- Details
- Category: Discipline
- Duchesne, S., McMaugh, A., & Mackenzie, E. (2022). Educational psychology for learning . and teaching (7 ed.) Cengage Learning Australia. Frederikson, N. et al. (2008).Educational Psychology:Topics in Applied Psychology.London:Hodder. Hoy, A. (2009).Educational Psychology.Columbus:Merril Publishing. Luisa, C. & Boreges, M.L. (2020). Construindo a Educação inclusiva: teoria e prática. Lisboa, Papa-Letras. Merrel, K.W., Ervin, R.A., & Peacock, G.G. (2012 ). School psychology for the 21st century: Foundations and practices (2nd ed). New York: The Guilford Press. Santrock, J. W. (2020). Educational psychology (2nd ed.). New York: McGraw-Hill. Slavin, R. (2012).Educational Psychology:Theory and Practice.NY:Prentice Hall.. Weiner, I., Reynolds, W. & Miller, G. (2003) Handbook of Psychology: Educational psychology (Vol. 7). New Jersey: John Wiley & Sons, Inc. Woolfolk, A. (2020). Educational Psychology. (14 th ed.). New York: Pearson
- Psychology (ISMAT)
- 394
- 15323
- School and Educational Psychology
- ISMAT394-15323
- 3
- 6
- 0
- 12
- Não
- Português
- Throughout the semester, in the classroom context, preference will be given to innovative teaching support methodologies such as project-based learning, collaborative learning, experiential learning, and problem-based learning. The lecture model will also be used during the transmission of theoretical content.
- Mandatory
- LG1. Recognize the relevance and define the domain of Educational Psychology. LG2. Describe and compare theories and theoretical models, as well as research methodologies in the field of Educational Psychology. LG3. Identify different educational contexts and areas of activity of the Educational Psychologist. LG4. Analyze and formulate training and intervention projects within the scope of teaching and learning processes, discussing their implications in educational contexts throughout the life cycle. LG5. Develop skills in critical reflection on the literature and a scientific attitude towards the psychological phenomena involved in teaching and learning processes. LG6. Develop interpersonal skills associated with teamwork, self-regulation of learning, oral communication, and group facilitation.
- S1. The school as a context of learning and human development. S2. Educational Psychology: definition and historical context. S3. Role of the psychologist in Educational Contexts S4. Development and individual differences S5. Relevant psychological processes in school and educational context S6. Theories of learning in the educational context S7. Cognition and cognitive processes. Motivation. S8. Contexts in School and Education Psychology Early childhood Learning difficulties Special Education Behavior problems Peer violence S9. Vocational Development and Guidance S10. Theoretical models of intervention in School and Education Psychology S11. Specific ethical issues S12. Future directions in School Psychology and Education
INSTRUMENTOS DE AVALIAÇÃO
DATA
PONDERAÇÃO
Teste
A definir
50%
Trabalho de Grupo
A definir
40%
Exame
A definir
100%
- Semestral
- School and Educational Psychology is one of the fundamental areas of practice in psychology. This curricular unit presents theoretical models, research and intervention methodologies, and fields of practice for educational psychologists, allowing students to become familiar with this specific domain of psychological sciences.
- Details
- Category: Discipline
- Documentação coligida pelo docente, sob a forma de sebenta; Publicações temáticas do L.N.E.C.;
- Architecture
- 367
- 24246
- Organization and Project Management
- ISMAT367-24246
- 5
- Bachelor; Master Degree
- 4
- 0
- 12
- Não
- Português
- EN
- -----------------
- Mandatory
- The aim of this course is to provide students with a preparation that will enable them to obtain the sensitivity, knowledge and conceptual and procedural methodologies necessary for their performance in the practice of project coordinator and in the direction or supervision work. It aims to give greater contact with the work and the project implementation on site.
- DAAD - Department of Architecture, Arts and Design
- 1. DESIGN: - typification, deficiencies and constitution; - Calculation of fees. 2. YARDS AND WORKS PLANNING: - Constitution and dimensioning of a shipyard; - income; - Cost control of works; - legal framework; - Types of tenders and contracts; - Errors and omissions, overwork, design changes; - Invoicing and price review. 3. DEADLINES: - Control of deadlines; - legal framework; - Graceful and legal extensions of deadlines - consequences. 4. RESOURCE PLANNING: - Calculation of loads of manpower, materials and equipment; - Financial schedule and payment plan; - Team building; - Quality and safety control.
Descrição dos instrumentos de avaliação (individuais e de grupo) ¿ testes, trabalhos práticos, relatórios, projetos... respetivas datas de entrega/apresentação... e ponderação na nota final.
Exemplo:
Descrição
1º Trabalho prático individual - Outubro
2º Trabalho prático individual - Dezembro
Valem 50% da nota final 3º Trabalho prático individual - Janeiro Teste em Janeiro que vale 50% da nota final
- Semestral
- The aim of this course is to provide students with a preparation that will enable them to obtain the sensitivity, knowledge and conceptual and procedural methodologies necessary for their performance in the practice of project coordinator and in the direction or supervision work. It aims to give greater contact with the work and the project implementation on site.
- Details
- Category: Discipline
- Tourism and Hospitality Management and Innovation
- 6619
- 814
- Traineeship
- ISMAT6619-814
- 2
- 30
- 1010
- 12
- Não
- Português
- Optional
- Semestral
- Details
- Category: Discipline
- Communication Design
- 489
- 21739
- Creative Computing II
- ISMAT489-21739
- 1
- Bachelor
- 4
- 0
- 12
- Não
- Português
- EN
- DAAD - Department of Architecture, Arts and Design
- Semestral
- Details
- Category: Discipline
- EDWARDS, B. (2008). The New Drawing on the Right Side of the Brain - A course in. London: Harper Collinsenhancing creativity and artistic confidence; HOPKINS, J. (2010). Fashion Drawing - Basics of fashion design. Switzerland: AVA Publishing SA; MALBERT, R. (2015).UnitedDrawing People: The Human Figure in Contemporary Art States: Distributed Art Publishers; MASLEN, M; Southern, J. (2011). Drawing projects - an exploration of the language of , London: Black Dog Publishing drawing; IZAGUIRRE, A. (2023). New Fashion Illustration - 50 Essential Contemporary Artists: Hoaki Books
- Fashion and Textile Design and Production
- 6582
- 507
- Drawing II
- ISMAT6582-507
- 1
- Bachelor
- 4
- 0
- 12
- Não
- Português
- EN
- Presentation of exercises with demonstration of examples and methodologies; collective critical discussion at the end of the class about all the work done. The tutorial relationship is privileged.
- Mandatory
- Deepen the skills related to the representation of the human body, with emphasis on graphic representation through drawing; Develop the ability for visual synthesis, translating complex forms of the human body into expressive and stylized compositions; Apply anatomical knowledge in the construction of human figures aligned with the principles of Fashion Design; Encourage individual and artistic expression through subjective interpretations of the human figure; Relate human body drawing to the development of fashion collections, promoting the connection between form, function, and style; Stimulate critical and creative autonomy, enabling students to make conscious visual decisions in the design process; Create effective sketches and visual representations suitable for the presentation and communication of fashion proposals.
- DAAD - Department of Architecture, Arts and Design
- Direct observation and pose sketches; Study of the human figure (anatomy, canons and proportions); Practical sessions with live models; Development of personal representation styles; Exaggeration and distortion as a visual language in design; Shading, texture, and volume techniques; Contrast dynamics and graphic composition; The relationship between clothing and anatomical structure; Representation of fabrics and patterns; Exploration of different materials (graphite, charcoal, ink, markers, digital, etc.) Interaction between body, clothing, and movement.
A avaliação em Desenho II é contínua, privilegia o trabalho realizado pelos estudantes durante as horas de contacto (tempos de aula e acompanhamento).
A classificação final será obtida ponderando a classificação:
20% Conjunto dos exercícios com base na proporção clássica da figura humana.
20% Conjunto dos exercícios com base na proporção para moda.
40% Conjunto dos exercícios de pendor ilustrativo. Apresentação presencial e oral no dia da entrega.
20% Diário gráfico: exploração autoral do desenho da figura humana e acessórios (mínimo 100 desenhos) Entrega todas as semanas de 10 desenhos.
Os critérios de avaliação assentam no domínio das técnicas gráficas e na capacidade de representar com verosimilhança e criatividade, com qualidade gráfica e visual.
Exame de Recurso da presente unidade curricular é: 60% melhoria de trabalhos desenvolvidos durante o semestre e 40% exercício prático.
A unidade curricular assenta num modelo de avaliação contínua, sendo obrigatória a presença regular dos estudantes para o desenvolvimento das atividades propostas. A dinâmica de trabalho em aula envolve valor formativo está intrinsecamente ligado à participação ativa e presencial dos alunos, não podendo ser substituídos por processos remotos.
É necessária para avaliação, a presença dos alunos em 75% das aulas.
- Semestral
- The course unit Drawing II represents a natural and in-depth progression of the learning initiated in Drawing I, strengthening the skills of careful observation and critical analysis of the human body. This approach focuses on a type of drawing that is both expressive and synthetic, valuing not only anatomical accuracy but also the subjective and artistic interpretation of forms, resulting in stylization. The main goal is to equip students with visual and technical tools that enable them to represent the human body effectively and creatively, with direct applicability in the context of Fashion Design, where understanding the human figure is essential for the conception, development, and communication of clothing pieces.
