Intermediate Painting Processes
| Code: | PIP01 | Acronym: | PIP |
| Keywords | |
|---|---|
| Classification | Keyword |
| CNAEF | Fine Arts |
Instance: 2024/2025 - 2S 
| Active? | Yes |
| Responsible unit: | Fine Arts Department |
| Course/CS Responsible: | Fine Arts |
Cycles of Study/Courses
| Acronym | No. of Students | Study Plan | Curricular Years | Credits UCN | Credits ECTS | Contact hours | Total Time |
|---|---|---|---|---|---|---|---|
| AP | 18 | Plano de estudos de LAP_publicaçao em DR de 24/05/2021 | 2 | - | 6 | 60 | 162 |
| 3 | |||||||
| 4 |
Teaching Staff - Responsibilities
| Teacher | Responsibility |
|---|---|
| Joana de Abreu e Lima Mendes Rêgo |
Teaching - Hours
| Theoretical and practical : | 4,00 |
| Type | Teacher | Classes | Hour |
|---|---|---|---|
| Theoretical and practical | Totals | 1 | 4,00 |
| Joana de Abreu e Lima Mendes Rêgo | 4,00 |
Teaching language
Suitable for English-speaking studentsObjectives
Provide a development and deepening of the practice of the painting workshop to students of several years and from different backgrounds, who wish to expand their curricular experience and develop knowledge in terms of certain technologies within the pictorial process.
It is intended to be a space where experimentation and investigation and contact with technical problems that may arise from the intrinsic duality between process and project are privileged, in order to build a knowledge base on various techniques and materials, within the scope of the Painting .
Learning outcomes and competences
At the end of this course, students should know / be able to:
- Identify and apply tools for experimentation and manipulation with new materials inherent to the vocabulary of painting in an intermediate context.
Working method
PresencialProgram
The CU program is organized in the understanding and use of processes that have recently been introduced in the field of painting. It also intends to promote contextualized reflection with different fields of the current fine arts.
Students will be given the opportunity to develop technical component exercises to accompany / complement their individual project, or, by carrying out programmed exercises on specific technologies.
The programmatic exercises are based on theoretical and practical experimentation with innovative or less conventional techniques in the context of painting, which enable both a dialogue with the amplification of the processes of making, as well as the processes of thinking about painting.
During the academic period, there will be workshops and techcnical demonstrations by invited artists, as well as study visits to artist´s studios and visual exhibitions, within the scope of this class.
Mandatory literature
Julian Bell; What is painting ?. ISBN: 0-500-28101-7Tony Godfrey; Painting today. ISBN: 978-0-7148-4631-6
Comments from the literature
Bell, J. (2017). What is painting?, Thames & Hudson. FINLAY, Victoria (2014). The Brilliant History of Color in Art. Los Angeles: J. Paul Getty Museum. Graw, I. (2018). The Love of Painting: Genealogy of a Success Medium, Sternberg Press. Godfrey, T. (2009). Painting Today. New York: Phaidon Press limited. MacPhee, J. (2004). Stencil Pirates: A Global Study of the Street Stencil, Soft Skull Press. Robinson, C. (2020). PhotographyDigitalPainting: Expanding Medium Interconnectivity in Contemporary Visual Art Practices, Cambridge Scholars Publishing. Sabino, I. (2000). A Pintura depois da Pintura. Lisboa: Faculdade de Belas Artes/Universidade de Lisboa. Sabino, I. (ed.) (2014). And Painting? A pintura contemporânea em questão. Lisboa: CIEBA-FBAUL. Smith, R. (2006). Manual Prático do Artista, Civilização Editores. Tàpies, A.(1994). La pratique de l’art, Gallimard. Woolf, A. (2016). The impact of Technology in Art, Raintree. |
Teaching methods and learning activities
The teaching methodologies are:
- Exposure;
- Demonstration;
- Practical application.
- Field trips
The teacher provides individualized monitoring during the class period, according to the technologies chosen by each student.
The minimum frequency and dialogue are essential, recording the contact moments, main suggestions and work progress on individual files.
The purposes of each student will be analyzed and discussed at the beginning and during the execution of the work.
Evaluation Type
Distributed evaluation without final examAssessment Components
| Designation | Weight (%) |
|---|---|
| Participação presencial | 45,00 |
| Trabalho prático ou de projeto | 55,00 |
| Total: | 100,00 |
Amount of time allocated to each course unit
| Designation | Time (hours) |
|---|---|
| Apresentação/discussão de um trabalho científico | 6,00 |
| Frequência das aulas | 60,00 |
| Trabalho de investigação | 60,00 |
| Estudo autónomo | 36,00 |
| Total: | 162,00 |
Eligibility for exams
Assessment Type: Distributed assessment without final exam
To be eligible for the final assessment, it is mandatory to fulfill a minimum of 75% of classes.
Calculation formula of final grade
Evaluation formula:
Attendance - 15%
Participation / motivation / critical sense - 10%
Development and implementation of exercises - 20%
Plastic qualities (execution, creativity, originality) - 25%
Evolution - 15%
Amount of work done - 15%
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