe Photoshop.

BIBLIOGRAPHY
1. Form, The Visual language in Contemporary Design, Frini Mouzakitou, isbn 960-210463-5, [EVDOKSOS code 46382].
2. The Bauhaus Idea and Bauhaus Politics, Eva Forgacs, EVDOKSOS code [9804]:
3. The Decorated Journal: Creating Beautifully Expressive Journal Pages, Gwen Diehn
4. 1,000 Artist Journal Pages: Personal Pages and Inspirations, Dawn DeVriesSokol
5. After the Great Divide: Modernism, Mass Culture, Postmodernism, Andreas Huyssen Part two, 4. The Vamp and the Machine
6. Fritz Lang's Metropolis: Cinematic Visions of Technology and Fear, Michael Minden, ‎Holger Bachmann
7. Fast Forward: The Aesthetics and Ideology of Speed in Russian Avant-Garde, Tim Harte. ΣΕΛ. 8-13, 18-19, 25-26
8. The Artist as Producer: Russian Constructivism in Revolution, Maria Gough
9. NEW RUSSIAN ART:A LECTURE 1922, El lissitzky
10. Cubism, Guillaume Apollinaire, Dorothea Eimert, Anatoli Podoksik
11. A World History of Architecture, Marian Moffett, Michael W. Fazio, Lawrence Wodehous