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rotacija za 180°rotation 180°

nema ritmiziranja without rhythm

rotacija rotation

rotacija rotation

promjena širine change of width

promjena širine change of width

promjena širine change of widthPP.. PPIICCAASSSSOO

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ANALOGIJA ANALOGY

3 D ZVUKA 3 D LINIJEOF SOUND OF LINE

trajanje = duljina duration = length

ja~ina = širinaintensity = width

visinske promjene = tok (izmjenjivanje, zakrivljenja)pitch = inflections (changes of curves)

PP.. KKLLEEEE

a = napetost tenseness

b = popuštanje napetosti relaxation

a

b

had been presented earlier to the participants ofthe workshops Origins and Principles too. c) Theparticipants get some photocopied pages from thebook J. Damjanov Visual language and art about oneof Matisse’s drawings (analysis of rhythm, syme-try, gamut) and in this way a three-media-approachto the works of the artists whose drawings will beexplored in the next three workshops (projection ofslides with verbal commentary; video/film; printedtext with reconstructions and analytic drawings)are available.2. a) There are three linear sequences projected outof the drawing by Klee, by Matisse and the one byPicasso which is wholly done in one linearsequence. The participants “sing” the lines on thebasis of an analogy between the three dimensions ofline and the three dimensions of tone. A studentexplains the exercise: the length of a line respondsto the length of a sound, the width of a line to theintensity of a sound, and the inflexions of a line (thechanges of curves) to the pitch (variation of theheights of the sound). In the singing tones a and bare used, a for tension, and the ascent, b for therelaxation of the tension and the descent. Wheninstead of the simple change in continuity a charac-teristic break (pause) - a symetry appears, forexample rotation, with a maximum of shortening(acceleration) we try to direct attention to the non-rythmicalness. At first the student sings alone point-ing at the projected line; later, all the participants tryto follow the line the student is pointing at with theirvoices. The exercise is used to intensify experienc-ing the various rhythms - various structures of ten-sion and relaxation. b) After experiencing a collectiveempathy in the inflections of the line which are con-firmed with one more sense (auditive) the partici-pants receive the photocopies of these same linearsequences with the instruction to try once more,now individually, to sing silently in themselves therhythm, following the line with their gaze.3. The participants are invited, on the basis of therhythm they felt mostly to choose between thedrawings of Klee, Matisse and Picasso the one theywant to work with. After the choice has been madethe workshop leader, desiring to make the partici-pants aware of their choices points out that theyhave probably chosen their “own portraits” (all thedrawings represent human figures).4. The participants work on the photocopies of thechosen drawings. Disconnecting the drawings witha white correcting pen they isolate the particular lin-ear sequences, explore them and prepare them forfurther exploration. Students-instructors help theparticipants with their work.5. The finished material will be photocopied till thefollowing workshop.

Bjelilom se izoliraju pojedine linije na fotokopijicrteà/With white correcting pens lines are isolatedin the photocopy of the drawing

Voditelj radi s grupom/The workshop leaderworks with the group

Studentica glasom prati ritam Kleeove linije/Astudent-instructor follows the rhythm of Klee’s linewith her voice

Individualno, u sebi pjeva se ritam Picassovelinije/Individual, silent singing the rhythm ofPicasso’s line

Studenti rade s grupom/The students-instructorswork with the group

Prva izvedba radionica: 1993.-94.

Radionice C r t e ` od predhodnih se razlikuju po tome {to su specijalisti~ke. Sudionici se baveisklju~ivo upoznavanjem crteà, pristupaju mu raznim metodama na svestran na~in i povezuju ga sdrugim podru~jima.Radionice su podijeljene u tri dijela. U prvom dijelu svaki sudionik radi na jednom modernomcrteù. U drugom dijelu radi na paru crteà iz vremenskog razdoblja od 9. do 19. st., a u tre}em sesudionici posve}uju isklju~ivo upoznavanju zasigurnih crteà F. Guardija, a i njemu atribuiranogcrteà koji se nalazi u Zagrebu.U ovim je radionicama, vi{e nego u prethodnim, naglasak na individualnom istraìvala~kom radusvakog sudionika u ~emu im pomaù studenti-instruktori. Temeljna je namjera posti}i da sudionicibolje opaàju - razlikuju.

U p r v o j radionici namjera je osvijestiti elementarne znakove, temeljna pravila sintakse, odnoslinijskih sekvenci - sugeriranje plohe i njena svojstva - putem idealne rekonstrukcije crteà; uputiti nasamoodnosnost oblika u crteù (“zrcaljenje” - ponav-ljanje i variranje istog oblika); doìvjeti nasta-janje crteà putem realne rekonstrukcije; doìvjeti i proosje}ati ritam i simetriju linija razli~itih tokovaputem prijenosa u drugi medij (zvukovni); zbiljskim rastavljanjem fotokopiranog crteà na izoliranelinijske sekvence istraìti i tako pripremiti materijal za daljnje istraìvanje; omogu}iti svakomsudioniku vlastiti odabir djela za istraìvanje.

Ambijent: Sudionici sjede uz slobodno raspore|ene stolove. Uz dva polaznika je po jedan instruktor.Projektor je s jedne uè strane i projicira se na nasuprotni zid. Uz taj je zid i TV prijemnik i video player.Prire|ene su fotokopije modernih crteà izrazito li-nijskih sekvenci (Klee, Matisse, Picasso) i bo~icebjelila (crteà ima koliko i sudionika: svaki crte` u po 10 fotokopija). Sudionici se mole da nabavebilje`nice iste veli~ine i ~istih listova koja }e im posluìti za izradu vlatite “knjige o crteù”.

Struktura doga|anja1. a) Voditelj projicira pojedine, izdvojene linije Kleeova crteà Ecce i izvodi idealnu rekonstrukciju kojusu sudionici radionica P o ~ e l a i n a ~ e l a ve} imali prilike upoznati. Taj dio rada sluì bilo da setemeljni postupak dozove u sje}anje, bilo da se s njim upoznaju oni koji ga jo{ nisu susreli. Prepoznajuse i imenuju elementarni znakovi, temeljna pravila sintakse, me|usobni odnos linijskih sekvenci - sugeriranje ploha i svojstva ploha. b) Prikazuje se ulomak Clousotova filma o Picassu: crtanje jednogcrteà od po~etka do kraja (realna rekonstrukcija naspram idealne rekonstrukcije Kleeova crteà). Taj seulomak sudionicima ve} prikazivao u radionicama P o ~ e l a i n a ~ e l a. c) Sudionici dobivaju fotokopirani materijal o Matisseovu crteù (analiza ritma, simetrije, skale) iz J. D.,Vizualni jezik i likovna umjetnost. Na taj na~in osiguran je tromedijski pristup djelima trojice crta~a~iji }e se crteì istraìvati u prve tri radionice (dijapozitivi uz verbalni komentar, video film, tiskani teksts reprodukcijama i analiti~kim crteìma).2. a) Projiciraju se redom tri linijske sekvence iz po jednog Kleeova i Matisseova crteà i jedan Picassovcrte` koji je sav u jednoj linijskoj sekvenci. Linije se poku{avaju “otpjevati” na temelju analogijeizme|u triju dimenzija linije i triju dimenzija tona. Student-instruktor obja{njava vje`bu: duljini linijeodgovara duljina zvuka, {irini linije ja~ina zvuka, a toku linije - izmjenjivanju zakrivljenja odgovarajuvisinske promjene zvuka. U pjevanju se koriste glasovi a i b (a za napetost, uspon, b za popu{tanjenapetosti, spust). Kada se umjesto jednostavnog izmjenjivanja u toku pojavljuju osobiti zastoji -simetrija (rotacija), maksimalnim se skra}enjem (ubrzanjem) poku{ava uputiti na neritmiziranost.Student-instruktor prvo sam pjeva prstom prate}i projiciranu liniju, nakon toga svi zajedno glasompoku{avaju pratiti liniju koju on/ona pokazuje prstom. Vje`ba sluì intenziviranju iskustva razli~itih ritmova - razli~itih sklopova napetosti i popu{tanja. b) Nakon ovog doìvljaja skupnog uìvljavanja u tokove linijskih sekvenci, koji je potvr|en jo{ jednimosjetilom (auditivnim), sudionicima se dijele fotokopije tih istih linijskih sekvenci s uputom da, sadaindividualno, jo{ jednom poku{aju u sebi, prate}i liniju pogledom, tiho otpjevati njen ritam.3. Sudionici se pozivaju da na temelju ritma s kojim su se najvi{e suìvjeli, me|u fotokopijamaKleeova, Matisseova i Picassova crteà izaberu onaj koji èle istraìvati. Nakon izbora voditelj, èle}ida sudionici osvijeste svoj izbor, napominje da su vjerojatno birali “vlastiti portret” (svi crteìprikazuju ljudski lik).4. Slijedi rad na fotokopijama izabranih crteà. Svaki se crte` rastavlja:: bjelilom se izoliraju pojedinelinijske sekvence, istraùju se i pripremaju za daljnja istraìvanja. Sudionicima pomaù studenti-instruktori.5. Sudionici ostavljaju pripremljeni materijal koji }e se fotokopiranjem dovr{iti do sljede}e radionice.

First performance of workshops: 1993.-94.

The Drawing workshops differ from the earlier onesbecause they are specialist workshops. The partici-pants exclusively work to get acquainted with draw-ings, they approach them thoroughly using variousmethods and connect them with other fields.The workshops are divided into three sections. In thefirst section the participants work with a moderndrawing each person with a different one. In the sec-ond section they work with a pair of drawings fromthe period between the 9th. and 19th centuries. In thethird section they got acquainted with certain draw-ings by F. Guardi and with the one attributed to himwhich is in Zagreb. In these workshops, more than inthe earlier ones the accent is on the individualexploratory work of each participant helped by stu-dents-instructors.

In the f i r s t workshop the intention is tobecome aware, through an ideal reconstruction ofthe drawings, of the elementary signs, of the basicrules of syntax, of the relationship between linearsequences - their suggestions of planar shapes andtheir characteristics; to direct attention to the self-referal character of the shapes in a drawing(“reflection” - repetition and variation of the sameshape); to experience through a real reconstructionhow a drawing is really made; experience and feelthe rhythm and the symmetry of lines with variousinflections through a transposition into anothermedium (acoustic); actually disconnecting the pho-tocopied drawings into their isolated linearsequences to explore and thus prepare the materialfor further exploration; to enable every participant tochoose his/her own work for exploration.

Ambience: The participants sit side by side atfreely placed tables spread around the room.Beside every two participants there is an instructor.The projector is placed near the na-rrow side of theroom and projects slides onto the opposite wall.Against the same wall there is a TV set and a videoplayer. Photocopies of some modern drawingsexplicitly linear in their sequences are also pre-pared (Klee, Matisse, Picasso). The number ofdrawings is the same as the number of participants(e.g. and every drawing is photocopied 10 times).There are white correcting pens. The participantsare asked to bring notebooks of the same size withclean white sheets of paper in order to preparetheir own “book about drawings”.

Structure of the Activity1. a) The workshop leader projects the parti-cular, isolated lines of Klee’s drawing Ecce andperforms an ideal reconstruction known already tothe participants of the workshops Origins andPrinciples. This part of the work should assist theparticipants to recall the basic procedure or toinstruct those who do not know it yet. The ele-mentary signs, the basic rules of syntax, the rela-tionships between the linear sequences - the sug-gestion of planar shapes and their characteristicsare recognised and named. b) A fragment is pre-sented out of Clousot’s film about Picasso: draw-ing one of his drawings from the beginning to theend (a real reconstruction in opposition to an idealreconstruction of Klee’s drawing). This fragment

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JEDNAKA KRIVULJA EQUAL CURVE(jezi~na kategorija) (linguistic category)

NEJEDNAKA KRIVULJA UNEQUAL CURVE(jezi~na kategorija) (linguistic category)

UGLATA KRIVULJA ANGLE CURVE(jezi~na kategorija) (linguistic category)

Kleeov govor Klee’s speech

Matisseov govor Matisse’s speech

Picassov govor Picasso’s speech

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RAVNA LINIJA STRAITGHT LINE(jezi~na kategorija) (linguistic category)




PP.. KKLLEEEE:: PPRREEMMAA BBRRDDIIMMAA//TTOOWWAARRDDSS TTHHEE MMOOUUNNTTAAIINNSS,,11993344..,, 3311 XX 2200,,55 CCMM,, CCRRAAYYOONN

HH.. MMAATTTTIISSEE:: HHEENNRRII DDEE MMOONNTTHHEERRLLAANNDD,,11994444..,, PPEERROO//PPEENN

PP.. PPIICCAASSSS00:: GGLLAAVVAA @@EENNEE//

WWOOMMAANN''SS HHEEAADD,, 11993388..,, PPEERROO//PPEENN,,

4444,,55 XX 2233,,55 CCMM

etc. It is recommended that they work in a standingposition leaving the hand with which they draw freewithout the elbow on the table. The workshopleader speaks about the medium differences, aboutthe medium speech, about the personal speech ofthe drawer and every participant. He/she directs theparticipants’ attention to the differences betweenthe original lines and their variations and instructsthem on how to become aware of the pleasurescoming out of the drawing activity.3. Then a “discourse” between the similar lines anda discourse about the similar lines begins. It beginswith the invitation that everybody has to put “hisown” straight lines onto the table. Everyone standsaround the table, everybody observes and lets thelines “talk” to each other and they themselves talkabout the similarities and differences of all thestraight lines in all the three linear dimensions(length, width, inflexions). After that the workshopleader invites the participants to put onto the table allthe equal curves, then all the unequal ones and soon. In the discussion the differences are observedbetween the particular elementary signs by the samedrawer and then between the different ones, forexample between Klee’s and Matisse’s equal curves(The micro inflexions are observable in Klee’s linesand in Matisse’s they can be seen only with a mag-nifying glass.) 4. The “planes”, blackened and cut out from thedrawings and photocopied (the setting is preservedconsidering the rest of the drawing) are put onto thetable. Everybody finds “their” planes and identifiesthem.5. The participants are reminded not to forget tocompose their “book about drawing”.

Prate se linijske sekvence/The linear sequencesare followed

Linije razgovaraju / sudionici razgovaraju/ A “dis-course” between different lines / participants



Kineskim kistom se isprobavaju Kleeovelinije/Klee’s lines are tried out with a Chinese brush

Obi~nim se kistom isprobavaju Matisse-ove lin-ije/Matisse’s lines are tried out with an ordinarybrush

Krejonom se isprobavaju Picasove linije/Picasso's lines are tried out with crayon

U d r u g o j radionici namjera je pove}ati razlikovnu mo} opaàja usmjeravanjem pozornostisudionika na tanahne i si}u{ne razlike svih triju dimenzija linije; usmjeravati pa`nju na govorne para-digme istih elementarnih znakova (govorne razlike koje pro-izlaze iz medija i osobnosti); usmjeravatipozornost na svojstva ploha; omogu}avati sudionicima da izvo|enjem pojedinih linijskih sekvenci urazli~itim materijalima/tehnikama uìvaju u “sviranju partiture” odre|enog crteà.

Ambijent: Stolovi su razmje{teni uokrug sredi{ta u kojem je ve}i stol. Razmje{taj sudionika i studena-ta-instruktora je naizmjeni~an tako da jedan student moè pomagati dvojici sudionika (10 sudionika - 5 studenata-instruktora). Linije izolirane u prethodnoj radionici fotokopirane su na zasebne papire takoda ostanu na istim mjestima u odnosu na format crteà. Iz svakog crteà pripremljena je po jednaizrezana i tu{em zacrnjena ploha. Na stolu su krejoni, kistovi, tu{, pera, flomasteri.

Struktura doga|anja1. a) Na sredi{njem su stolu izmije{ane i rasprostrte fotokopije izoliranih linijskih sekvenci Matisseovih,Kleeovih i Picassovih crteà iz pro{le radionice. Svi (sudionici, studenti-instruktori, voditelj) stoje okostola. Sudionici prvo traè “svoje linije” (linije koje su izolirali u prethodnoj radionici) isklju~ivo natemelju sje}anja. Ako se nakon duljeg traganja neke linije ne pronalaze, traè se pogledom na fotokopi-ju cjeline. b) Kada su linije prona|ene sudionici sjedaju uz stolove naokolo, uspore|uju ih s cjelinom crteà iprovjeravaju imaju li sve linije.2. Stavljaju se razli~ita crta~ka sredstva na stol, voditelj poziva sudionike da odaberu jednu od linijaili vi{e njih i da ih isku{aju u razli~itim materijalima: u krejonu, tu{u itd. Preporu~uje im da radestoje}i i da ruku svakako puste slobodnu i odmaknutu i od tijela i od stola. Voditelj govori o razlika-ma medija, o govoru medija, o osobnom govoru crta~a i svakog sudionika. Usmjerava pozornostsudionika na razlike izme|u izvornih linija i njihovih ina~ica. Upozorava na osvje{tavanje uìtka kojiproizlazi iz crtanja.3. Zapo~inje “razgovor” me|usobno sli~nih linija i razgovor o me|usobno sli~nim linijama. Po~injepozivom da svi stave na stol “svoje” ravne linije. Svi stoje oko stola, svi motre dozvoljavaju}i linijamada “razgovaraju” i oni sami razgovaraju o sli~nostima i razlikama svih ravnih linija uzimaju}i u obzirsve tri dimenzije (duljina, {irina, tok). Nakon toga voditelj poziva da na stol stave sve jednake krivulje,pa nejednake, pa uglate. U razgovoru se uo~avaju razlike izme|u pojedinih elementarnih znakova kodistog crta~a i onda izme|u razli~itih, npr. Kleeovih i Matisseovih jednakih krivulja (mikropromjene sukod Kleeovih linija o~ite, kod Matisseovih se vide samo pove}alom).4. Na stol se stavljaju “plohe”, zacrnjene i izrezane iz crteà i fotokopirane (sa~uvan je poloàj uodnosu na ostali dio crteà). Svatko pronalazi “svoju” plohu, ugleda je i identificira.5. Sudionici se podsje}aju da ne zaborave na komponiranje “knjige o crteù”.

99In the s e c o n d workshop the intention is toraise the discriminative ability of perception directingthe participant’s attention to the very subtle andsmall differences in all three dimensions of the lines;to direct the attention to speech paradigms of thesame elementary signs (the speech differenceswhich come out from the media and from the per-sonalities); directing attention to the characteristicsof the planes; giving the opportunity to the partici-pants to enjoy “playing the scores” of a particulardrawing while performing the particular linearsequences in various materials or techniques.

Ambience: The tables are placed in a circle in thecentre of the room where there is a large table. Theparticipants and the students sit so that one studentcan help two participants (10 participants - 5 students). The lines isolated inthe former workshop are photocopied on separatepieces of paper, so they are left in the same placesconcerning the paper format. A plane has been cutout of each particular drawing and then blackenedwith Indian ink. On the table there are crayons,brushes, Indian ink, pens, felt-tip pens.

Structure of the Activity1. a) The photocopies of isolated linear sequencesare mixed up and spread over the central table. Allthe participants, students-ins-tructors and the work-shop leader stand around the table. The participantsfirst search for “their own lines” (the lines they iso-lated from the drawing last time) from memory. Ifafter a considerable time the lines are not found theparticipants search for them in the photocopies ofthe drawings as a whole. b) When all the lines arefound the participants sit again at the tables allaround the room and compare the lines with thedrawings and check if they have all the lines.2. There are different tools for drawing placed onthe tables and the workshop leader invites the par-ticipants to choose a line or two or three and toexplore in various materials: in crayon, Indian ink

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SKALA PROMJENA POLO@AJA LINEAR GAMUT

KKLLEEEE

KOORDINATNI SUSTAV KAO STRUKTURA FORMATACOORDINATE SYSTEM AS A STRUCTURE OF FRAME

linija je promijenila polo`aj 15xthe line changed the position 15x

HH.. MMAATTIISSSSEE::@@EENNAA KKOOJJAA SSJJEEDDII SS LLEE\\AA// SSEEAATTEEDDWWOOMMAANN SSEEEENNFFRROOMM TTHHEE BBAACCKK11994400..,, PPEERROO//PPEENN

jednaka krivulja equal curve

kosa hair

rame shoulder

bok hip

stra`njica back

RAZLI^ITE DENOTATIVNE ULOGE ISTE LINIJE DIFFERENT DENOTATIVE ROLES OF THE SAME LINE

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MODULACIJA MODULATION

TRANSLACIJA TRANSLATION

ROTACIJA S POMAKOM (VAL) ROTATION WITH SHIFT (WAVE)

POVE]ANJE - UMANJENJE AUGMENTATION - DIMINUTION




dancing and the relationship between the drawerand the format. Interiorisation of the room/format isa prerequisite for the creation of an art work (not ofwandering and crashing). The example of a filmabout Matisse is mentioned as well as Merleau-Ponty’s interpretation and Matisse’s response.3. The next task is: to find out how the lines createor suggest planes (with an outline - from the out-side, with accumulation - from the inside) and whattheir characteristics are (convoluted, bent, twistedpenetrated; open/closed, having one meaning/ambigual). Eventually the task is to see the differ-ence between a linear sentence (the lines add tolines) and a planar linear sentence (the linesapproach each other, accumulate and suggest orcreate planes).4. The participants are asked to find equal/similarlines which “play” various roles: represent differentthings in various places of the drawing. An aware-ness of the detachment occurs when the line (form)is caught while having different meanings. The dif-ferences are noted between an uncultivated gazewhich looking syncretically discovers only thealready known, this means the subject matter, thenon-awareness of the duality and of the cultivatedgaze which “simultaneously” sees what is “literal”and what is “acted”.5. After all these comparative explorations the par-ticipants are invited to prepare an ideal reconstruc-tion of “their” drawings. They work with a correct-ing pen and with the help of the instructors. Theyare told that a European drawing begins mostly inthe upper left corner. The task is to reconstruct thewhole, beginning at one line, adding the other linesgradually making the drawing always more com-plex. They are told that in fact they are practisingdrawing-thinking. (The drawings will be photo-copied and given to the participants next time.)6. Having done this we finished the first part of ourexploration dedicated to the modern artists: P. Klee,H. Matisse, P. Picasso.

Studentica instruira/A student gives instructions

Student instruira/A student gives instructions

Istraùje se individualno/Individual exploration

Na temelju rezultata istraìvanja vodi se raspra-va/Discussion on the basis of the results of theexploration

Rasprava: sudionik pokazuje svoj “rezultat”/Discussion: the participant shows the“result”

Rasprava: sudionik pokazuje svoj “rezultat”/Discussion: the participant shows the“result”

Okrugli stol o svojstvima linije/Round table aboutthe characteristics of the lines

Okrugli stol o svojstvima linije/Round table aboutthe characteristics of the lines

Namjera u t r e } o j radionici je usmjeriti pa`nju sudionika na linijske sintagme (linijske re~enice) i na njihove razli~itosti s obzirom na razli~ita na~ela na temelju kojih nastaju; usmjeritipozornost na poloàj pojedinih linija u odnosu na format (okomitu i vodoravnu granicu pravokutnika);usmjeriti pozornost na tvorbu ploha i njihova svojstva - na “plo{ne re~enice”; usmjeriti pozornost nadenotativnu ulogu linije, na “glumu” linije, na sli~nosti linija razli~itih denotativnih funkcija; omogu}itisudionicima izvo|enje idealne rekonstrukcije crteà kojim se bave.

Ambijent: Stolovi su raspore|eni oko praznog sredi{ta. Sudionici i studenti-instruktori sjede kao i uprethodnoj radionici. Potrebni su bo~ice bjelila i stroj za fotokopiranje.

Struktura doga|anja1. Sudionici se pozivaju da rasprostru “svoje linije” iz prve radionice na stol i da dobro motre}i biljeèpromjene koje primje}uju u vezama izme|u pojedinih likovnih znakova. Voditelj traì da prona|u linijekoje se vezuju modulacijom (npr. jednaka krivulja koja se ispravlja ili prelazi u nejednaku i sl.). Nakonustanovljavanja npr. vrlo u~estalog javljanja modulacije kod Kleeovih crteà, traè se re~enice druk~ijegtipa npr. nastalih translacijom ili rotiranjem s ili bez pomaka, ove}anjem/umanjenjem, dilatacijom.Nagla{ava se da su tim na~elima stvorene re~enice bitno “linijske re~enice”, jer nastaju nadovezivanjemlinijskih znakova jednog na drugi.2. Sudionici se pozivaju da “svoje” izolirane linije postave u isti poloàj kao u crteù i da ga odrede uodnosu na okomitu i vodoravnu grani~nu liniju, najprije grubo od oka, a onda istraùju}i finije promjene.Podsje}a ih se na petu radionicu P o ~ e l a i n a ~ e l a, i na tekst o Matisseu kojeg su nedavno dobili iu kojem se istraùje skala promjena poloàja u odnosu na koordinatni sustav, odnosno strukturalnemogu}nosti pravokutnika. Voditelj upu}uje na sli~nosti izme|u odnosa plesa~a i prostorije u kojoj plesa~ple{e i odnosa crta~a i formata. Pounutrenje prostorije/formata preduvjet je nastajanja djela (netumaranja i sudaranja). Navodi se primjer filma o Matisseu i Merleau-Pontyevu interpretaciju kao iMatisseov odgovor.3. Sljede}i je zadatak prona}i kako linije tvore ili sugeriraju plohe (obrisom - izvana, zgu{njavanjem -iznutra) i kakvih su svojstava (razvedene/nerazvedene; savijene, probu{ene; otvorene/zatvorene; jedno-smislene/dvosmislene). Kona~no, zadatak je shvatiti razliku izme|u linijske re~enice (linije se nadovezujuna linije) i plo{nolinijske re~enice (linije se me|usobno pribliùju, nagomilavaju i sugeriraju ili tvoreplohe).4. Traì se da sudionici na crteìma prona|u istovjetne/sli~ne linije koje “glume” razli~ite uloge:prikazuju razli~ite stvari na razli~itim mjestima istog crteà. Osvje{tava se odmaknu}e koje nastajekada “uhvatimo na djelu” liniju (formu) dok zna~i razli~ite stvari. Upozorava se na razliku izme|uneukog pogleda koji vidi sinkreti~ki, otkrivaju}i samo poznato, dakle temu, ne osvje{tavaju}i dvojnost,i odnjegovanog pogleda koji vidi “istodobno” i ono “doslovno” i “glumljeno”.5. Nakon svih dosada{njih komparativnih istraìvanja sudionici se pozivaju da pripreme idealnurekonstrukciju svoga crteà. Rade bjelilom i uz pomo} instruktora. Upozoravaju se da europski crte`zapo~inje naj~e{}e u lijevom gornjem uglu. Polaze}i od jedne linije crte` treba sve vi{e uslo`njavatipostupnim dodavanjem ostalih linija. Pritom se upozorava da se zapravo vje`baju u crta~kommi{ljenju. (Radovi }e se fotokopirati i dati sudionicima u sljede}oj radionici.)6. Ovime zavr{ava prvi dio radionica posve}en istraìvanju djela trojice modernih crta~a: P. Kleea, H. Matissea i P. Picassa

103The intention in the t h i r d workshop is to directthe participants’ attention to linear syntagmas (linearsentences) and the differences between them con-cerning the various principles on the basis of whichthey are made; to direct attention to the place of aparticular line concerning the format (the vertical andhorizontal boundaries of the rectangle); to directattention to the making of the planes and their char-acteristics - to the “planar sentences”; directingattention to the denotative role of the lines, to the“acting” of the line, on the similarities of differentdenotative functions, to give the participants theopportunity to perform their ideal reconstruction ofthe drawing they are exploring.

Ambience: The tables are arranged in a circle withan empty space in the centre. The parti-cipants andthe instructors sit as in the former workshop. Thereare white correcting pens and a photocopier avail-able.

Structure of the Activity1. The participants are invited to spread “their lines”over the table in front of themselves and observingthem thoroughly to record the changes they noticein the connections between the individual signs. Theworkshop leader asks the participants to find thelines which are connected by modulation (for exam-ple an equal curve which is straightened or trans-formed into an unequal curve). After ascertaining forexample that modulation is a very frequent event inKlee’s drawings, a search is made for other types ofsentences made for instance by translation or rota-tion by shifting or not, or by augmentation/diminu-tion, or by dilatation. It is accentuated that all thesentences made by these principles are in essence“linear sentences” because they are made by puttinglinear signs one onto the other.2. The participants are invited to place their isolatedlines precisely as the lines are situated in the draw-ing and to carefully define them as regards the ver-tical and horizontal boundary lines, first only rough-ly and later to explore the finer changes. They arereminded of the fifth workshop in the series ofworkshops Origin and Principles and of the textabout Matisse they have already received andwhere they can find the gamut of line directionsconcerning the coordinate system, or the structuralpossibilities of the rectangle. The workshop leaderpoints out the similarities between the relationshipof the dancer and the room where the dancer is

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2. Pairs of drawings are projected. The pairs are thesame drawings whose scenes have been acted plussome contrast pairs added to them. The workshopleader compares the scenes (nothing is said aboutthe drawings) and again the participants are instruct-ed to feel exactly only the scene (“you can’t draw afi-gure if you are not that figure” - it means beforethe reconstruction of a drawing it is necessary tohave the feeling of something that is not a drawing!).We undertake this identification with the scene notonly because of these feelings but also because ofwithdrawing from them, but not a simple one likethrowing them away as something strange, belong-ing to another medium (scene) but because of goingthrough their emotionality. The importance of beingable to go through a real identification is stronglyemphasized, we become that for a moment, andthen we withdraw succesfully, it means not escap-ing from the subject as “not important” but goingthrough it and then arriving at the drawing itself.During the projections and discussion about theidentification the participants are invited to decidewhat pair of drawings they want to investigate.3. The workshop ends with an explanation of some ofthe essential differences between the drawings whichthe participants have already investigated. The work-shop leader invites them to observe the scene oncemore and then to begin to look at the lines. All thedrawings are of a kind that there is a tendency inthem to overcome the lines and give an illusion ofplanes, volumes, space. They are mostly preparatoryworks, sketches, studies for paintings, which meansthat an uncovered tendency to overcome the mediumof drawing exists in them.

Sudionici reìraju scene prikazane nacrteìma/The participants direct the scenes repre-sented in the drawings

Namjera u ~ e t v r t o j radionici je doìvjeti motori~ko-emotivni aspekt scene (prizora) uìvljavanjem u poloàje tijela - reìjom i glumom; omogu}iti razlikovanje emotivnosti prizorai linija koje ga denotiraju; osvijestiti emotivnost prizora prolaènjem kroz nju; omogu}iti sudionicimaodabir crteà koje èle istraìvati.

Ambijent: U prvom dijelu radionice potrebna je improvizirana pozornica (podij ili bar plahta napodu). Sudionici su okrenuti prema “pozornici” i sjede u polukrugu. Isti razmje{taj ostaje i tijekomprojekcije. Projektor je na uobi~ajenom mjestu - iza. Jedna studentica je “glumica”. Osim nje rade jo{i studenti-instruktori kao i u prethodnim radionicama. Pripremljene su fotokopije crteà. Svi crteìprikazuju ènu s djetetom i nastali su u vremenu od 9. do 20. st.

Struktura doga|anja1. Voditelj obja{njava {to }e se raditi. Sudionici dobivaju oko deset fotokopiranih crteà s temom @ena idijete. Drè}i “predloàk” u ruci svaki sudionik odabere jedan crte` i postavlja “glumicu” u stav-poloàjsli~an onome koji je prikazan na crteù. Voditelj sugerira da nakon svakog uspje{nog uspostavljanja“glumi~ina” poloàja, jedan trenutak sami poku{aju, bez pokreta tijela, samo u zamisli, zauzeti isti stav,odglumiti ga iznutra. Klju~no je da osjete emocije vezana uz odre|ene poloàje tijela. Osvje{tava se da seradi o vje`bi - igri po-istovje}ivanja i od-istovje}ivanja.2. Projiciraju se parovi crteà. Parove sa~injavaju crteì ~iji su se prizori glumili i njima pridruènikontrastni primjeri. Voditelj uspore|uje scene (jo{ uvijek nije rije~ o crteù) i iznova upozorava nauìvljavanje upravo samo u scenu (“ne moè se naslikati lik ako nisi taj lik” - dakle, prije rekonstruk-cije crteà potrebno je uìvljavanje u ne{to {to nije crte`!). Ovo se poistovje}enje poduzima ne samoradi proosje}anja nego i radi napu{tanja scene, ali ne jednostavnog odbacivanja onog stranog, dru-gomedijskog (scenskog) nego radi prolaska kroz njegovu emotivnost. Veoma se nagla{ava va`nosttoga da treba pro}i taj trenutak poistovje}enja, da jedan trenutak budemo stvarno to i da se onda {touspje{nije odmaknemo i do|emo do crteà. Ve} se tijekom projekcija i razgovora o poistovje}ivanjusudionici pozivaju da se odlu~e koji par crteà namjera-vaju istraìvati.3. Radionica se zavr{ava tuma~enjem nekih bitnih crta~kih razlika izme|u crteà kojima su se dosada bavili i ovih koje su sada odabrali. Voditelj poziva sudionike da jo{ jednom dobro promotrescenu i onda da krenu razgledavati linije. Svi su crteì takve vrste da se linijama nastoji prevladati toda su linije, jer daju iluziju ploha, volumena, prostora. Naj~e{}e se radi o pripremnim radovima, oskicama, o studijama za slike, dakle o otvorenom htijenju da se prevlada crte`.

107The intention in the f o u r t h workshop is toexperience the motoric-emotive aspect of the scene(sight) by feeling the body’s positions by stagemanagement and acting; to enable the participantsto make a difference between the emotionality ofthe scene and the lines which denote it; and bypassing through the emotionality of the scene tobecome aware of it; to enable the participants tochoose the drawing they want to explore.

Ambience: In the first part of this workshop animprovised stage (podium or at least a sheet onthe floor) is necessary. The parti-cipants face the “stage” and sit in a semi-circle. The same arrangement is kept during theprojection. The projector is in its usual place -behind the participants. One of the instructors isan “actress”. There are the other students-instruc-tors too as in the earlier workshops. Photocopiesof the drawings have been prepared. All the draw-ings represent a woman and child and they werecreated between the 9th and 20th Centuries.

Structure of the Activity1. The workshop leader explains what they will do.The participants receive about ten photocopieddrawings with the subject “Woman and Child”.Every participant with the specimen in hand choos-es one drawing and directs the “actress”, puttingher into a position similar to that in the drawing.The workshop leader suggests that after each suc-cessful placing of the “actress” into position for oneminute the participants try, without moving theirbodies, only in their imagination, to take the sameposition, to act it from the inside. It is very impor-tant to feel the emotions connected with the definitepositions of the body. It is crucial to become aware:the exercise is a game of identification and de-iden-tification.

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PLOŠNE SINTAGME (KAKO SE NADVLADAVA MEDIJ) FLAT SYNTAGMAS (HOW THE MEDIUM IS OVERCOME)

efekt konveksnostieffect of convexity

sjen~enjeshading

prstenasto koncentri~nobracelet shading

paraleleparallels

toniranje razmazivanjetonal hatching

zrcaljenjereflection

fraziranjephrasing

fraziranjephrasing

efekt akumulacijeeffect of accumulation

kri`anjecriss-cross shading

pentimento

pentimento

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with the modern drawings to the drawings in whichthe medium is overcome.2. It is explained how the linear, drawing character is overcome in the drawings. The proce-dure of phrasing-adding equal curves one toanother and their reflection (the effect of convexi-ty) is explained; the procedure of accumulation ofeither parallel and vertical or bracelet types ofaccumulation of the lines in order to shadow; thetonal effects achieved by blurring the lines of char-coal or chalk or with washing them in Indian ink,ink, or water-colour; the pentimento (remorse),when the drawer tries out more than one positionof a figure or object but gets the effect of an accu-mulation of the lines and suggests a plane. Theexplanation is followed by a drawing on the black-board. The instructions are to find out these pro-cedures in the drawings and to take them intoaccount while isolating the lines.3. The participants are reminded to work on the“book about drawing”. They are advised to do it asa sort of “homework” in parallel with the work-shops.

Sudionici rade individualno, voditeljpomaè/The participants work individually, theworkshop leader helps

Sudionici rade individualno/The participants workindividually

Sudionici rade individualno, voditeljpomaè/The participants work individually, theworkshop leader helps

Sudionici rade individualno/The participants workindividually

Voditelj crta i tuma~i na plo~i/The workshopleader draws and explains on the blackboard

Vodi se razgovor o iskustvima/A discussion isheld about the experiences

Voditelj obilazi/The workshop leader circulates

Namjera u p e t o j radionici je usmjeriti pozornost na sli~nu ulogu vrlo razli~itih linija nacrteìma razli~itih autora koji prikazuju sli~ne prizore; osvje{tavati svojstva crteà kojima se èliprevladati linijski zna~aj i posti}i privid drugog medija; upoznati razli~ite postupke (fraziranje, pen-timento, sjen~enje, toniranje, laviranje) kojima se postiù svijetle i tamne plohe koje stvaraju iluzijuvolumena/prostora.

Ambijent: Sudionici sjede za stolovima razmje{tenim uokrug kao u tre}oj radionici, pokraj njih sustudenti-instruktori. Prire|ene su fotokopije (po 10 za svakog sudionika), a potrebni su bjelilo i strojza fotokopiranje.

Struktura doga|anja1. Sudionici se pozivaju da u paru crteà istraè - prona|u i izdvoje linije koje su istih ili sli~nihdenotativnih funkcija ali posve razli~itih svojstava. Izdvajanje se radi bjelilom uz pomo} instruktora,koji osim toga pomaù i fotokopiranjem gotovih radova. Upozorava se da dosada{nja iskustva s mod-ernim crteìma treba prilagoditi crteìma u kojima se nadvladava medij.2. Tuma~e se na~ini kojima se u crteù nadvladava linijski, crta~ki karakter. Tuma~i se fraziranje -nadovezivanje jednakih krivulja i njihovo zrcaljenje (efekt konveksnosti); akumulaciju bilo usporednih iokomitih, bilo prstenasto-koncentri~nih linija u svrhu sjen~enja - chiaroscura; tonske efekte koji sepostiù razmazivanjem linija ugljena i krede ili pak pranjem - laviranjem u slu~aju tu{a, tinte,akvarela; pentimento (kajanje) - kada crta~ isku{ava vi{e poloàja lika-predmeta i postiè efekt aku-mulacije linija i sugerira plohu. Tuma~enje je popra}eno crtanjem na plo~i. Upozorenja sluè tomu dase ti na~ini otkriju u crteìma i da se uzimaju u obzir pri izoliranju karakteristi~nih linija.3. Polaznici se podsje}aju na “knjigu o crteù”. Savjetuje im se da je komponiraju usporedno s odvi-janjem rada u radionicama, kao neku vrstu “doma}eg rada”.

111The intention in the f i f t h workshop is to drawattention to the similar role of very different lines inthe drawings of different authors which representsimilar scenes; to become aware of the drawings inwhich to overcome the linear characteristics andattain an illusion of another medium is overwhelming;to learn about the different procedure (phrasing, pen-timento, toning, shading, washing) to accomplishlight and dark planes with an effect/illusion of vol-ume/space.

Ambience: The participants sit at tables arrangedscattered all around as in the third workshop.Beside them are the instructors. There are photo-copies (10 for every participant), correcting pens, aphotocopier available.

Structure of the Activity1. The participants are invited to explore - to findand isolate the lines with the same or similar deno-tative function but with very different characteristicsin both drawings. Isolating is done with correctingpens, the instructors help with that and with photo-coping the final products. The participants are toldthat it is necessary to adapt the experiences gained

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SINTAGMATSKA OS FOTOGRAFIJE SYNTAGMIC AXIS OF PHOTOGRAPHY

RAFAEL: BOGORODICA S DJETETOM RAPHAEL: VIRGIN AND CHILD

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Structure of the Activity1. The workshop leader circulates and talks to every-body about the differences that the participantsnoticed during their investigations (for examplePontormo - pentimento, Grünewald - outline tonalhatching, Millet - bracelet shading, Leonardo - penti-mento, Kraljeviæ - criss-cross shading, Raphael -phrasing, Michelangelo - markedly unequal curves,Rembrandt - markedly unequal curves etc.).2. The workshop leader explains the syntagmic andparadigmatic axes of the photograph, gives instruc-tions for framing, hands out the adhesive paperneeded for working. He/she draws on the black-board and explains that a deeper pe-netration intodetail means putting time awareness into seeing.3. The participants are again reminded of the home-work: the “book of drawing”.

Voditelj daje upute za kadriranje/The workshopleader gives instrucions for framing

Sudionici se koriste “maskama”/The participantsusing “masks”

Sudionici prire|uju fotokopijske sintagme i par-adigme crteà/The participants prepare photo-copied syntagms and paradigms of the drawings

Fotokopiranje/uve}avanje/Photocopying/enlarging

Voditelj obilazi, razgovara/The workshop leadercirculates, discusses

Reù se fotokopirana pove}anja/The photocopiedenlargements are cut

Namjera u { e s t o j radionici je navesti sudionike na verbaliziranje iskustava, na formuliranjerazlika izme|u linija s istom denotativnom ulogom, razlika u plo{nim sintagmama koje su u uspored-bama svojih istraìvanja iz pro{le radionice primijetili - izdvojili; osvje{tavanjem kretanja pogledaprirediti intencionalne zapise; idealno rekonstruirati crte` koriste}i sintagmatsku i paradigmatsku osfotografije (simuliraju}i fotografske sintagme i paradigme putem fotokopiranja).

Ambijent: Isti je kao i u prethodnoj radionici (stolovi uokrug, uz dva polaznika po jedan instruktor).Potrebni su bjelilo, ljepljivi papir prikladan za kadriranje (pravljenje maski) i stroj za fotokopiranje.

Struktura doga|anja1. Voditelj obilazi i sa svima vodi razgovor o razlikama do kojih su do{li putem istraìvanja (npr.Pontormo - pentimento, Grünewald - obris, toniranje, razmazivanje, Millet - sjen~enje koncentri~nimlinijama, Leonardo - pentimento, Kraljevi} - kriànje, Rafael - fraziranje, Michelangelo - izrazitonejednake krivulje, Rembrandt - izrazito nejednake krivulje itd.).2. Voditelj tuma~i sintagmatsku i paradigmatsku os fotografije, daje upute za kadriranje, dijeli ljepljivipapir potreban za rad. Tuma~i i crta na plo~i. Tuma~i da dublje ulaènje u detalje zna~i uno{enjedimenzije osvije{tenog vremena u vi|enje.3. Sudionici se opet podsje}aju na svoj doma}i rad: “knjigu”.

115The intention in the s i x t h workshop is to makethe participants verbalise their experiences, formulatethe differences they have noticed/isolated in theircomparisons; in becoming aware of gaze move-ments, to prepare intentional records; to make anideal reconstruction of the drawings using the syn-tagmic and paradigmatic axes of the photograph(simulating photographic syntagmas and paradigmaswith photocopies).

Ambience: The same as in the former workshop(the tables are spread all around, in between twoparticipants there is one instructor). Correcting pens.Adhesive paper convenient for framing (making asort of mask). A photocopier.

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F. GUARDI: TRG SV. MARKA KROZ LUK OROLOGGIA PIAZZA SAN MARCO THROUGH THE ARCH OF OROLOGGIO

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razvedena plohaconvoluted plane

granice mrljeboundary of the dot

probušena plohapenetrated plane

obris se poklapa s granicom mrljethe outline overlaps the dot boundary

nepoklapanje obrisa i granicemrljethe outline and dot boundary do not overlap

macchietta (mrlja - lik)(dot - figure)

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PROMJENA SINTAKTI^KOG PRAVILA U ISTOJ SEKVENCI

THE CHANGE OF THE SYNTACTIC RULE IN THE SAME SEQUENCE

F. GUARDI: PALA^A DOLFIN-MANIN I RIALTO PALACE DOLFIN-MANIN AND RIALTO

elementarni znak: jednaka krivuljaelementary sign: equal curve

rotacijarotation

modulacija modulation

ravna linijastraight line

nejednaka krivuljaunequal curve

val (rotacija spomakom)wave (rotationwith shift)

samoodnosni karakter oblikaselfreferal character of the shapes

which an accumulation of the short lines is noticed.d) Discourse: somebody reveals the ambiguity of aline, somebody else sees two shapes like a reflectionof each other in an ideal way etc. e) The entirety ofthe drawing is shown, the participants recognise thedetails which have been analysed.3. a) The workshop leader projects a detail of awashed drawing, of a fantastic veduta, the so-calledcapriccio; two figures the so-called macchiettes.Besides following the lines instructions are given tofollow the planes-dots. Some brown value appears ina great number of chroma. The outline is followed -the boundaries either as lines which overlap with theboundaries of dots, or as a passive line - along theedge of the dot. The planes are observed, their char-acteristics are perceived (convoluted, perforated),their dimensions, setting, their overlapping or a lackof it with the line-outline. b) The same drawing -nearer (enlargement) is projected. Instructions aregiven about the stylistic peculiarities of showing rich-ness and diversity. The essence of the artistic isalways some sort of balance between diversity andunity, but the manifestation of one of the two can bea styllistic peculiarity. Now a discourse about thesensitivity to all the styllistic characteristics follows,the magic is then in one moment we are directed tosomething, in the next moment to something else,one moment we are with our head up, the nextdown. c) One detail of the same drawing is shown -accentuated dots with hidden figurative elements(mask), which are not read at first. We intentionallykeep our perception open while reading the dots andpostponing the recognition of the mask. d) The vedu-ta is projected and the details are recognised.4. Now we go inversely. First we show the whole ofthe Landscape with a Tower; three details followthen. Questions are asked about the similarities withthe lines of other masters. The similarity withMatisse’s line in the Stillife from the beginning of ourexploration is recognized. Denying the rhythm in thelong flow the line rotates for 180º and creates a cir-cle, and after that it continues further.5. a) Now the details are projected from the ScèneGalante, from the Mimara Museum in Zagreb. Theparticipants are informed the drawing has recentlybeen attributed to F. Guardi. The task is to attentivelyobserve every detail taking into consideration all theaspects of the exploration so far. b) The total of theZagreb drawing is projected. c) The details followand a discourse is lead about the difference betweencontrast seeing, thinking in contrasts and seeing acontinuity of changes and thinking in continuity. Insome details some “abbreviations” are noticed, aspecial procedure of Guardi’s concerning the detailsof the subject. d) The details of the Zagreb drawingand some other of Guardi’s drawings are shown anda game of guessing is played.6. An independent exploration is announced whichwill take place next time.

Analizira se detalj Guardijevog crteà/ Analysisof a detail of Guardi’s drawing

Voditelj tuma~i na projekcijama/The workshopleader explains before the projections

Razgovor: usporedbe Guardijevih i Kleeovih lin-ija/Discussion: comparison of Guardi’s and Klee’slines

Razgovor: usporedbe Guardijevih i Kleeovih lin-ija/Discussion: comparison of Guardi’s and Klee’slines

Prepoznavanje sli~nih oblika/Recognition of simi-lar shapes

Sudionik pokazuje/A participants shows

Namjera u s e d m o j radionici je voditi pozornost sudionika i zadràvati je, {to je mogu}e dulje,na vrlo finim aspektima jedne linije, na njenim govornim osobitostima u odnosu na promjene duljine,{irine i naro~ito toka (zakrivljenja), na sintakti~kim pravi-lima modulacije, ponavljanja, zrcaljenja,rotiranja i na razli~itim na~inima tvorbe ploha; suziti istraìvanje na jednog autora (F. Guardi) iizrazito pove}ati razlikovnu mo} sudionika u tom podru~ju; usmjeriti pozornost na dvosmislenosti narazinama i elementarnih znakova i sintakse, da bi se bitna osobitost umjetni~kog djela doìvjela kadase o~ituje kao stilska osobitost; usmjeravanjem pozornosti na variranje oblika u Guardijevim crteìmaosvijestiti samoodnosnost oblika.

Ambijent: Sudionici sjede za stolovima, uz njih su studenti-instruktori. Razmje{taj je polukruàn uodnosu na zid na kojeg se projicira. Projektor je na uobi~ajenom mjestu.

Struktura doga|anja1. Najavljuje se novi po~etak: istraìvanje Guardijevih crteà. Obrazlaè se izbor. Podsje}a se na izrazitolinijski karakter modernih crteà iz prve tri radionice, iz ~ega proizlazi njihova prividna jednostavnost, ina karakter nadilaènja medija vrlo sloènih crteà iz druge tri (sloènost je proizlazila iz slojeva kroz kojeje trebalo pro}i da bi se doprlo do crteà). Sada }e se istraìvati tako|er vrlo sloèni Guardijevi crteì, kojinisu toliko sloèni zbog potrebe nadilaènja scene koja se ponekad jedva moè prepoznati, koliko zbogmaksimalne promjenljivosti linija u svim njihovim dimenzijama i zbog me|uodnosa linija i mrlja.2. a) Voditelj analizira detalj Guardijeva crteà, vedute Pala~a Manin i Rialto. Prvo se jednostavno vodipogled, a onda slijedi ra{~lanjivanje i imenovanje. Prate se promjene u elementarnim znakovima i u sin-takti~kim pravilima. Primje}uje se dvosmislenost i u govornoj izvedbi samog elementarnog znaka i usintakti~kom pravilu. Upozorava se na modulaciju - prelaènje jednog znaka u drugi, i na promjenusintakti~kog pravila - npr. val (rotacija s pomakom) prelazi u translaciju i obrnuto. Upozorava se i napromjenu {irine i na izrazitu duljinu analizirane linije u odnosu na kratke linije u okoli{u. Navodi se navi|enje plohe, na ponavljanje oblika, na samoodnosnost detalja crteà (kao da se oblik ogledava u dru-gom obliku, kao da se vidi u zrcalu ali izobli~en, promijenjenih veli~ina itd.). b) Pali se svjetlo i sada setraè sli~nosti izme|u linija ve} ranije analizi-ranih crteà i Guardijeve linije. Pronalaze se sli~nosti s npr. Picassovim i Matisseovim na~inom crtanja(dvosmislenost, mijenjanje sintakti~kog pravila). Sada se sudionici pozivaju da se usredoto~e na razlike.Voditelj uspore|uje tendenciju za promjenom sin-takti~kog pravila u crteù s promjenom u verbalnoj re~enici i upozorava na to da profinjenjem na{eosjetilnosti, odgajanjem na{e pozornosti, stje~emo mogu}nost uo~avanja tanahnih sli~nosti i neznatnihrazlika i da tako odgajamo na{u intuiciju za zahva}anje cjeline u kojoj je ponekad nebrojeno mnogoodnosa. c) Projicira se drugi detalj istoga crteà, na kojem se primje}uje akumulacija kratkih linija.Naglasak je na prepoznavanju razli~itosti njihovih duljina. d) Slijedi razgovor: netko otkriva dvosmi-slenost jedne linije, netko vidi dva oblika koji su, idealno uzev{i, jedno drugome zrcalna slika itd. e) Pokazuje se cjelina crteà, sudionici prepoznaju detalje koji su se analizirali.3. a) Pokazuje se detalj laviranog crteà, fantasti~ne vedute, tzv. capriccia, dvije figure, tzv. macchiette.Uz pra}enje linija sada se upozorava na pra}enje ploha-mrlja (radi se o sme|em tonu koji se pojavljujeu ve}em broju valera). Prati se obris - granica izvu~ena bilo kao linija, koja se poklapa s granicommrlje, bilo kao pasivna linija - granica mrlje. Motre se plohe, njihova svojstva (razvedene, probu{ene),njihova veli~ina, razmje{taj, poklapanje ili nepoklapanje s linijom-obrisom. b) Projicira se isti crte` izve}e blizine (pove}anje). Upozorava se na stilsku osobitost pokazivanja bogatstva i raznolikosti. Bitumjetni~kog je uvijek neka ravnoteà raznolikosti i jedinstva ali naro~ita o~itovanost jednog od dvogamoè biti upravo stilska osobitost. Slijedi razglabanje o osjetljivosti za sve stilske osobitosti - ~arobnostje u tome {to smo usmjereni tren na jedno, tren na drugo, tren smo glavom gore, tren dolje. c) Projicira se detalj istog crteà - izrazite mrlje sa skrivenim figurativnim elementom (maska) koji sene ~itaju otprve. Opaàj se namjerno odràva {to otvorenijim ~itanjem ploha-mrlja i odugovla~enjemprepoznavanja maske. d) Pokazuje se cjelina vedute i prepoznaju se detalji.4. Sada se ide obrnutim redom. Pokazuje se prvo cjelina crteà Pejsa` s tornjem a potom tri detalja.Pita se o sli~nostima s linijama drugih majstora. Prepoznaje se sli~nost s Matisseovom linijom iz Mrtveprirode kojom je zapo~elo istraìvanje. Negiraju}i ritmiziranost u svom dugom toku linija rotira 180º,tvori krug i tako nastavlja dalje.5. a) Projiciraju se detalji Galantne scene (Muzej Mimara). Kaè se da je crte` nedavno atribuiran F.Guardiju i neka sudionici pa`ljivo promatraju svaki detalj uzimaju}i u obzir sve aspekte dosada{njihistraìvanja. b) Pokazuje se cjelina zagreba~kog crteà. c) Slijede ponovno detalji i vodi se razgovor orazlici izme|u kontrastnog vi|enja, mi{ljenja u kontrastima i vi|enja kontinuiteta promjena ilimi{ljenja u kontinuitetu. Na nekim se detaljima primje}uju tzv. skra}enice, naro~iti Guardijev postu-pak u odnosu na detalje onoga {to prikazuje. d) Pokazuju se izmije{ano detalji zagreba~kog i ostalihGuardijevih crteà i igra se igra poga|anja.6. Najavljuje se samostalno istraìvanje koje }e se poduzeti sljede}i put.Namjera u o s m o j radionici je uglavnom ista kao i u sedmoj, ali mo`da s jo{ ve}im usmjeravanjempozornosti na fine razine i sli~nosti sada izme|u grupe tzv. sigurnih Guardijevih crteà i tzv. nesigurnogzagreba~kog; èli se posti}i svjesnost sudionika da je to samostalno specijalizirano istraìvanje - nekavrsta kulminacija dosada{njih.

Ambijent: Isti je kao i u prethodnoj radionici. Sudionici dobivaju fotokopije pove}anja Guardijevacrteà iz Muzeja Mimara i fotokopije pove}anja ostalih crteà (onih koji su se ve} zajedni~ki

119The intention in the s e v e n t h workshop is toguide the participants’ attention and to keep it aslong as possible on the very fine aspects of one line,on its speech peculiarities concerning its changes inlength, width and especially inflexions (curves) aswell as on the syntactic rules of modulation, repeti-tion, reflection, rotation and on the various modes ofcreating a plane; it is also to reduce the investigationof only one author (F. Guardi) and to augment thediscriminative power of the participants in this area;to direct their attention to ambiguities on the level ofelementary signs and on the level of syntax in orderto experience the essential characteristic of the artwork when it manifests itself as styllistic peculiarity;directing attention to the variations of shapes inGuardi’s drawings and to become aware of the self-referal character of them.

Ambience: The participants sit at the tables, besidethem are the instructors. They sit in a semicircle fac-ing the wall where the projected slides will appear.The projector is in its usual place.

Structure of the Activity1. A new beginning is announced: an exploration ofGuardi’s drawings. The choice is explained in detail.The workshop leader reminds the participants of themarkedly linear character of modern drawings in thefirst section of the workshops which is the cause oftheir seeming simplicity and of the character of over-coming the medium of the very complex drawings inthe second section (the complexity originates out ofthe levels gone through to reach the drawing). Nowthe exploration of the very complex drawings ofGuardi will take place. They are not so complexbecause of the need to overcome the scene, whichsometimes is nearly unrecognisable, but because ofa maximum changeability of the line in all its dimen-sions and because of an interaction of the line andthe dots.2. a) The workshop leader analyses: a detail ofGuardi’s drawing, of his veduta Palazzo Manin andRialto. First the gaze is simply led and then an analy-sis and the naming follow. The changes in elemen-tary signs and in syntactic rules are followed. Someambiguity is noticed in the performance of the ele-mentary signs and in the syntactic rules as well.Instructions are given about the modulation - thetransition of one sign to another and about thechanges of the syntactic rule - for instance: a wave(rotation with shift) goes into translation and viceversa. The participants are also told about thechanges of width and about the accentuated lengthof the line which is analysed in contrast to the veryshort lines in the environment. The workshop leaderdirects attention to the planes, to the repetition of theshapes, and the selfreferal character of the shapes(one shape seems to reflect in another, as if it wereseen in a mirror but it is deformed, has alterateddimensions etc.). b) The electric light is switched onand the participants examine the lines analysed earli-er and Guardi’s lines. They find similarities, forinstance between Picasso’s and Matisse’s mode(ambiguity, change of syntactic rule). The partici-pants are then invited to concentrate on the differ-ences. The workshop leader compares the tendencyto change the syntactic rule in a drawing with thesame phenomenon in the verbal sentences. He/shesays that by refining our sensitivity, and cultivatingour attention we gain the possibility of noticing verysubtle similarities and very slight differences and thuscultivate our intuition to comprehend the totalitywhere there are sometimes numberless relationships.c) Another detail of the same drawing is projected in

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FF.. GGUUAARRDDII:: PPEEJJSSAA@@ SSAA TTOORRNNJJEEMM//LLAANNDDSSCCAAPPEE WWIITTHH TTOOWWEERR,,

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3311,,22 XX 2222,,88 CCMM,,MMUUSSEEOO CCOORRRREERR,, VVEENNEECCIIJJAA//VVEENNIICCEE

120



FF.. GGUUAARRDDII:: GGAALLAANNTTNNAA SSCCEENNAA// SSCCEENNEE GGAALLAANNTTEE,,SSMMEE\\AA LLAAVVIIRRAANNAA TTIINNTTAA,, PPOOTTCCRRTTEE@@ SSAANNGGUUIINNOOMM IIOOLLOOVVKKOOMM//BBRROOWWNN IINNKK WWAASSHH,, UUNNDDEERRDDRRAAWWIINNGG IINNBBLLAACCKK PPEENNCCIILL AANNDD SSAANNGGUUIINNAA,, 1188,,44 XX 2244,,22 CCMM,, MMUUZZEEJJ MMIIMMAARRAA,, ZZAAGGRREEBB

FF.. GGUUAARRDDII:: TTRRGG SSVV.. MMAARRKKAAKKRROOZZ LLUUKK OORROOLLOOGGGGIIAA//

PPIIAAZZZZAA SSAANN MMAARRCCOOTTHHRROOUUGGHH TTHHEE AARRCCHH OOFFOORROOLLOOGGGGIIOO

detaljidetails

detaljidetails

observation. It is mentioned that they cannot expect“specta-cular results”, they will probably not findtwo identical lines in two different drawings. What isreally important and what is really a spectacularresult is developing their sensitivity to the specificchanges of Guardi’s lines and recognizing them atthe hidden, deeper levels.2. During the participants’ work the workshop leadercirculates and talks, puts questions, instructs, warnsagainst being mislead by the similarity of themotives.3. After about an hour individual exploration isstopped and the details are projected. In conversa-tion the participants, one by one, recognise “their”details and speak about what they have discovered.4. In the meantime the instructors make photo-copies of the participants’ work.5. An agreement is made about visiting the MimaraMuseum to study the original drawing and to talk tothe custodian M. [imat who attributed the drawingto F. Guardi.

istraìvali), te fotokopije cjelina. Potrebni su bjelilo, paus-papir i stroj za fotokopiranje.

Struktura doga|anja1. Obja{njava se da }e se, na temelju dosada{njih iskustava, samostalno istraìvati linije s Guardijevogzagreba~kog crteà i uspore|ivati s linijama iz ostalih crteà (studenti-instruktori su ipak na usluzi).Koristit }e se svim postupcima koje su dosad upoznali (izolacija, paus, fotokopiranje) i, naravno, iznadsvega pomnim promatranjem. Upozorava se da ne treba o~ekivati “spektakularne rezultate”, vjerojat-no ne}e na}i dvije posve istovjetne linije na dva razli~ita crteà. Ono {to je va`no i {to je zaista spek-takularan rezultat jest razvijanje osjetljivosti na specifi~ne promjene Guardijevih linija i njihovo prepo-znavanje na skrivenijim, dubljim razinama.2. Dok sudionici rade voditelj obilazi i razgovara, pita, upu}uje (da se sudionici ne bi nehotice zavelisli~no{}u motiva.)3. Nakon oko sat vremena samostalno se istraìvanje prekida i projiciraju se detalji. U razgovorupojedini sudionici prepoznaju “svoje” detalje i govore o tome {to su otkrili.4. U me|uvremenu studenti-instruktori fotokopiraju radove sudionika.5. Radionica zavr{ava dogovorom o odlasku u Muzej Mimara gdje }e se pogledati original i razgo-varati s kustosicom M. Šimat koja je crte` atribuirala F. Guardiju.

123The intention in the e i g t h workshop is mainlythe same as in the seventh but may be with an evengreater direction of attention to the fine levels andsimilarities between the group of certain Guardi’sdrawings and the uncertain Zagreb one; that theparticipants become aware this independent spe-cialized exploration is some sort of culmination oftheir work so far.

Ambience: The same as in the former workshop.The participants receive photocopies of big enlarge-ments of Guardi’s drawing from the MimaraMuseum in Zagreb, photocopies of enlargements ofall the other drawings they have already exploredand photocopies of the totals. There are correctingpens, tracing paper, a photocopier.

Structure of the Activity1. It is explained that on the basis of the experi-ences hitherto everybody will independently explore(naturally the instructors are at hand) the lines inGuardi’s Zagreb drawing and compare them withthe rest. They will use all the procedures they havelearned so far (isolation, tracing paper, photocopy)and naturally, most important a very attentive

122


Sudionici studiraju Guardijeve crteè/The participants study, Guardi's drawings

Sudionici studiraju Guardijeve crteè/The participants study, Guardi's drawings

Rad na paus papiru/Working with tracing papir Studenti-instruktori su pokraj sudionika/ Thestudents-instructors are beside

Uspore|uju se linije/Lines are compared Individualno istraìvanje/Individual exploration

Rad na paus papiru/Working with tracing paper

125



?

VEDUTA SAN GIORGIO MAGGIORE SEEN FROM THE ISLAND OF GIUDECCA WITH RIVA DEI SCHIAVONI IN THE BACKGROUND WHICHREVERSE PROVIDED, MAYBE CUT UP, AS A GROUND FOR A CYCLE OF SCENES GALANTES.

SSEEOOSSKKII PPAARR UU PPLLEESSUU ((PPLLEESS))//VVIILLLLAAGGEE CCOOUUPPLLEE DDAANNCCIINNGG((DDAANNCCEE)),, 2233 XX 1177,,44 CCMM,, MMUUSSEEOO CCOORRRREERR,, VVEENNEECCIIJJAA//VVEENNIICCEE

SSEEOOSSKKII PPAARR UU PPLLEESSUU ((BBIIJJEEGG))//VVIILLLLAAGGEE CCOOUUPPLLEE DDAANNCCIINNGG((EESSCCAAPPEE)),, 2211 XX 1166,,22 CCMM,, PPRRIIVVAATTNNAAZZBBIIRRKKAA//PPRRIIVVAATTEE CCOOLLLLEECCTTIIOONN,,LLOONNDDOONN

Crte` je nedostupan ali je opisanaStudija brodova na pole|ini (T. Pignatti)

The drawing is out of sight butthere is on the reverse a Study of

ships (described by T. Pignatti)

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II DD EE AA LL NN AA RR EE KK OO NN SS TT RR UU KK CC II JJ AAISTRA@IVANJA M. ŠIMAT

II DD EE AA LL RR EE CC OO NN SS TT RR UU CC TT II OO NNRESEARCH OF M. ŠIMAT

VEDUTA SAN GIORGIO MAGGIORE VI\ENA S OTOKA GIUDECCA S RIVOM DEI SCHIAVONI U DRUGOM PLANU, ÎJA JE POLE\INA, MO@DARAZREZANA, POSLU@ILA ZA CRTANJE ÊTIRI GALANTNE SCENE

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DDVVOOJJEE MMLLAADDIIHH UU RRAAZZGGOOVVOORRUU((RRAAZZGGOOVVOORR))//YYOOUUNNGG CCOOUUPPLLEE IINNCCOONNVVEERRSSAATTIIOONN ((CCOONNVVEERRSSAATTIIOONN))2244,,88 XX 1177,,88 CCMM,, TTRRUURROO

infracrvena snimka, 1990. infrared photograph

pole|ina crteà the reverse of the drawing

(ART RESEARCH VIDEOSYSTEM M. BLA@EVI])

fifties when Guardi was imitating Canaletto’s vedutas.She ends her explanation with her conviction that theZagreb drawing is an authentic drawing made by F.Guardi.4. She puts away the first drawing and shows thesecond one from the collection formerly attributed toGuardi by the donor: a veduta of Santa Maria dellaSalute. She compares it with a F. Guardi’s paintingon the same subject in the National Gallery inLondon. She calls the participants’ attention to theshortcomings in the subject which makes us thinkthat the drawer probably made a copy and did notunderstand Guardi’s painting. As he had never beento Venice, he did not know what the things he want-ed to represent looked like. Now she analyses thelines, (often hesitating, clumsily) the dry spots andthe forced relationship between the outline and thespots. To all this she adds the information about thequality of the paper (thin, characteristic of the 19thCentury) as an objective fact. Her conviction is thatthe drawing is a copy of a painting of Guardi’s andthat it was made in England (where the original is) atthe beginning of the 19th Century.6. The third drawing represents a rustic scene - acapriccio. The paper (the watermark which was inuse at the end of the 18th Century and the beginningof the 19th Century in the area of Trento) and theseal of the Simonetti Gallery in Rome from the endof the 19th Century or beginning of the 20thCentury, where the drawing obviously was, areimportant indicators.She analyses the composition which she thinkswas made too much according to some prescrip-tions of the 18th Century and could not have beendone by such an great and original drawer as F.Guardi. Concerning the characte-ristics of the linesthere are some similarities with Guardi’s later draw-ings for instance the Teatro Fenice. But the evenflow of the line which may have come from a metalpen was very strange to Guardi. She attracts theattention of the participants to the similarities incomposition with a painting attributed to GiacomoGuardi (Francesco’s son who inherited his father’sworkshop), and suggests attributing the drawing tohim.

Namjera u d e v e t o j radionici je upoznati sudionike s originalom crteà atribuiranog F.Guardiju i ste}i uvid u rad stru~njaka na atribuiranju.

Ambijent: Muzej Mimara, kabinet kustosa. Sjedi se oko stola na kojem su originalni crteì.

Struktura doga|anja1. Kustosica M. Šimat postavlja crteè na stol (sudionici vide kako se ~uvaju crteì). Ukratko pri~ao F. Guardiju i njegovoj radionici u Veneciji, o literaturi o Guardiju i o klasifikaciji crteà koja seuglavnom radi prema motivima. U zbirci Mimara postoje tri crteà s atribucijom F. Guardiju, iz trigrupe motiva: jedna veduta, jedan capriccio i jedna galantna scena - macchietta. M. Šimat dajeosnovne podatke o Galantnoj sceni.2. Dijele se fotokopije triju crteà sa sli~nom temom: iz Trura, Londona i Venecije. Upozorava na istuvrstu papira (ista tekstura - istih usmjerenja niti), na isti na~in obrezivanja, na vrlo sli~ne dimenzije.Pokazuje potcrte` crnom olovkom i sanguinom i tzv. pentimento koji se moè na}i u sva tri crteà.3. Dijeli fotokopije dva Guardijeva crteà, jednog koji prikazuje parlatorij, a T. Pignati ga je datirao urano Guardijevo razdoblje, i drugog, Dvori{te Ridotto, kojeg je datirao u zrelu fazu. Usporedbomukazuje na to da se zagreba~ki crte` vjerojatno moè vezati za taj kasniji, dakle pripadao bi kasnijemrazdoblju.4. Kustosica iznosi klju~ni argument: istraìvanje infracrvenim zrakama okrilo je vedutu ispod,odnosno s druge, prelijepljene, strane crteà. I crte` iz Trura ima s druge strane vedutu, crte` izLondona studiju brodova, dok se za onaj iz Venecije ne zna, jer je druga strana tako|er prelijepljena,a crte` se jo{ nije istraìvao infracrvenim zrakama. Iznosi pretpostavku da se mo`da radi o istojveduti: ve}i, desni kraj je na crteù iz Trura, a manji, lijevi na zagreba~kom crteù. Sama veduta je{iroka, u stilu Canaletta, i prikazuje raspon od San Giorgia do Rive dei Schiavoni. Mo`da je nastalapedesetih godina, kad je Guardi imitirao takve Canalettove vedute. Zavr{ava izno{enjem svojegauvjerenja da se radi o autenti~nom crteù F. Guardija.5. Kustosica sprema prvi i pokazuje drugi crte` pripisan Guardiju jo{ od donatora: vedutu SantaMaria della Salute. Uspore|uje ga sa slikom iste teme F. Guardija koja se nalazi u National Gallery uLondonu. Upozorava na tematske gre{ke koje navode na misao da je crta~ vjerojatno kopirao i danije razumio Guardijevu sliku, a da u Veneciji uop}e nije ni bio i tako nije znao kako to~no izgleda to{to prikazuje. Analizira linije (kolebljive, na mnogim mjestima nespretne, suhe mrlje i nategnuti odnosizme|u obrisa i mrlja). Svemu tomu dodaje kvalitetu papira (tanak, svojstven devetnaestom stolje}u)kao objektivnu ~injenicu. Po njezinom uvjerenju radi se o kopiji Guardijeve slike koja je izvedena uEngleskoj po~etkom 19. st. gdje se nalazi i original.6. Tre}i crte` prikazuje rusti~ni prizor - capriccio. Papir (vodeni znak koji se rabi krajem 18. ipo~etkom 19. st. u okolici Trenta) i ìg Galerije Simonetti, rimske antikvarnice s kraja pro{log ipo~etka ovoga stolje}a, gdje je crte` o~ito bio, va`ni su pokazatelji. Kustosica analizira kompoziciju zakoju nalazi da je ra|ena odvi{e po recepturi 18. st., a da bi pripadala tako velikom i originalnomcrta~u kao {to je F. Guardi. Ina~e, s obzirom na karakter linije name}u se sli~nosti s kasnijimGuardijevim crteìma, npr. s Teatro Fenice. Ali ujedna~eni tok linije, koji mo`da dolazi od metalnogpera poprili~no je stran Guardiju. Upozorava na sli~nost u kompoziciji sa slikom koja je pripisana G. Guardiju (Francescovu sinu koji je od oca preuzeo radionicu) i da pomi{lja na to da taj crteàtribuira njemu.

127The intention in the n i n t h workshop is to getacquainted with the original of the drawing attributedto F. Guardi and to get an insight into the work of anexpert who makes the attribution.

Ambience: The Mimara Museum, the Custodian’scabinet. We sit around a table on which the originaldrawings are displayed.

Structure of the Activity1. The custodian M. [imat places the drawings onthe table (the participants can see how the draw-ings are kept and protected). In brief she talks aboutF. Guardi, and about his workshop in Venice, aboutthe literature concerning Guardi, and about the clas-sification of his drawings which has mostly beenaccording to motifs. Three drawings were found inthe Mimara collection and attributed to F. Guardi,with three different motifs: a veduta, a capric-cio and a scène galante - macchietta. She gives thebasic data about the Scène Galante.2. Mrs M. [imat hands out the photocopies of thethree drawings with similar subjects, one fromTruro, one from Venice and one from London. Shetalks about the sort of paper used (the same texture- the threads are directed in the same way), aboutthe similar dimensions and the same way of cuttingthe edges. She shows the underdrawing done inpencil, in sanguina and black pencil, and the socalled pentimento, which can be found in all threedrawings.3. Mrs M. [imat gives the participants photocopies oftwo of Guardi’s drawings, the subject of one is a par-latorium which was dated by T. Pignati to Guardi’s early phase, and the other, TheCourtyard of Ridotto, was attributed by the sameexpert to Guardi’s mature phase. By comparison itpoints out the fact that the Zagreb drawing probablybelongs to the mature phase.4. She explains the key argument: the research donewith infrared rays discovered a veduta under thedrawing on the back of the paper. There is also aveduta on the opposite side of the Truro drawing anda study of ships on the London one. The back of theVenice drawing also pasted on cardboard, like theZagreb drawing but was not treated with infraredrays. She puts forward the hypothesis that it is thesame veduta, the larger right end is in the drawingfrom Truro and the smaller, left one on the Zagrebdrawing. The veduta itself is wide, in Canaletto’sstyle, representing the span from San Giorgio to theRiva dei Schiavoni and maybe it was made in the

126


Na stolu su tri crteà pripisana F. Guardiju/On the table there are three drawingsattributed to F. Guardi

Vodi se rasprava/A discussion around the table

Kustosica M [imat obja{njava/The custodian M.[imat explains

Sudionici uspore|uju/The participants make com-parisons

Originalni crte` se pomno gleda/The originaldrawing is looked at with attention

Argumenti su na stolu/The arguments are on thetable

Originalni crte` se pomno gleda/The originaldrawing is looked at with attention

Structure of the ActivityThe participants (wearing aprons) have A3papers. The paints are mixed with some starch inlittle pots, a larger vessel contains white starch.The workshop leader demonstrates the basic pro-cedure. The paper is covered with starch using a wide brush. The paint is put on with brushes of various widthsor with the handle of the brush drawn or with objects or the paper itself printedtill to the eyes of the performer-observer a satis-factory surface is created. The papers have to bedried and ironed flat after that. The participantsreceive them in the eleventh, special workshopcelebration and then they can bind their complet-ed “book of drawings”.

129128 Namjera u d e s e t o j radionici je dvojaka. Jedna je posve utilitarna, da sudionici prirede “atrak-tivne omote” za svoju “knjigu o crteù” i druga, mnogo va`nija, da na kraju radionica, u kojima suse sustavno bavili vizualnim metodama istraìvanja crteà, steknu neposredno - taktilno iskustvo osvojim crta~ko-slikarskim mogu}nostima (svi umijemo crta~ko-slikarski ne{to re}i, samo se neusu|ujemo!).

Ambijent: Stolovi su razmje{teni u dva usporedna niza u sredini prostorije. Potrebni su voda za pra-nje kistova, boje (za tkaninu, u prahu), pripremljeni skuhani {krob ({tirka), kistovi i papiri A3 formata.

Struktura doga|anjaSvi sudionici (odjeveni u kute) dobivaju papire A3 formata. Boje se pomije{aju u malim zdjelicama sa{krobom, dok u ve}oj posudi ostaje bijeli {krob. Voditelj pokazuje osnovni postupak. Papir se premazuje{krobom {irokim kistom. Kistom razli~ite {irine (po izboru) nanosi se boja i slika se, ili se dr{kom kistacrta, ili se razli~itim predmetima ili samim papirom otiskuje, dok se ne dobije oku izvo|a~a-promatra~azadovoljavaju}a povr{ina. Papiri se su{e do jutra i tada ih se izgla~a. Sudionici ih dobivaju na proslavi(na jedanaestoj, posebnoj radionici) i tada u njih umotavaju svoju dovr{enu “knjigu o crteù”.

The t e n t h workshop has two kinds ofintention. One is quite utilitarian: it is to prepare“attractive covers” for the “book about drawing” bythe participants and the other, more important one,that at the end of these workshops when they havesystematically applied visual methods of investiga-tion to achieve some kind of directly tangible experi-ence about their own drawing-painterly possibilities(we are all able to say something by drawing-paint-ing but we dare not!)

Ambience: The tables are arranged in two pa-rallel rows in the middle of the room. Water is avail-able for washing the brushes, powder paints (fortextile) prepared boiled starch, brushes, papers ofA3 format.

Prire|uju se boje/The paints are prepared Voditelj pokazuje osnovni postupak/The workshop leader demonstrates the basic proce-dure

Sudionici rade/slikaju/The participants work/paint Sudionici rade/slikaju/The participants work/paint

Sudionici rade/slikaju/The participants work/paint Papiri se su{e/The papers are dried

Papiri se su{e/The papers are dried Na kraju se ~iste stolovi/At the end the tables arecleaned


radionica iii

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