| Code |
12776
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| Year |
1
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| Semester |
S2
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| ECTS Credits |
8
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| Workload |
OT(15H)/TP(90H)
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| Scientific area |
Art and Design
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Entry requirements |
None.
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Mode of delivery |
Theoretical and practical
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Work placements |
Not applicable
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Learning outcomes |
This CU aims to deepen the procedural, phenomenological and conceptual understanding of the Drawing through its practical exercise. It aims to develop the capacity for expression and visual perception, along with a set of themes specific to the Drawing, as an instrument of analysis, design and communication. At the end of this UC the student should be able to: - Express ideas through drawing; - Apply with propriety the lexicon and grammar of the Drawing; - Recognize and apply structural aspects of the design process, depending on different aesthetic requirements; - Identify means of expression, supports and poetics appropriate to the illustration of a narrative; - Use the perceptive, visual, spatial, environmental, rhythmic and compositional structures of the Drawing in a landscape project; - Use the Drawing as an instrument of design and imagination; - Framing the design historically and theoretically in the field of Art and Design.
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Syllabus |
Historical background of perspective and its symbolic significance of the theoretical perspective, processes and techniques of representation (real space and anamorphosis) Application of rules and techniques of representation in the development of concepts such as visual field and perceptual space (composition studies).
Processes, objects and purposes of Drawing Drawing as a unit configuration perceptual modes of representation (mimesis of the imagination) Body Time in the drawing, gesture, space, perspective elements (space, shape, material, structure, shape, type, composition, proportion, space , light, color, texture)
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Main Bibliography |
1.
DEXTER, Emma (2005). Vitamin D: New Perspectives in Drawing. London: Phaidon Press.
KOVATS, Tania (2007). The Drawing Book, A survey of drawing: the primary means of expression. London: Black Dog Publishing.
PAIVA, Francisco (2005) O Que Representa o Desenho?. Covilhã: Universidade da Beira Interior.
2.
CAUQUELIN, Anne (2008). A invenção da Paisagem. Lisboa: Edições 70.
GOLDSTHEIN, Nathan (1987), Figure Drawing. New Jersey: Prentice Hall.
MALSEN, M; Southern, J. (2011) Drawing Projects. London: Black Dog Publishing.
MOLINA, J. G. (1995). Las Lecciones del Dibujo. Madrid: Cátedra.
NICOLAIDES, Kimon (1969). The Natural Way to Draw: A Working Plan For Art Study. Boston: Houghton Mifflin Company.
PIPES, Alan (2007). Introduction Drawing for Designers. London: Laurence King Publishing.
ZEGHER, Catherine (Org.) (2003). The Stage of Drawing: Gesture and Act. London and New York.
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Teaching Methodologies and Assessment Criteria |
Teaching methodologies are based on a project-oriented work model, which implies an intensive and enlightened practice, often supported by previous researches and an explanation of the poetic, conceptual and operational intentions appropriate to each unit, according to which the degree and the quality of responses. It starts from an understanding of the Drawing in the expanded field, seeking to open the horizon of its practices and means to artistic strategies that surpass the disciplinary circumscription. The room functions as an atelier in which autonomous work and the crossing of experiences are promoted. In a discipline of this kind, combining experience, theory and practice, it is essential to evaluate the degree and regularity of attendance, the quality of the fulfillment of the curricular obligations and the progression during the semester, resulting in the final evaluation of the weighting of these factors, the weighted average of the interim valuation and final portfolio.
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Language |
Portuguese. Tutorial support is available in English.
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