A Drawing Sketch. In the Process of Structuring a Painting II

Jacek Sztuka

To look for answers to some of the above questions, Author decided to conduct research using an eye tracker that records eyeballs movement. Author tested thirty respondents (and heself). The research sample here consisted of young people and experienced artists. Each subject observed a sequence of images. These images were: a value sketch and a color sketch by the subject, a group sketch in which he (i.e. the subject) most often participated in drawing, and a sketch by another author. Each perceived image usually lasted for the previously mentioned six seconds. Then Author asked the subjects to indicate the area in their drawing sketch that they considered subjectively most important. The results of these studies show that the author of a drawing sketch often (although with varying accuracy) actually fixates his gaze on the area that he declares is the most important. When observing a drawing sketch (made collectively), the author's attention is rarely drawn to his own (i.e. drawn by himself) fragment (regardless of whether the respondent is a professional or an amateur). The perception of one's own valuable (although not always black and white) drawing sketch and a color sketch are completely different.

Artwork in Integrated Marketing Communications. Eyetracking Studies

Jacek Sztuka

In considering the relationship of the artwork to integrated marketing communications, it is worth addressing the hard-to-grasp concept of art itself and the work of art associated with it. Seeking answers to the fundamental question of the role of art and its creations in visual marketing communications, we must be aware of what an artwork is and how to distinguish it from other visual communications used in today's advertising and marketing. The fundamental problem of the research was to compare the ways of looking at authentic works of art as seen in the marketing space. Several works of artists, such as Leonardo da Vinci, Piet Mondrian, Rafael Santi, Vincent van Gogh and Salvador Dali that have been recognized over the centuries as unquestionably outstanding, impressive in both craftsmanship and depth of artistic expression, have been selected for the analysis. First two chapters of the work are an attempt to grasp the concept of an artwork and its meaning for the artist and the recipients, and at the same time - we are exposed to the difficulty of formulating a proper definition of an artwork. Then, in chapter three, a brief history of some of the greatest works of previously mentioned artists is presented. The following chapters are a considerations weather an artist's work, born of their "creative love", could be exhibited as a "product for sale", and if not too often great artifacts were able to become an object of trade only after the death of their authors. Chapter six exposes the ethical dilemmas regarding putting the images of the greatest masterpieces on promotional tools, a phenomenon which occurs also in the most famous museums in the world. The discussed integrated marketing communications in chapter seven make an introduction for consideration of the benefits of reproducing famous artworks onto advertising gadgets in chapter eight. Chapter nine is an in-depth analysis of the results of the eyetracking study conducted, and consists pictures of original artworks, as well as their reproductions on various items, and the way they were perceived by the eyetracking study respondents. The purpose of the study was to test the following theses: Does the power of an artwork viewed on a museum wall continue in its reproductions on promotional items, i.e. for example, on so-called advertising gadgets? Does the emotional impact of the image presented on the promotional materials still persist causing attention to be focused, or does audience's attention dissipate? If so, to what extent does it dissipate and what determines it?

Szkic rysunkowy w procesie budowania obrazu malarskiego

Jacek Sztuka

„Jacek Sztuka odsłania w monografii warsztat dochodzenia twórcy do ostatecznej wersji dzieła. (…) Z jednej strony prezentowane szkice są niejako scenopisami przyszłych realizacji, z drugiej anektują uczestnika by wraz z poszukującym rozwiązań autorem stał się „pielgrzymem” spełniającym się w drodze poszukiwań. Dr hab. Janusz Pacuda, (fragmenty recenzji). (…) otwarcie nowej karty szkicownika nie oznacza wcale zaczynania czegoś „od początku”. (…) Nowy szkic to tak jak powrót do jakiegoś świata, w którym ukonstytuowały się już właściwie wszystkie konkretne zależności i uwarunkowania. Pewne ścieżki w tym labiryncie kresek okazały się prowadzić „do nikąd”. Określone formy stały się już jakby oswojone czy „sprawdzone”, inne ulubione lub nawet powtarzalne. „Bohaterowie” zostali już wybrani i grają swoje role, a któryś z nich gra już rolę główną, a inni stanowią tło. Jacek Sztuka, (fragmenty monografii)