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Artistic Installation I

Details
Category: Discipline
  • Não
  • .
  • Semestral
  • 35% Exercícios (Problem Based Learning)

    35% Projecto Autoral (Project Based Learning)

    20% Dossier do Projecto Autoral (incluindo a informação registada no diário de aula) - pode ser articulado com as UC de Projecto Artístico.

    10% Avaliação contínua, intercalar e final com critérios de assiduidade (75% de presenças), e inclui parâmetros de pontualidade,

    participação nos debates da aula e orientação tutorial.

    A avaliação em época de recurso e em época especial implica a apresentação oral de todos os trabalhos solicitados ao longo do semestre,

    incluindo o Dossier de Projecto e o portefólio.

  • 1.Approaches to the historical, conceptual, theoretical and technological contexts of artistic installation. The notion of ‘built environment’ and the specificity of the site as a structural element of the installation artwork. Interactivity and viewer’s participation. Notions of space and its relationship with the social, physical or material context. 2.Practical and experimental approaches to creative processes and their articulation with different technologies: mixed-media: sound art; moving image, sculpture, drawing, etc. Notions of expanded medium. Conceptual art; artistic intervention; activism. 3.Development of working methods and introduction to the preparation of a Project Brief: description, definition of the problem (concepts and references); research, studies, sketches and experiments; production strategies and tasks milestones; documentation and archiving.
  • - Know the historical and social context of installation in contemporary art; - Understand and identify notions of space and context, taking into account the particularities and specificity of a place (site-specific), public or private space, outdoors or indoors, and the viewer's participation; - Develop critical reflection and create an authentic and idiosyncratic discourse on their own artistic practice, positioning it in a contemporary perspective. - Be able to conceive and produce installation projects based on individual themes or concepts, materials and media. - Document and produce their own research. - Develop working methodologies for drawing up installation Project Briefs, according to the characteristics of the location, budget, production and work teams.
  • Optional
  • A teaching methodology based on active student participation is adopted, providing in advance the corresponding teaching resources on Moodle included in the syllabus, allowing students to come to class prepared (Flipped Classroom), debating in groups on the themes/artists/works they consider most relevant to their artistic practice and thus formulating their own questions. During the oral and visual presentation classes, students are encouraged to reflect critically and acquire communicative and argumentative skills on some of the origins, influences, theories, processes and manifestations of installation, through reading and videos on different perspectives of installation art written/created by artists, curators, historians and critics.
  • Português
  • BISHOP, C. (2012) Artificial Hells. Participatory Art and the Politics of Spectatorship.London: Verso. BISHOP, C. (2005) Installation Art. A Critical History. London: Tate Publishing. CONNOLLY, M. (2009) Place of Artist's Cinema: Space, Site and Screen. Chicago: Intellect Books/ University of Chicago Press. ELWES, C. (2015) Installation and the Moving Image. London: Wallflowers Press. KABAKOV, I. (1995) On The “Total” Installation. Bonn: Cantz. KAPROW, Allan (1993) “Notes on the Creation of a Total Art.” Essays on the Blurring of Art and Life. London: University of California Press, 1–16. KWON, M. (2002) One Place After Another: Site-Specific Art and Locational Identity. Cambridge/London: The MIT Press. MONDLOCH, K. (2010) Screens: Viewing Media Installation Art. Minneapolis: University of Minnesota Press. REISS, J. H. (1999) From Margin to Center: The Spaces of Installation Art. Massachusetts, London: The MIT Press.
  • 4
  • 1261
  • 5
  • 1
  • IPLUSO7066-26053
  • Artistic Installation I
  • 26053
  • 7066
  • Visual Artes and Digital Media

Digital Arts

Details
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., e Marcos, A. (2020). O processo criativo na era Pós-Digital: Uma reflexão crítica baseada na prática artística. Em: 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. (2ª 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
  • 1261
  • 5
  • 1
  • IPLUSO7066-5773
  • Digital Arts
  • 5773
  • 7066
  • Visual Artes and Digital Media

Illustration for Visual Communication

Details
Category: Discipline
  • Não
  • Discipline focused on illustration applied to different contexts of visual communication, combining analog and digital techniques.
  • 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 é dividido em duas partes: um exame prático que conta 50% e a apresentação de todos os trabalhos realizados ao longo do semestre, que também tem um peso de 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., & 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., & Saffert, P. (2013). Creativity in advertising: When it works and when it doesn’t. Harvard Business Review, 91(6), 106-111. . Rendgen, S., & Wiedemann, J. (2019). History of Information Graphics. Taschen. . Rodrigues, S. L. (2012). Desenho, tipografia e publicidade: o caso do modernismo português. (PHD thesis). FBAUL.  
  • 4
  • 1261
  • 5
  • 1
  • IPLUSO7066-26023
  • Illustration for Visual Communication
  • 26023
  • 7066
  • Visual Artes and Digital Media

Marketing

Details
Category: Discipline
  • Não
  • .
  • Semestral
  • A avaliação concentra uma componente prática, analítica e capacidade de aplicar os conceitos.

    A avaliação contínua será constituída pelos seguintes elementos:

    • Participação em aulas, contributos em discussões e atividades de grupo.

    • Realização de trabalho de grupo com apresentação oral.

    • Teste de avaliação individual.

    O feedback da docente é uma parte integrante do processo de avaliação, ajudando os estudantes a compreender os seus pontos fortes e

    os aspetos que carecem de melhoria. A autoavaliação também é encorajada, permitindo que os estudantes reflitam sobre a sua evolução e

    façam no final da Unidade Curricular uma perspetiva e autoavaliação do seu desempenho.

  • The concept of marketing and the evolution of the marketing function The marketing mix Marketing and the surrounding environment SWOT analysis The market Consumer behaviour General strategies for market segmentation and target market selection Positioning The new dimensions of digital marketing
  • Main goals: Present the surrounding factors that influence marketing; General information about marketing and its theoretical principles; Introduce and assess the impact of some recent changes in marketing; Present the main variables of the marketing mix and the correlation of these variables; Develop the knowledge and skills to manage traditional and digital marketing functions. Other goals: Provide students with tools to apply this knowledge and face marketing situations that may occur in a real-world scenario
  • Optional
  • The course aims to provide an understanding of the basic concepts of marketing, main market analysis techniques and strategic marketing decisions. It intends to familiarize students with the available marketing tools and make them aware of strategic analysis models so that these can be applied in the business reality. Students should be able to interpret and understand the dynamics of the marketing functional area in the management of a company/business, as well as being capable of the selected methodology is predominantly theoretical-practical, encompassing moments of theorization and the simulation of didactic activities, accompanied by critical feedback. Students will have an active part in the entire process. Students will work on practical projects that simulate real marketing challenges. Case studies: analysis of real situations from organizations, allowing students to apply theories and concepts in practical contexts.
  • Português
  • Baynast, A. Lendrevie, J. Lévy, J. Dionísio, P. & Rodrigues, V. (2018). Mercator 25 anos - o marketing digital. 1ª edição: Actual. Dubois, B. (2005). Compreender o Consumidor. Lisboa: Dom Quixote. Edição, Lisboa: Actual. Hooley, J., Saunders, A., Piercy, F. (2001). Estratégia de Marketing e Posicionamento Competitivo. Pearson: Prentice Hall. Kotler, P. Keller, K. (2013). Administração de Marketing.14ª ed., São Paulo: Pearson Prentice Hall. Kotler, P. Setiawan, I. & Kartajaya, H. (2017). Marketing 4.0. Mudança do tradicional para o Kotler, P., Armstrong, G. (2013). Principles of Marketing. 17th Edition, Pearson Education Limited. Kotler, P., Kartajaya, H., Setianwan I. (2021). Marketing 5.0: tecnologia para a humanidade. 1ª na era digital. 16ª edição, Lisboa: Dom Quixote.
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  • 1261
  • 5
  • 1
  • IPLUSO7066-2581
  • Marketing
  • 2581
  • 7066
  • Visual Artes and Digital Media

Visual Narrative

Details
Category: Discipline
  • Não
  • Curricular unit dedicated to the creation and analysis of visual narratives.
  • Semestral
  • Quer nos debates, quer nas tutorias, os estudantes recebem um constante feedback qualitativo da sua participação e desempenho, numa avaliação contínua.
    Na avaliação final é expressa de zero a vinte valores (0-20) e as ponderações, momentos e critérios são:
    20% para a assiduidade e pontualidade que são critérios que podem demonstrar uma atitude de interesse e respeito dos estudantes, uns pelos outros e pelo docente, sobretudo nas aulas de carácter dialógico e reflexivo, e que são fundamentais para situações de âmbito profissional.
    30% para a participação ativa nos debates críticos, apresentação de exemplos e contributos para a desambiguação de noções como série, sequência e narrativa visual. A criação de um ambiente de partilha de experiências, da sala de aula invertida, de brainstorming é fundamental para o desenvolvimento de sinergias e para um ensino centrado no estudante. Quanto maior for a participação ativa do estudante nestes diálogos críticos, maior será a sua receptividade aos conteúdos discutidos e, consequentemente mais aprofundada será a aprendizagem, o aguçar da curiosidade para investigar e qualidade do seu trabalho plástico. Estes momentos contribuem para a
    criatividade dos projetos artísticos a desenvolver especificamente nesta unidade curricular numa articulação profunda com a UC 'Projeto Artístico I'.
    50% para a realização de uma narrativa visual como projeto artístico e a sua apresentação concluída num livro de artista, numa história sem palavras, ou numa exposição na avaliação final. Iniciar, desenvolver e chegar ao fim são passos que contribuem para o sucesso do estudante, no sentido em que o sentimento de realização pessoal se manifesta com o cumprimento do seu Projeto. A apresentação final da narrativa, qualquer que seja o formato eleito pelo estudante, consagra este momento, contribuindo para esse sentimento. Os estudantes que cumprem com o desafio tendem a criar entre si uma maior abertura aos outros e a estabelecer um ambiente de maior reflexão coletiva, entreajuda e partilha criando uma comunidade de aprendizagem mais recetiva e adaptativa e com resultados plásticos melhores.
    De acordo com o Regulamento de Avaliação da IES, é obrigatório que os estudantes cumpram com um requisito de presença mínima nas aulas para aprovação na unidade curricular. Também a presença na avaliação final é obrigatória.
    A falta de cumprimento destas exigências resulta na necessidade de prestação de exame de recurso. Este exame é também para os estudantes com classificação em avaliação final abaixo de 10 valores, para estudantes que queram subir a sua nota e para estudantes finalistas (com menos de 30 ECTS por realizar no ciclo de estudos).
    Exame de Recurso:
    No exame de recurso os estudantes devem apresentar todo o trabalho realizado durante o semestre, com critérios expositivos. No caso de ser uma melhoria de nota, devem apresentar os trabalhos reformulados de acordo com as sugestões dadas ao longo do semestre e na avaliação final.

  • 1. What distinguishes a series, a sequence and a narrative. Structural principles. 2. Brainstorming, thinking, developing and projecting ideas and concepts to create visual narratives; 3. Choosing a story to tell visually: planning and structuring the project using a storyboard; 4. Criteria for internal coherence: palette, expressiveness, characters, contexts. 5. Production of a narrative project using images to be inserted into a context to be defined (portfolio, artist's book, etc.).
  • On completion of this curricular unit, students should be able to: a) Distinguish between series, sequence and narrative. b) Acquire and apply technical skills and principles of representation in both digital and analog formats to create a story without text; c) Encourage expressiveness and graphic identity as key components in narrative visual communication, valuing originality; d) Cultivate critical thinking applied to the effectiveness of a visual narrative; e) Encourage collaboration and interdisciplinarity in artistic projects, covering platforms such as exhibitions and competitions; f) Communicate the results of artistic practice and research effectively, demonstrating skills in telling a story through images.  
  • Optional
  • The curricular unit's teaching and learning methodologies have been designed to be fully congruent with the institution's pedagogical model and with the unit's specific objectives. Adopting an essentially experimental teaching method, the focus is on offering moments of presentation of examples in which all students are invited to present their own examples; moments of debate and critical and collective discussion where attitudes of a democratic and humanist nature prevail, such as respect, courtesy, help and the sharing of ideas and references Finally, in the gradual development of the project, the accompaniment is tutorial and individualized, allowing instruction adapted to the needs and artistic objective of each student.
  • Português
  • . Arbach, J. (2011). O discurso da ilustração. Revista A3, Universidade Federal de Juiz de Fora, Minas Gerais, ed, 1. . Glebas, F. (2009). Directing the Story: Professional Storytelling and Storyboarding Tecnhiques for Live Action and Animation. Focal Press. . Gurney, J. (2009) Imaginative Realism: How to paint what doesn’t exist. Andrews McMeel Publishing. . Hodges, E.R.S. (2003) The Guild Handbook of Scientific Illustration. John Wiley & Sons, Inc. . Mateu-Mestre, M. (2010) Framed Ink: Drawing and Composition for Visual Storytellers. Design Studio Press. . Mateu-Mestre, M. (2020) Framed Ink vol. 2: Frame, Format, Energy, and composition for Visual Storytellers. Design Studio Press. . Oliveira, D. J. L. D. (2019). A presença da ilustração na comunicação. ESAD.CR. . Salisbury, M., e Styles, M. (2012). Childrens Picture Books, The Art of Visual Storytelling. Laurence King Publishing. . 3DTOTAL (2023) Artist’s Master series: Composition & Narrative. 3DTotal.
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  • 1261
  • 5
  • 1
  • IPLUSO7066-26027
  • Visual Narrative
  • 26027
  • 7066
  • Visual Artes and Digital Media
  1. 3D Modelling
  2. Reception and Socialization of Employees
  3. Team Management
  4. Strategic Management of Compensations

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