Studio: Media and Processes I

Code:

EMPI01

Acronym:

EMPI

Keywords
Classification	Keyword
CNAEF	Fine Arts

Instance: 2024/2025 - 1S

Active?	Yes
Responsible unit:	Desenho
Course/CS Responsible:	Drawing

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
LD	22	Plano de estudos de LD_publicaçao em DR de 7 de junho de 2022	2	-	12	135	324

Teaching language

Portuguese
Obs.: Suitable for English-speaking students

Objectives

To consolidate the eye-hand coordination in the expression of shape, space and movement.

To relate perception and material imagination.

To familiarize with the properties of means, methods and drawing processes.

To adapt the potential of the means and processes of drawing to different uses and creative activities.

To develop skills for experimentation and synthesis in the relationship between historical approaches to drawing and new technological possibilities.

To develop a critical understanding of the impact of media in the meaning of images.

To relate acquired knowledge, history, contemporary approaches and individual expectations.

Learning outcomes and competences

Identify and apply appropriate techniques, technologies and processes to support an emerging practice by engaging with a range of forms, media and materials.

Demonstrate skills in chromatic modes in drawing, of colour and light as a perceptual, cultural and communicative experience.

Identify and apply ideation strategies and counterfactual thinking through synthesis and metamorphosis of the methods of artists, illustrators, architects or cartographers.

Develop a visual and critical vocabulary in drawing to support an emerging practice.

Embark on independent inquiries by selecting relevant materials and references to underpin the creative process and awareness of the context in which one draws.

Document the learning process as a collective endeavour that encourages inclusion, respect and the management of differing points of view.

Working method

Presencial

Pre-requirements (prior knowledge) and co-requirements (common knowledge)

Demonstration of the level of knowledge and content acquired in "Studio - Perception and Representation I" and "Studio - Perception and Representation II".

Program

MATERIAL FOUNDATIONS OF DRAWING PRACTICE:

Instruments and materials; surfaces and substrates - a functional, historical and contemporary vision of their applications.

Abrasive, fluid and printmaking procedures.

Deviant uses and rhetorical variants of the means and supports of drawing.

 

FROM PERCEPTION TO MATERIAL IMAGINATION:

From the material representation of light to drawing with light: ambient luminescence, focal glow and play of brilliants.

Chromatic means and modes: additive and subtractive synthesis; trichromia and cangiantism; the theory of color.

Drawing and movement:

- Haptic visuality: gesture as a means, image and concept.

- Cinematic drawing: representation in time.

- The human figure in movement - experimentl approaches to the body in motion

 

EXPERIMENTAL DRAWING AND CREATIVE THINKING:

Divergent and bissociation ways of thinking - creative strategies for reproduction, synthesis and metamorphosis.

Montage-drawing and composite drawing.

Appropriation, displacement and transfer of images.

Mandatory literature

James Watrous; The^craft of old-master drawings. ISBN: 978-0-299-01425-4 (Watrous, James (2006). The Craft of Old Master Drawings. Madison: University of Wisconsin Press.)
Orly Orbach; Drawing as performance. ISBN: 978-1-138-08615-9 (Orbach, Orly (2019). Drawing as Performance – Theatrical Games and Techniques for Visual Artists. London and New York: Routledge)
Deanna Petherbridge; The^primacy of drawing. ISBN: 978-0-300-12646-4 (Petherbridge, Deanna (2010). The Primacy of Drawing – Histories and Theories of Practice. Yale: Yale University Press.)
Ellen Mueller; Remixing and drawing. ISBN: 978-0-8153-9244-6 (Mueller, Ellen (2018). Remixing and Drawing – Sources, Influences, Styles. New York and London: Routledge Focus)
Juan José Gómez Molina; Estrategias del dibujo en el arte contemporáneo. ISBN: 84-376-1694-8 (Molina, J.J.G. (ed.) (1999) Estrategias del Dibujo en el Arte Contemporáneo. Madrid: Cátedra. Madrid: Cátedra)
David Batchelor; Colour. ISBN: 978-0-26252-481-0 (Batchelor (Ed.) (2008). Colour. Documents of Contemporary Art. Cambridge: The MIT Press)
Mick Maslen, Jack, Southern; Drawing Projects: an exploration of the language of drawings, Blackdog Publishing, 2011 (Maslen, Mick; Jack, Southern (2011). Drawing Projects: an exploration of the language of drawings. London: Blackdog Publishing.)
Roger Malbert; Drawing People – The Human Figure in Contemporary Art, Thames & Hudson, 2011 (Malbert, Roger (2015). Drawing People – The Human Figure in Contemporary Art. London: Thames & Hudson.)
Marco Antoni et al. ; Experimental Photography - A Handbook of Techniques, Thames & Hudson., 2015 (Antoni, Marco et al. (2015). Experimental Photography - A Handbook of Techniques. Thames & Hudson)

Teaching methods and learning activities

Masterclasses to demonstrate the use of means, procedures and drawing strategies.

Structured and exploratory exercises designed to familiarize students with the vast medial and procedural heritage of drawing.

Visual and theoretical presentation of key case studies.

Project development within each thematic field.

Seminars/lectures with drawing practitioners, based on their creative processes and strategies.

Commented visit to exhibitions and collections.

Individual and collective feedback from exercises and projects.

Peer review discussions.

Self-assessment questionnaire.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	5,00
Trabalho escrito	10,00
Trabalho laboratorial	25,00
Trabalho prático ou de projeto	60,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Elaboração de projeto	60,00
Frequência das aulas	5,00
Trabalho escrito	10,00
Trabalho laboratorial	25,00
Total:	100,00

Eligibility for exams

Minimum attendance of 75% of classes.

Presentation of a demonstrative portfolio of learning outcomes.

Presentation of an exploratory notebook of observations and personal research.

Participation in lectures and seminars.

Presentation of reflective review report.

Calculation formula of final grade

The assessment is distributed, based on:

Presentation of a demonstrative portfolio of learning outcomes at the end of each project (60%).

Presentation of an exploratory notebook of observations and own research (25%).

Participation in lectures and seminars (5%).

UC reflective review report (10%)

Classification improvement

Through attendance in the following academic year, in accordance with the student assessment regulations for the first and second cycles of FBAUP