Code: | DSIII01 | Acronym: | DSIII |
Keywords | |
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Classification | Keyword |
OFICIAL | Drawing |
Active? | Yes |
Web Page: | http://d2fbaup.wordpress.com/ |
Responsible unit: | Desenho |
Course/CS Responsible: | Fine Arts |
Acronym | No. of Students | Study Plan | Curricular Years | Credits UCN | Credits ECTS | Contact hours | Total Time |
---|---|---|---|---|---|---|---|
AP | 100 | Plano de estudos de LAP_publicaçao em DR de 24/05/2021 | 2 | - | 6 | 90 | 162 |
Introduce and develop technical and process skills in drawing, that improved the instrumental capabilities of each student.
Consolidate the eye-hand coordination in the representations of the real.
Engage in the confrontation with the historical and functional universe of drawings.
Place the relationship between visual and haptic perception as a drawing framework.
Use drawing as a process of hypothesis and correction.
Encourage the use of drawing as a privileged instrument for the communication of visible and conceptual reality.
Develop skills that promote a continuous learning and self-management of the work.
Consolidate the eye-hand coordination in the expression of form, space and movement.
Relate perception and material imagination.
Know the properties of means, methods and design processes.
Adapt the potential of the means and processes of drawing to different functions and creative activities.
Develop skills for experimentation and synthesis in the relationship between historical approaches to drawing and new technological possibilities.
Develop a critical understanding of the impact of media in making sense of images.
Relate acquired knowledge, history, contemporary approaches and individual expectations.
To draw is to commit ourselves with ideas that are better addressed visually. When we draw, however, we are never 'just' looking. Drawing is a constant negotiation between reasoning and looking, between the body and the materials. This negotiation relates different modes of perception such as sight and touch; it involves information collected by gestures and body movements; it reflects the awareness we have of the sensations and emotions triggered by the sensitive world Through drawing, we are simultaneously committed to these various dimensions of knowledge.
The syllabus is designed to consolidate the relationship between perception/representation and expression, deepening the mastery of technique skills, conceptual strategies and materials as the language of drawing. This domain stems from the knowledge of the repertoire of drawing practices, but also from its intersections with other image technologies.
The syllabus is organized in two parts:
PART 1: INSTRUMENTALITY AND EXPRESSION
- Drawing between optical perception and haptic perception.
- Drawing materials and processes: abrasive and fluid use of media; image transfer processes; the relationship between new and old media.
- Interconnections between the drawn mark, the printed image and the projected image.
PART 2: DRAWING AS COMMUNICATION
- Reportage drawing: recognition strategies, recording and narrative organization.
- The disposition of the body in space and time.
- Chromatic modes in Drawing.
- Calligraphic approach and taxonomic approach
The FIRST PART consists of two projects: «OPTICAL AND HAPTIC» and «THE DRAWING OF OTHERS». In the first project, students are encouraged to use drawing to find ways to translate stimuli arising from other senses and body movement, relating them to observational studies; to explore the role that light and shadows play in creating new forms and finding ways to represent them; to develop strategies for representation of space in motion. The second project encourages new relationships between the media traditionally associated with drawing and processes of reproduction and transfer of images, through the creative exploration of the drawings and methods of other artists, designers, illustrators, architects or cartographers.
THE SECOND PART comprises projects 3 and 4: «THE BODY AS AN OBJECT AND SUBJECT» and «REPORTAGE DRAWING». The face-to-face classes will be held around the third project: from the observation of the body in real time, students will relate observation and measurement skills, memory drawings and ways to capture and respond to movement. Drawing will be a way of questioning the perception of the body today and creating new forms for its representation. In distance classes, the fourth project on Report Drawing will be developed. In this project, each student will use the drawing to document a real event and narratively organize the entire research process.
THE COMPLEMENTARY WORK of Drawing II is realized in the constant and personal use of a drawing journal (minimum A4). in a relationship between the contents covered in class and the interests and expectations of each student.
Practice-based and theoretical teaching, based on:
Theoretical and visual sessions of discussion;
Developement and exploration of the contents, trough studio and field work;
Discussion and critical analysis of students' work.
Development of students' individual work and skills through complementary work, based on specific framework exercises, to be made during the working hours without the contact with the professor.
The course also provides field trips for thematic classes and visits to exhibitions and places of interest, being also open for seminars and workshops.
Designation | Weight (%) |
---|---|
Participação presencial | 60,00 |
Trabalho prático ou de projeto | 40,00 |
Total: | 100,00 |
Designation | Time (hours) |
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Estudo autónomo | 72,00 |
Frequência das aulas | 90,00 |
Total: | 162,00 |
Frequency is obtained through the rigorous and accurate compliance of the working plan, during classes and through complementary exercises, demonstrating the learning outcomes. All students are obliged to a minimum of 75 % of attendance to all classes.
Work developed curing classes: 70%
Project 'Optical and Haptic': 15%
Project 'The Drawing of Others': 15%
Project 'The Body as Object and Subject': 20%
Project 'Reportage Drawing': 20%
Complementary work in drawing journal: 30%