Artistic Expression Laboratory

Category: Discipline
  • Não
  • The course combines practical experimentation and critical reflection on artistic materials and techniques, fostering an integrated and informed practice within the field of contemporary art.
  • Semestral

  • Ao longo do semestre, os estudantes são submetidos a uma avaliação contínua, que corresponde a 75% da nota final. Esta modalidade de avaliação está em consonância com os objetivos de aprendizagem da UC, nomeadamente no que diz respeito à aquisição de domínio técnico, à experimentação com diversos materiais e à integração de conhecimentos de outras UCs. O feedback providenciado nesta fase permite o ajuste e a melhoria contínua dos estudantes.

    No final do semestre, os estudantes apresentam um portefólio com os exercícios realizados em aula, que corresponderá a 15% da nota final. Este portefólio deverá refletir o domínio das técnicas e materiais explorados, bem como a capacidade de experimentação e reflexão crítica.

    A avaliação de assiduidade, participação e pontualidade compõe 10% da nota final e está vinculada à participação ativa e assiduidade dos estudantes, reforçando a importância do envolvimento contínuo com os materiais e métodos de ensino da UC.

    Ponderação da Avaliação:

    . Apresentação de portefólio: 15%

    . Avaliação contínua: 75%

    . Assiduidade, participação e pontualidade: 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%.

     

    During the semester, students undergo continuous assessment, accounting for 75% of the final grade. This form of assessment aligns with the learning objectives of the course unit, particularly in terms of technical mastery, experimentation with various materials, and the integration of knowledge from other course units. The feedback provided at this stage allows for the continuous adjustment and improvement of students.

    At the end of the semester, students present a portfolio of the exercises carried out in class, which will make up 15% of the final grade. This portfolio should reflect mastery of the techniques and materials explored, as well as the capacity for experimentation and critical reflection.

    Attendance, participation, and punctuality make up 10% of the final grade and are linked to the active and consistent participation of students, reinforcing the importance of ongoing engagement with the course unit's materials and teaching methods.

    Assessment Weighting:

    . Portfolio Presentation: 15%

    . Continuous Assessment: 75%

    . Attendance, Participation, and Punctuality: 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 works completed throughout the semester, which will also carry a weight of 50%.

  • - Exercises for technical and material mastery, using different types of artistic materials and techniques. - Exploration of drawing and painting techniques such as charcoal, pencil, watercolor, and acrylic, to develop technical mastery. - Exercises in experimentation with unconventional materials and techniques, such as resins, fabrics, and metals. - Group discussion exercises and critical analysis of works, to assess the impact and effectiveness of different techniques and materials. - Exercises aimed at integrating knowledge and skills acquired in other curricular units. - Exercises in the combination and experimentation of materials and techniques, promoting an experimental approach. - Exercises involving the recording of the creative process and critical reflection activities on the selection and application of materials and techniques.
  • This theoretical-practical course unit aims to: - Acquire practical mastery of a diverse range of artistic techniques and materials, from the most traditional to the most innovative. - Foster a deep understanding of the material and technical processes underlying artistic creation. - Encourage experimentation as a means of discovering new expressive and technical possibilities. - Promote the integration of knowledge and skills acquired in other course units for the development of a cohesive and informed artistic practice. - Stimulate critical reflection on the use of different materials and techniques, evaluating their impact and relevance in different artistic projects and within the contemporary artistic context. The teaching method combines practical instruction, demonstrations, and group discussions, aligning with the learning objectives through a practical and experimental approach.
  • Optional
  • The teaching methodologies employed are a blend of hands-on instruction, demonstrations, and group discussions. This methodological framework was designed to maximize effectiveness in achieving the learning outcomes of the course: . Laboratory practical classes are the primary mode of instruction, allowing students to directly experiment with different materials and techniques. . Demonstrations are used to introduce new techniques and materials, presenting students with practical examples and tutorial guidance. . Group discussions are encouraged to foster a forum for critical reflection and the analysis of works, allowing students to consolidate their theoretical understanding and provide constructive criticism of their own work and that of others. . Individual and group tasks are structured to promote autonomy in artistic research and collaborative skills. . Evaluation is conducted through continuous observation of student progress.
  • Português
  • . Bismarck, M. (2007). Desenhar é o desenho. Em: Livro de Atas de Conferência Nacional. FBAUP. . Elkins, J. (1997). The Object Stares Back: On the Nature of Seeing. Harcourt Brace. . Fenwick, S., e Smith, G. (2018). The Business of Watercolour. Routledge. . Gottsegen, M. D. (2006). The Painter's Handbook: Revised and Expanded. Watson-Guptill Publications. . Kaupelis, R. (1980). Experimental Drawing. Watson-Guptill Publications, 1992. . Mayer, R. (1991). The artist's handbook of materials and techniques (5th ed.). Viking. . Molina, J. J. G. (coord.) (2001). El Manual del Dibujo: Estrategias en su enseñanza. Ediciones Cátedra. Molina, J. J. G., (coord.) (2002). Máquinas y herramientas de dibujo. Ediciones Catedra. . Pedro, A. (2015). A expressão do tempo no desenho. Em: As idades do Desenho (pp. 113-122). FBAUL. . Smith, T. (2009). What is contemporary art? University of Chicago Press.
  • 4
  • 1186
  • 5
  • 1
  • IPLUSO6947-1-26038
  • Artistic Expression Laboratory
  • 26038
  • 6947
  • Drawing

Digital Arts

Category: Discipline
  • Não
  • Introdution to digital Arts techiques
  • Semestral

  • Esta UC segue um método de avaliação contínuo e presencial.

    Ponderação da Avaliação:

    . Exercícios pontuais, exploratórios: 40%

    . Exercício de projeto: desenvolvimento processual, criativo e qualitativo: 50%

    . Assiduidade, pontualidade e participação: 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%.

     

    This course unit follows a method of continuous and in-person assessment.

    Assessment Weighting:

    . Timely, exploratory exercises: 40%

    . Project exercise: procedural, creative, and qualitative development: 50%

    . Attendance, punctuality, and participation: 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 that will account for 50% and the presentation of all work completed throughout the semester, which will also carry a weight of 50%.

     
  • . Introduction to digital art and its main software and vector or Bitmap illustration; . Digital drawing and painting techniques, including the use of graphics tablets; . Exploration of the potential of digital art in various applications, including graphic design, illustration and animation; . Advanced study of drawing and digital art techniques, including expression, composition and color; . Identifying the bars and panels used in the software and knowing their functions; . Development of a personal visual language and a unique artistic style; . Creation and development of an individual project;
  • This course aims to explore the students' artistic skills and abilities in the creation of digital illustrations through 2D drawing software. To do this, they must learn to transfer their traditional drawing skills to a digital environment in vector or Bitmap format, and explore and master the various software and digital production techniques. This course aims to stimulate the production of digital illustrative content, exploring the ability to create distinct and authorial digital art. The software's functionalities are explored in a gradual way: first, in the necessary adaptation to the tool; then, in the exploration of its properties; and finally, in its profitable use in the creation of illustrations.
  • Optional
  • Through the exploration of the 2D digital creation tool, students acquire theoretical and practical skills to develop vector or Bitmap illustration with rigor, aimed at the creation of digital art. The exercises and contents are designed in an approach of gradual complexity that aims at a heuristic knowledge by the students regarding the use of the various tools and creative possibilities of the software.
  • Português
  • . Arantes, P. (2019). Arte e mídia: perspectivas da estética digital. Senac. . Desktop, N. (2018). Adobe Illustrator CC 2018 Step by Step Training. Noble Desktop. . Gimenez, M. (2013). Vector Illustration. Instituto Monsa de Ediciones, S.A. . Pereira, S., & Marcos, A. (2020). O processo criativo na era Pós-Digital: Uma reflexão crítica baseada na prática artística. In 2nd International Conference on Digital Creation in Arts and Communication, ARTeFACTo 2020 (pp. 127-135). . Steuer, S. (2019). Adobe Illustrator WOW! Book for CS6 and CC. (2nd Ed..): Peachpit Press. . Wood, B. (2021). Adobe Illustrator CC Classroom in a Book: The Official Training Workbook from Adobe. Pearson. . Zeegen, L. (2020). The Fundamentals of Illustration. Bloomsbury Visual Arts. . 3DTOTAL (2020). Artist´s Master Series: Color and Light. 3dtotal Publishing. . 3DTOTAL (2020), Beginner's Guide to Digital Painting in Photoshop. 3dtotal Publishing.
  • 4
  • 1186
  • 5
  • 1
  • IPLUSO6947-1-5773
  • Digital Arts
  • 5773
  • 6947
  • Drawing

Illustration for Visual Communication

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.
  • Optional
  •   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
  • 1186
  • 5
  • 1
  • IPLUSO6947-1-26023
  • Illustration for Visual Communication
  • 26023
  • 6947
  • Drawing

Structures and Perspective Studies

Category: Discipline
  • Não
  • The course develops technical and perceptual skills in freehand perspective drawing, applying geometric principles to the analysis and representation of forms, objects, and spaces.
  • Semestral

  • São usadas modalidades de avaliação formativa e sumativa, explicitando-se a sua relação com os objectivos de aprendizagem. A ponderação da avaliação da UC consiste em:

    • 40% Apresentação dos exercícios realizados em aula em formato de portefólio

    • 50% Projecto de desenho em perspetiva.

    • 10% Avaliação contínua, intercalar e final com critérios de 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 evaluation methods employed are both formative and summative, elucidating their alignment with the learning objectives.

    The weighting of the course unit's assessment consists of:

    • 40% Presentation of exercises completed in class in portfolio format

    • 50% Perspective drawing project

    • 10% Continuous, mid-term, and final evaluation based on criteria such as 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 work completed throughout the semester, which will also carry a weight of 50%.

  • 1. Relationship between perception and the mode of perspectival representation; 2. Notion of scale and proportion, and the relationship between objects within the same space; 3. Fundamentals of the Perspectival Representation System; 4. Exercises in interpreting fundamental vanishing points from photographs or images; 5. Exercises for the development of spatial skills; 6. Application of basic concepts of perspective in the representation of simple solids with two vanishing points; 7. Representation of spaces and structures, either external or internal, with one or two vanishing points, through the mental shifting of the observer to obtain various viewpoints; 8. Enclosing cube method, grids, transfer or multiplication of measurements; 9. Application of expressive techniques for light, shadow, volume, and distance to accentuate notions of prespective.
  • . Develop the capacity for visual perception to improve the reading, comprehension, and formal representation of the shapes in the surrounding world. . Acquire technical and artistic skills for representing objects, spaces, and structures by applying basic principles of perspective. . Interpret and analyze environments in perspective using multiple vanishing points. . Apply and deepen freehand drawing techniques, taking into account vanishing points of spatial directions and other geometric relations. . Understand the fundamentals of perspective representation and apply them in freehand drawings and in artistic projects. . Master and employ the appropriate language and terminology related to perspective representation. . Utilize finishing techniques in drawings, such as shading and lighting.
  • Optional
  • The classes are of a theoretical-practical nature and are grounded in a methodological intersection between observational and recording techniques and geometric drawing techniques. Through a series of practical and dynamic exercises, we will gradually learn to translate what we see onto paper, applying the concepts and techniques that enable the creation of a sense of depth. Throughout the course, references from Art History will also be contextualized in conjunction with Contemporary Art in order to solidify the knowledge acquired in the realm of artistic expression and graphic language that each student will develop.
  • Português
  • . Ching, F., e Juroszek, S. P. (2001). Representação gráfica para desenho e projecto. Editorial Gustavo Gili. . Da Cunha, L. V. (2004). Desenho Técnico. Fundação Calouste Gulbenkian. . Massironi, M. (2010). Ver pelo Desenho. Aspectos técnicos, cognitivos, comunicativos. Edições 70. . Trindade, A. (2008). Um Olhar Sobre a Perspectiva Linear em Portugal nas Pinturas de Cavalete, Tectos e Abóbadas: 1470-1816. 2 vols. Faculdade de Belas Artes da Universidade de Lisboa. Tese de Doutoramento em Belas Artes, especialidade em Geometria Descritiva. . Trindade, A. (2014). Geometria, perspectiva linear e escala teológica, pintura e contemporaneidade: que futuro? Em: Artistas sobre outras obras. Revista Estúdio. Trindade, A. (2023). Os espelhos e o desenho em perspectiva linear. Coleção Liçôes de Arte & Design, Volume 3. CIEBA. . Veloso, E. (1998). Geometria: Temas Actuais. (1ª ed.). Instituto de Inovação Educacional.
  • 4
  • 1186
  • 5
  • 1
  • IPLUSO6947-1-26962
  • Structures and Perspective Studies
  • 26962
  • 6947
  • Drawing

Art and Identity

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.
  • 4
  • 1188
  • 5
  • 1
  • IPLUSO6947-2-26963
  • Art and Identity
  • 26963
  • 6947
  • Drawing
  1. Digital Arts
  2. Illustration for Visual Communication
  3. Structures and Perspective Studies
  4. 3D Modelling

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