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Presentation
Presentation
The curricular unit DIGITAL ELEMENTS OF PRODUCTION DESIGN focuses on the process of developing serialised fiction content in the field of Production Design. It covers the main areas of intervention, including set design, costume design, and makeup and hair design, from a theoretical-practical perspective. The course emphasises the role of digital representation of visual concepts in the pre-production phase. The objective is to provide knowledge of more sophisticated and precise techniques in the presentation of graphic proposals, maintaining the definition of the aesthetic approach, the development of the creative process and the methods of execution as fundamental elements, together with an understanding of the economic, cultural and ethical context of the production design department as a practice.
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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
2 | Optional | Português
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Code
Code
ULHT160-24623
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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. The concept and function of production design and the composition of the team. The importance of visual and rhetorical elements, scenographic languages and the specificities of different formats in defining the aesthetic approach. The working lexicon, materials, techniques and construction methods. 2. Working methodology. Budgeting. Management of means and resources. Structure of a production design dossier. 3. Graphic presentation of proposals (perspective, composition, colours, lighting, materials): Photoshop / Gimp (digital painting and matte painting), Procreate (digital painting), Blender or Homestyler (3D rendering, technical drawing), AI Gen (multiple engines/platforms). 4. Technical Drawings. 5. Props and costume design: active search, adaptation and construction. Methodology of scenographic execution/construction.
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Objectives
Objectives
The course teaches students to create and execute production design projects for serialized fiction content, covering various production phases. Students will design and produce a transversal project (ACAC III) while taking on specific roles in the production design department. The objective is for the student to structure a plastic unit that is coherent with the narrative and adjusted to the content (Production Design Dossier). They should also be able to define concepts using digital representation techniques and prioritize artistic and technical needs while making appropriate use of the logistical resources available. Other objectives include understanding the structure and function of the department, mastering appropriate software, apps, and platforms for creative proposals and technical drafting, using appropriate terminology, and understanding execution/assembly methodologies.
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Teaching methodologies
Teaching methodologies
The teaching methodology raises awareness of the issues presented, develops spaces for discussion and problem solving, and encourages the development and sharing of practical exercises (challenges) in a transversal and collaborative process. The challenges, which will be analysed together in class, are intended to respond to the assimilation of theoretical knowledge and the conceptualization and development of the production design project for serialized content (transversal project). During the preparation and assembly phase, the aim is for the students to understand the responsibilities of each position taken, but also to work as a group, promoting teamwork. Software will be used to enable collaborative practice during the work process.
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References
References
3D TOTAL (2009). Digital Painting Techniques – Masters Collection (Volume 1), Focal Press. ADLER, D. (1998). Metric Handbook – Planning and Design Data. Architectural Press. BARNWELL, J. (2017). Production Design for Screen: Visual Storytelling in Film and Television. Bloomsbury Visual Arts. GURNEY, J. (2010). Color and Light: A Guide for the Realist Painter -Volume 2. Andrews McMeel Publishing. HELLER, Eva (2007). Psicología del color: Cómo actúan los colores sobre los sentimientos y la razón. Editorial GG. LOBRUTTO, V. (2002). The Filmmaker's Guide to Production Design. Allworth Press. New York. PASTOREAU, Michel (1997). Dicionário das Cores do Nosso Tempo: Simbólica e Sociedade, Lisboa, Estampa. TASHIRO, C. S (1998). Pretty Pictures: Production Design and The History Film, University of Texas Press, Austin
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Assessment
Assessment
Serão considerados os seguintes instrumentos de avaliação na nota final: |The following assessment instruments will be considered in the final grade:
Descrição
Data limite
Ponderação
Assiduidade e Participação + Desafios + Análises Colectivas
Attendance and Participation + Challenges + Collective Analysis
avaliação contínua
continuous assessment
40%
Dossier de Desenho de Produção | Production Design Dossier
Nota: O Dossier de Desenho de Produção deve apresentar o processo de trabalho, incluindo as propostas finais de desenho de produção, incluir memória descritiva e estar fundamentado através de racional criativo. | Note: The Production Design Dossier must present the working process, include the final production design proposals, a detailed descriptive memory and be supported by a creative rationale.
30 May 2026
Submission via Moodle
30%
Execução do Desenho de Produção
Production Design Execution
[Prep, Set Up, Shooting, Wrap Up]
De acordo com as datas estabelecidas para rodagens | According to the dates set for shooting 30%
A assiduidade e a participação são consideradas elementos fundamentais na avaliação e a ausência ao terceiro momento de avaliação (Execução de Desenho de Produção) implica inscrição em exame. A metodologia de avaliação engloba, em função do cargo assumido pelo aluno, as componentes de trabalho individual e em equipa. | Attendance and participation are considered fundamental elements of the assessment and failure to attend the third assessment point (Execution of Production Design) will result in an examination. Depending on the position taken on by the student, the assessment methodology includes individual and team work.
O exame de recurso divide-se em duas componentes:
Componente Prática: Apresentação e defesa oral de Dossier de Direção Desenho de Produção para um conteúdo de ficção serializado, a partir de guião facultado pelo professor + Adereço Representativo que implique adaptação/construção (60%)
Componente Teórica: Prova Escrita (40%)
The examination is divided into two components:Practical Component: Presentation and oral defense of a Production Design Dossier for a serialized fiction content, based on a script provided by the teacher + Representative Prop involving adaptation/construction (60%)
Theoretical Component: Written Test (40%)
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Mobility
Mobility
No
