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Presentation
Presentation
The SCENOGRAPHY course unit addresses the scenographic and artistic production process underlying entertainment and fiction programs that involve studio construction and virtual environments, in a theoretical and practical dimension. It aims to provide knowledge of the aesthetic and technical approach and to foster the creative process through the various premises of visual language as a driving force, alongside an understanding of the economic, cultural, and ethical context of the art department, integrating current digital production practices.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 5
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Year | Nature | Language
Year | Nature | Language
1 | Optional | Português
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Code
Code
ULHT160-24603
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
1. Concept and function of scenography, wardrobe, and makeup and hair design: visual rhetoric, target audience, and format specificities (news, entertainment, fiction). Art direction team, integration with the Virtual Art Department (VAD), and creative process in virtual scenography. 2. Scenographic lexicon, construction materials and their adaptability. Wardrobe and makeup and hair design materials and lexicon, and the adaptation of the outfit to the actor/presenter's physiognomy. 3. Methodology: breakdown, visual research, graphic representation, and technical design. Introduction to digital scenography: set extensions, LED volume workflows, and 3D concept development. Resource management, budgeting, and Art Dossier structure. 4. Props and wardrobe: active sourcing, adaptation, and construction. Scenographic execution methodology focused on physical-digital integration and mitigating visual artifacts.
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Objectives
Objectives
The SCENOGRAPHY course unit provides theoretical-practical tools for art direction projects in TV, focusing on live-on-tape formats, covering scenography, wardrobe, and makeup and hair design. Upon completion, given a briefing, the student will be able to: -define and graphically present a coherent aesthetic unit; -develop concept proposals in physical and digital environments; -set up, assemble, and dismantle studio sets, articulating physical elements and digital resources; -build physical models of the sets; -source, adapt, and build props and scenographic elements; -manage wardrobe pieces, accessories, hair, and makeup, including fittings and image tests.
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Teaching methodologies
Teaching methodologies
The teaching methodology emphasises collaborative practice and brainstorming by setting challenges for the group(s) to solve graphically in a shared file. These challenges are analysed collectively in class and are designed to facilitate the assimilation of theoretical knowledge and the design and development of entertainment content for a television platform, including set, costume, hair and makeup design. During the preparation and construction phase, students should understand the responsibilities of each role, and also learn to work as a team. The methodology therefore encourages teamwork. It raises awareness of the topics presented and develops spaces for discussion and problem solving through key concepts, content resources, case studies and practical classroom activities and workshops.
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References
References
Capaccio, N. (2019). Costume design in TV and film. Cavendish Square. Hart, E. (2018). The prop effects guidebook: Lights, motion, sound, and magic. Routledge. Heller, E. (2017). Psicología del color: Cómo actúan los colores sobre los sentimientos y la razón. Editorial Gustavo Gili. Millerson, G. (1989). TV scenic design handbook. Focal Press. Okun, J. A., & Zwerman, S. (Eds.). (2024). The VES handbook of virtual production. Routledge. (Leitura recomendada: Capítulos 7, 9, 13 e 22). Pastoreau, M. (1997). Dicionário das cores do nosso tempo: Simbólica e sociedade. Estampa. Raoul, B., & Monsos, M. (2015). Stock scenery construction handbook. Broadway Press. Renault, C. (2000). Les styles de l'architecture et du mobilier. Gisserot. Sciortino, C. (2021). Makeup artistry for film and television: Your tools for success on-set and behind-the-scenes. Routledge. Woodbridge, P., & Tine, H. (2013). Designer drafting and visualizing for the entertainment world (2.ª ed.). Focal Press.
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Assessment
Assessment
Serão considerados os seguintes instrumentos de avaliação na nota final:
Descrição
Data limite
Ponderação
Participação Activa
(Desafios e Discussões Coletivas | Challenges and Collective Discussions)
durante o semestre
throughout the semester
50%
Dossier de Arte | Art Dossier
Data Prevista: 3-5 Maio 2027 | Expected Date: May 3-5, 2027
Submissão via Moodle | Submission via Moodle
25%
Execução de Cenografia, Guarda-Roupa e Caracterização
Execution of Set, Costume and Makeup and Hair DesignData e Horário a definir | Date and time to be determined
25%
A assiduidade e a participação são consideradas elementos fundamentais na avaliação e a ausência ao Módulo V (Execução de Cenografia, Guarda-Roupa e Caracterização) implica inscrição em exame. A metodologia de avaliação engloba, em função do cargo assumido pelo aluno, as componentes de trabalho individual e em equipa, tomando em consideração: o envolvimento e capacidade de trabalho criativo e prático, criatividade, comunicação, sociabilidade, entreajuda e disciplina, capacidade de relacionamento demonstrada (individual/ coletiva), capacidade técnica e artística, nível de execução dos objetivos, assiduidade e pontualidade.
Attendance and participation are considered fundamental elements of the assessment and failure to attend Module V (Execution of Set Design, Costume Design and Makeup & Hair Design) will result in an examination. The evaluation methodology encompasses, based on the student's assumed position, components of individual and team work, taking into consideration: involvement and capacity for creative and practical work, creativity, communication, sociability, mutual assistance and discipline, demonstrated relationship skills (individual/collective), technical and artistic ability, level of objective achievement, attendance and punctuality.
O exame de recurso divide-se em duas componentes:
Componente Prática: Dossier de Direção de Arte para um conteúdo destinado a uma plataforma, a partir de um briefing facultado pelo professor + Maquete Cenográfica + Adereço Representativo que implique adaptação/construção (70%)
Componente Teórica: Prova Escrita (30%)The resit exam is divided into two components:
Practical Component: Art Direction Dossier for content intended for a platform, based on a briefing provided by the lecturer + Scenographic Scale Model + Representative Prop involving adaptation/construction (70%)
Theoretical Component: Written Exam (30%)
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Mobility
Mobility
No
