- Details
- Category: Discipline
- Não
- The discipline investigates the role of artistic images in the formation of subjectivity and their critical potential in relation to contemporary visual culture.
- Semestral
Esta UC segue um método de avaliação contínuo e presencial.
Ponderação da Avaliação:
10% - Assiduidade, pontualidade e participação em aula (alunos regulares: 75% presenças em aula obrigatória; alunos trabalhadores-estudantes: 30% presenças obrigatórias).50% 50% Trabalhos práticos desenvolvidos em aula (apresentações orais, debates, exercícios de aplicação teórico-práticos, resumo crítico sobre obras, filmes ou textos)
20% Relatório de visita de estudo elaborado em aula.
20% Ensaio crítico sobre um tema, texto ou filme.
Exame de Recurso / Época Especial:
O exame de recurso será dividido em duas partes: a submissão de todos os trabalhos realizados ao longo do semestre, que contará 50%, e a apresentação e defesa oral dos mesmos, que também terá um peso de 50%.
This UC follows a continuous, in-person assessment method.
Assessment Weighting:
10% - Attendance, punctuality, and class participation (regular students: 75% mandatory class attendance; working students: 30% mandatory attendance).
50% Practical work developed in the classroom (oral presentations, debates, theoretical and practical application exercises, critical summaries of works, films, or texts)
20% Study visit report prepared in class.
20% Critical essay on a topic, text, or film.
Resit Exam:
The resit exam will be divided into two parts: the submission of all work completed throughout the semester, which will count for 50%, and the oral presentation and defence of the work, which will also count for 50%.
- Introductory Module: critical yhinking about and through artistic images Module 1: The civilization of the image and the artwork as a Pharmakon 1.1 Homo mimeticus (representation, imitation, identification, construction of subjectivities, the ambiguity of mimesis) 1.2 The image that gives us birth 1.3 The image that absorbs us 1.4 The artwork as a Pharmakon Module 2: Case Studies This Curricular Unit elaborates on the thought of philosophers and art critics such as John Berger, Philippe Lacoue-Labarthe, Nidesh Lawtoo, Peter Sloterdijk, Marie-José Mondzain, Georges Didi-Huberman and Tomás Maia.
- This Curricular Unit aims to encourage critical thinking about the role of artistic images vis-à-vis the omnipresence of images in the contemporary world, providing analytical and critical tools that help the master's student to: Generically understand how visual representations participate in subjectivation processes (self-image, volitions and behaviors) in thecontext of our mimetic condition (articulating concepts such as mimetic unconscious, imitation, identification and contagion). Differentiate the artistic image from other visual representations regarding its impact on subjectivation processes (estrangement of theworld and disidentification). Problematize the emancipatory and critical potential of artistic images in consumer society (the artistic image as pharmakon). Apply the conceptual bases mentioned above in the analysis of artistic images in the context of debates, oral presentations and writing ofan article about case studies.
- Mandatory
- This Curricular Unit adopts a transdisciplinary approach in which the syllabus articulates contributions from artistic studies, philosophy, and social sciences. The oral presentation is supported by the analysis and commentary of artistic images and text excerpts and may use other audiovisual materials, such as film excerpts, videos, or interviews. Whenever possible, the theoretical exposition is articulated with the participation of the students through the valorisation and welcoming of questions, the opening of space for debates, flipped classroom, accompanied writing exercises during the classroom, study visit reports and the scheduling of individual presentations by the master's students.
- Português
- Berger, J. (2023). Modos de ver. Fósforo. Lacque-Labarthe, P. (2000). A Imitação dos Modernos: Ensaios sobre Arte e Filosofia. Org. Virginia de Araújo Figueiredo e João Camillo Penna. Paz e Terra. Lacque-Labarthe, P. (2011 [1980]). O paradoxo e a mimese. Trad. Tomás Maia. Projecto Teatral. Lawtoo, N. (2013). The Phantom of the Ego: Modernism and the Mimetic Unconscious. Michigan State University Press. Maia, T. (2022). Vida a crédito: arte contemporânea e capitalismo financeiro. Sistema Solar (Documenta). Mondzain, M. J. (2015 [2007]). Homo spectator: ver > fazer ver. Trad. Luís Lima. Orfeu negro. Mondzain, M. J. (2009). A imagem pode matar? Trad. Susana Mouzinho. Nova Veja. Broome, J., Pereira, A., & Anderson, T. (2018). Critical thinking: Art criticism as a tool for analysing and evaluating art, instructional practice and social justice issues. International Journal of Art & Design Education, 37(2), 265-276.
- 4
- 0
- 5
- 1
- IPLUSO6947-1-26026
- Critical Reflections
- 26026
- 6947
- Drawing
- Details
- Category: Discipline
- Não
- The course develops technical and critical skills in the use of digital tools for drawing and illustration, fostering experimentation, authorial practice, and artistic research in an interdisciplinary context.
- Semestral
Ao longo do semestre, os estudantes são submetidos a uma avaliação periódica assente no trabalho realizado em aulas, tanto no desenvolvimento técnico e criativo como na aplicação de teorias e conceitos na sua prática artística digital.
No final do semestre, os estudantes apresentam o Trabalho de Projeto, que corresponderá a 50% da nota final. Este projeto deverá refletir o domínio das técnicas e materiais explorados, bem como a capacidade de experimentação e reflexão crítica, alinhando-se com os objetivos da UC.
A avaliação de assiduidade, participação e pontualidade compõe 10% da nota final.
32% Exercícios de aula
8% Diário gráfico.
50% Trabalho de Projeto.
10% Assiduidade, participação e pontualidade.
De acordo com o Regulamento de Avaliação da IES, é mandatório que os estudantes cumpram com um requisito de presença mínima nas aulas para aprovação na unidade curricular. A falta de cumprimento desta exigência resultará na necessidade de prestação de exame.
Exame de Recurso:
O exame de recurso será dividido em duas partes: um exame prático que contará 50% e a apresentação de todos os trabalhos realizados ao longo do semestre, que também terá um peso de 50%.
Em caso de dúvida (por confirmação de plágio, por uso inapropriado da IA, ou por entrega dos mesmos trabalhos em UCs diferentes) o professor tem o direito de pedir um esclarecimento aos estudantes, seja através da realização de prova extra para aferição de conhecimentos sobre o trabalho realizado, de uma conversa, ou por qualquer outro meio que entenda ser adequado no âmbito da UC.
- Review of the most commonly used platforms and software for digital drawing and illustration (Adobe Illustrator, Adobe Photoshop, Procreate...) and of the fundamental elements of digital language; Exploration of the combination of traditional drawing techniques with digital tools; Discussion and analysis of works that employ digital drawing, focusing on the language and techniques used; Development of a group project using online collaboration tools; Strategies for constructing a critical and self-reflective discourse; Planning and development of a digital drawing project; Thematic research of personal interest and contemporary relevance, initial sketches, and a development plan; Application of techniques and tools, revisions, integration of authorial elements; Final presentation of a portfolio that encompasses the digital project and accompanying explanatory text(s) on personal issues. Group discussion.
- The objectives of this course unit, which is of a theoretical-practical nature, are as follows: . To introduce and deepen mastery of specific software and digital tools for drawing and illustration; . To develop a critical understanding of digital language and its expressive, communicative, and technical possibilities; . To encourage digital experimentation and original practice, promoting the exploration of merging traditional drawing techniques with digital media and personal themes; . To foster the ability to articulate issues, themes, and concepts invoked by artistic research, solidifying a critical and self-reflective discourse; . To cultivate habits and strategies that favor the autonomy of artistic research, encompassing the phases of conception and exploration, as well as the final presentation of an artistic project; . To introduce collaborative practices in a digital environment, preparing students for interdisciplinary work.
- Mandatory
- The teaching/learning process adopts a theoretical-practical approach. The theoretical aspect will be supported by oral presentations and audiovisual means, and complemented by practical examples and artistic references. Additionally, invitations to digital artists to share their experiences are planned. Analytical tools, both individual and group-based, will be implemented to allow for in-depth discussion and critical reflection on contemporary artistic practices in the field of digital design. In the practical aspect, the class structure will simulate a digital atelier environment. Initially, students will work on exercises based on specific prompts, gradually progressing to the conception and development of a more personal and authorial project. The latter will be mentored in a tutorial format, providing students with continuous feedback and allowing for adjustments throughout the process.
- Português
- . 3dtotal Publishing. (2023). A guide to Digital Painting in Procreate: Landscapes & Plein Air. 3DTotal Publishing. . 3dtotal Publishing. (2014). Digital Art Masters: Volume 9. 3DTotal Publishing. . 3dtotal Publishing. (2020). Art Fundamentals 2nd edition: Light, shape, color, perspective, depth, composition & anatomy. 3DTotal Publishing. . Arantes, P. (2019). Arte e mídia: perspectivas da estética digital. Senac. . Berry, D. M. (2015). Critical Theory and the Digital. Bloomsbury Academic. . Cousens, D. (2013). Digital Art: A Complete Guide to Making Your Own Computer Artworks. Arcturus Publishing Limited. . Kloskowski, M. (2010). Layers: The Complete Guide to Photoshop's Most Powerful Feature. Peachpit Press. . Paul, C. (2023). Digital art. Thames & Hudson. . Sale, T., & Betti, C. (2011). Drawing: A Contemporary Approach. Cengage Learning . Wood, B. (2022). Adobe Illustrator Classroom in a Book. Adobe Press.
- 4
- 0
- 10
- 1
- IPLUSO6947-1-26033
- Digital Design Project I
- 26033
- 6947
- Drawing
- Details
- Category: Discipline
- Não
- The course develops technical and artistic skills in illustration for various visual communication contexts, using both analog and digital techniques, as well as specific software tools.
- Semestral
Exercícios práticos:
. Ilustração para Publicidade: 30%
. Projeto de Sinalética Alternativo: 30%
. Desenho Científico para Comunicação Visual: 30%
Avaliação contínua: pontualidade, participação e assiduidade: 10%
De acordo com o Regulamento de Avaliação da IES, é mandatório que os estudantes cumpram com um requisito de presença mínima nas aulas para aprovação na unidade curricular. A falta de cumprimento desta exigência resultará na necessidade de prestação de exame.
Exame de Recurso:
O exame de recurso será dividido em duas partes: um exame prático que contará 50% e a apresentação de todos os trabalhos realizados ao longo do semestre, que também terá um peso de 50%.
Practical Exercises:
. Illustration for Advertising: 30%
. Alternative Signage Design: 30%
. Scientific Drawing for Visual Communication: 30%
Continuous Assessment: punctuality, participation, and attendance: 10%
In accordance with the Assessment Regulations of the Higher Education Institution, it is mandatory for students to meet a minimum attendance requirement for passing the course unit. Failure to comply with this requirement will necessitate taking an examination.
Resit Exam:
The resit exam will be divided into two parts: a practical exam accounting for 50% and the presentation of all work completed throughout the semester, which will also carry a weight of 50%.
- 1. Illustration for Advertising . Techniques of illustration applied to the creation of visual elements for various advertising media, both print and digital; . Communication and dissemination strategies across different platforms (posters, social media, billboards, web banners); 2. Alternative Signage Project . Development of illustrations for information, orientation, and signage in both public and private spaces, including interiors and exteriors; . Techniques and methods for the creation of pictograms, icons, and typography as applied to signage; . Utilization of maps and building floor plans for orientation and information; 3. Scientific Drawing for Visual Communication . Fundamentals and techniques of scientific drawing and their application in various contexts of visual communication; .Techniques for the accurate representation of scientific information, including diagrams and illustrations; . Use of scientific drawing across different communication media.
- . Acquire technical and artistic skills in illustration for various visual communication contexts, including advertising, signage, and scientific drawing. . Develop the ability to create graphic elements and illustrations for different mediums and formats, utilizing both analog and digital techniques and tools. . Familiarize oneself with specific software for bitmap and vector drawing. . Understand and apply criteria for communicative effectiveness in the creation of illustrations and visual elements for advertising, signage, and scientific communication. . Mobilize knowledge and technical skills in the production of visual content applicable to various contexts, including the scientific field.
- Mandatory
- The teaching-learning process in this course unit adopts a theoretical-practical approach. Practical examples will be utilized to demonstrate concepts and techniques in each of the covered areas: advertising, signage, and scientific drawing. Moreover, there will be a focus on hands-on exposure and training with specific software for bitmap and vector drawing. The practical component will be further amplified through the development of individual or group projects. These projects will enable students to apply the knowledge and skills acquired in practical contexts, encompassing different facets of visual communication. To complement this approach, individual research and the development of creative processes will be encouraged, allowing students to apply methodologies of artistic research and develop a strong dimension of authorship in their works. At the end of each class, a collective critical analysis of the developed works will be conducted.
- Português
- . Abdulla, R., e Hübner, R. (2006). Pictograms, Icons & Signs: A Guide to Information Graphics. Thames & Hudson. . Hodges, E. R. S. (2003). The Guild Handbook of Scientific Illustration. John Wiley & Sons. . Köppen, E. (2007). Illustration in scientific articles: reflections on the growing importance of the visual in scientific communication. Investigación bibliotecológica, 21(42), 33-64. . Mateu-Mestre, M. (2010). Framed Ink: Drawing and Composition for Visual Storytellers. Design Studio Press. . Panizza, J. F. (2004). Metodologia e processo criativo em projetos de comunicação visual. São Paulo, 254. . Reinartz, W., e Saffert, P. (2013). Creativity in advertising: When it works and when it doesn’t. Harvard Business Review, 91(6), 106-111. . Rendgen, S., e Wiedemann, J. (2019). History of Information Graphics. Taschen. . Rodrigues, S. L. (2012). Desenho, tipografia e publicidade: o caso do modernismo português. (Tese de Doutoramento). FBAUL.
- 4
- 0
- 5
- 1
- IPLUSO6947-3-26023
- Illustration for Visual Communication
- 26023
- 6947
- Drawing
- Details
- Category: Discipline
- Não
- The course develops technical and creative skills in scientific and book illustration, combining rigor, creativity, and critical reflection through the application of various techniques and research methods.
- Semestral
A avaliação nesta unidade curricular é estruturada em três componentes principais. Os projetos, que constituem 65% da avaliação final, são avaliados com base no trabalho desenvolvido ao longo do semestre. Estes projetos são uma manifestação prática das competências adquiridas, abrangendo tanto a técnica como a aplicação de teorias e conceitos pertinentes à ilustração. O diário gráfico, contribuindo com 25% para a nota final, serve como uma ferramenta de reflexão e documentação do processo criativo e investigativo. Este diário deverá evidenciar a trajetória de aprendizagem e desenvolvimento do estudante. A assiduidade, pontualidade e participação ativa dos estudantes durante as aulas compõem os restantes 10% da avaliação. Este critério destaca a importância do envolvimento contínuo e ativo no processo de aprendizagem.
75% Trabalho de aula (diário gráfico 25%) e Projeto (50%). 15% Portefólio 10% Assiduidade, participação e pontualidade.
De acordo com o Regulamento de Avaliação da IES, é mandatório que os estudantes cumpram com um requisito de presença mínima nas aulas para aprovação na unidade curricular. A falta de cumprimento desta exigência resultará na necessidade de prestação de exame.
Exame de Recurso:
O exame de recurso será dividido em duas partes: um exame prático que contará 50% e a apresentação de todos os trabalhos realizados ao longo do semestre, que também terá um peso de 50%.
The assessment in this course unit is structured around three main components. Projects, which constitute 65% of the final assessment, are evaluated based on work developed throughout the semester. These projects serve as a practical manifestation of acquired competencies, encompassing both technical skills and the application of theories and concepts relevant to illustration. The sketchbook, contributing 25% to the final grade, functions as a tool for reflection and documentation of the creative and investigative process. This sketchbook should evidence the student's trajectory of learning and development. Attendance, punctuality, and active participation during classes make up the remaining 10% of the assessment. This criterion highlights the importance of continuous and active involvement in the learning process.
75% Classwork (graphic diary 25%) and Project (50%). 15% Portfolio 10% Attendance, participation and punctuality.
In accordance with the Assessment Regulations of the Higher Education Institution, it is mandatory for students to meet a minimum attendance requirement for passing the course unit. Failure to comply with this requirement will necessitate taking an examination.
Resit Exam: The resit exam will be divided into two parts: a practical exam accounting for 50% and the presentation of all works completed throughout the semester, which will also carry a weight of 50%.
- Introduction to the specificities and thematic scope of both scientific illustration and book illustration; Exploration of various illustration techniques, including digital, watercolor, painting, and mixed media; Critical analysis and discussion of works by illustrators to promote the definition of students' authorial voice; Study of composition principles in illustration, encompassing concepts such as balance, proportion and framing; Guidance on research methods applicable to the development of illustration projects; Planning, research, and execution of an independent project in scientific illustration, with a focus on maintaining rigor and accuracy. The preparation of an explanatory text will be a component of this project; Planning and execution of a independent book illustration project, focusing on the composition of text and image; Maintenance and final presentation of a graphic diary, record of the creative and investigative process throughout.
- . To develop specialized competencies in two distinct domains of illustration: scientific illustration and book illustration; . To equip students for the application of various illustration techniques, including digital, watercolor, painting, and mixed media, while maintaining the scientific rigor applicable in the field of scientific illustration; . To stimulate an authorial attitude, encouraging students to develop a unique personal style; . To foster the ability to articulate issues, themes, and concepts from creative fields, consolidating a critical and self-reflective discourse; . To promote the application of compositional principles in the creation of illustrations, including aspects such as balance, proportion and framing; . To introduce research methods that culminate in the production of explanatory texts attached to the works; . To encourage the maintenance of a sketchbook as a form of graphic documentation of the creative process.
- Mandatory
- The teaching-learning process in this course unit adopts a theoretical-practical approach. Examples and exercises will be presented aimed at the practical application of concepts and techniques and the theoretical and practical understanding of students in illustration. This will foster the exploration and application of various illustration techniques in specific contexts. Group discussions and critical analyses of works by illustrators serve as platforms for the development of an authorial voice and a critical, self-reflective discourse. These moments also offer opportunities for students to articulate their ideas, receive feedback from peers and the instructor, and adjust their approaches accordingly. These projects will be supported by specific research methods, culminating in the production of an explanatory text that integrates and complements the work of a scientific nature. The sketchbook will function as both a pedagogical and evaluative instrument.
- Português
- . Anderson, G. (2029). Drawing as a Way of Knowingin Art and Science. Intellect Ltd. . Arnheim, R. (1998). Arte e Percepção Visual: Uma Psicologia da Visão Criadora. Pioneira. . Dressendörfer, W. (2022). The new herbal. Taschen. . Galda, L., e Short, K. G. (1993). Children's Books: Visual Literacy: Exploring art and illustration in children's books. The Reading Teacher, 46(6), 506-516. . Hodges, E. R. S. (2003). The Guild Handbook of Scientific Illustration. John Wiley & Sons. . Male, A. (2017). Illustration: A Theoretical & Contextual Perspective. Bloomsbury Visual Arts. . Salisbury, M., e Styles, M. (2012). Children's Picturebooks: The Art of Visual Storytelling. Laurence King Publishing. . Sullivan, G. (2010). Art Practice as Research: Inquiry in Visual Arts. SAGE Publications. . Zeegen, L. (2012). The Fundamentals of Illustration (2ª ed.). AVA Publishing.
- 4
- 0
- 10
- 1
- IPLUSO6947-3-26024
- Multidisciplinary Illustration Project I
- 26024
- 6947
- Drawing
- Details
- Category: Discipline
- Não
- The course explores the concept of identity in art from multiple perspectives, promoting the critical integration of these debates into individual artistic practice and interdisciplinary contexts.
- Semestral
Esta UC segue um método de avaliação contínuo e presencial.
Ponderação da Avaliação:
Exercícios práticos: 20%
Projeto Final: 50 %
Portfolio, texto escrito e apresentação oral: 15%
Assiduidade, participação e pontualidade: 15%
De acordo com o Regulamento de Avaliação da IES, é mandatório que os estudantes cumpram com um requisito de presença mínima nas aulas para aprovação na unidade curricular. A falta de cumprimento desta exigência resultará na necessidade de prestação de exame.
Exame de Recurso:
O exame de recurso será dividido em duas partes: um exame prático que contará 50% e a apresentação de todos os trabalhos realizados ao longo do semestre, que também terá um peso de 50%.
This course unit (UC) follows a method of continuous and in-person assessment.
Assessment Weighting:
Practical Exercises: 20%
Final Project: 50%
Portfolio, Written Text, and Oral Presentation: 15%
Attendance, Participation, and Punctuality: 15%
In accordance with the Assessment Regulations of the Higher Education Institution, it is mandatory for students to meet a minimum
attendance requirement for passing the course unit. Failure to comply with this requirement will necessitate taking an examination.
Resit Exam: The resit exam will be divided into two parts: a practical exam accounting for 50% and the presentation of all work completed throughout the semester, which will also carry a weight of 50%.
- 1. Theoretical Introduction to Concepts of Identity: Individual, social, cultural, and gender. Exercise representing one aspect of the student's personal identity. 2. Identity in Different Cultures and Social Contexts: Creation of artwork that reflects various cultural or social aspects of identity. 3. Historical and Contemporary Representations: Recreation or adaptation of a historical work, incorporating elements of modern identity. 4. Gender and Identity: Creation of sketches or illustrations that explore gender issues. 5. Techniques and Mediums: Experimentation with different mediums to represent identity. 6. Development and Conclusion of a Final Project. 7. Portfolio Presentation with Written Explanatory Text and Oral Presentation of the Final Project: Group critique session.
- This theoretical-practical course unit aims to: . Equip students to understand and explore the concept of identity through various prisms, such as cultural, social, gender, and individual; . Promote a deep understanding of the representation of identity in art, both in practice and theory; . Foster students' ability to incorporate concepts and debates about identity into their own works, thereby enhancing authorship and originality; . Establish connections between the artistic representation of identity and the cultural and social contexts in which it is situated; . Develop skills for effectively communicating about themes of identity in art, both orally and in writing; . Encourage dialogue and collaboration among students from the three areas of specialization, thereby advancing an interdisciplinary approach to the study of identity in art.
- Optional
- The pedagogical approach combines expository teaching with active learning methods. Each module begins with a theoretical presentation that provides students with the necessary context for the topics under discussion. Following the theoretical exposition, students engage in practical and collaborative activities that encourage them to apply the issues addressed to their own practice and perspective. These exercises range from the development of quick sketches exploring aspects of personal identity to the creation of more elaborate works that incorporate the studied theories and concepts. The teaching methodology culminates in the development and presentation of a final, open-ended project centred on the concept of identity. This project must include an oral presentation and be accompanied by an explanatory text, both of which are integrated into the final portfolio used for assessment.
- Português
- . Butler, J. (2002). Gender trouble. Routledge. . Cota, C. et al. (2022). Contemporary Art Therapists: Study of Identity Within Artmaking. LMU. . Cottingham, L. (2013). Seeing through the seventies: essays on feminism and art. Routledge. . Goffman, E. (2016). The presentation of self in everyday life. Em: Social Theory Re-Wired (pp. 482-493). . Jones, A. (2013). Seeing differently: A history and theory of identification and the visual arts. Routledge. . Kaprow, A. (2003). Essays on the blurring of art and life: Expanded edition. Univ of California Press. . Pollock, G. (2015). Vision and difference: Feminism, femininity and histories of art. Routledge. . Rubin, R. (2023) The Creative Act: a Way of Being. Penguin Press. . Santos, R. A. F. D. (2016). A construção da identidade afrodescendente por meio das artes visuais contemporâneas: estudos de produções e de poéticas. Unesp. . West, S. (2004). Portraiture. OUP Oxford.
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- 1186
- 5
- 1
- IPLUSO6947-1-26963
- Art and Identity
- 26963
- 6947
- Drawing
