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Presentation
Presentation
In this course students create an abstract graphic language, which is understood as an autonomous visual discourse, detached from figuration.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 4
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Year | Nature | Language
Year | Nature | Language
3 | Mandatory | Português
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Code
Code
ULHT722-3689
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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
Paths of Abstraction - Historical background of the emergence of abstraction in art history and recent developments.
Strategies and fundamentals of graphic expression - dot, line, hatch, blot.
Project I - From representation to abstraction. Seeing differently - execution of a series of drawings from the observation of several materials under the microscope. Creation of an artist's book of standardized dimensions, defined by the teacher.
Project II - Personal project - development of an autonomous visual language, exploring a system of optical elements unrelated to the real world. Individual project to be defined between each student and the teacher.
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Objectives
Objectives
To make known the paths of several artists in the process of emancipation of referentiality - from the pioneers of abstraction to their followers in the 20th and 21th centuries.
To promote the practice of drawing as an autonomous visual discourse, taking into account graphic and pictorial strategies of abstract artists.
To develop the student's project skills in drawing
To enrich and deepen the visual universe of each student To develop graphic languages in abstract drawing.
To strengthen autonomy in completing artistic projects To stimulate the daily practice of drawing
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Teaching methodologies and assessment
Teaching methodologies and assessment
Autonomy and experimentation in plastic research are required, with teaching supervision. The crossing of disciplinary boundaries is encouraged, starting from the viewing and photographic recording of materials under the microscope in the university laboratories. The creation of own images is the basis of research and graphic development. The lecturer regularly comments on this process, providing relevant references. The final grade expresses the fulfilment of the UC objectives. The assessment is continuous (compulsory attendance at 75% of classes), intermediate and final, quantitative, focusing on all the work of the semester. The final assessment results from the appreciation of the two projects (60% Project I; 40% Project II). If the student chooses to use digital media, his design process (layers) must be shown. For each image created in a traditional way, 4 digital images must be presented.
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References
References
Butler, C. & Zegher, C. (2010). On Line: Drawing Through the Twentieth Century . NY: MoMA
Chorpening, Kelly, and Rebecca Fortnum. A Companion to Contemporary Drawing. Hoboken, Nj Wiley-Blackwell, 2020.
Davidson, M. (2011). Contemporary Drawing: Key Concepts and Techniques for Today's Fine Artists. NY: Watson-Guptil
Lind, Maria (ed). (2015) Abstraction, Documents of Contemporary Art . London: Whitechapel Gallery
Molina, J. J. G. (1999). Estrategias del Dibujo en el Arte Contemporáneo. Madrid. Cátedra
Rattemeyer, C. (2013). Vitamin D2: New Perspectives in Drawing. London, NY: Phaidon
Sale, T. & Betti, C. (2008). Drawing: A Contemporary Approach. Belmont: Thompson Tracey (2007). Drawing now - between the lines of contemporary art . London: I.B.Tauris
Tracey (2015). Drawing Ambiguity: Beside the Lines of Contemporary Art Paperback . London: I.B.Tauris
Dexter, E. (2010). Vitamin D: New Perspectives in Drawing . London, NY: Phaidon
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Office Hours
Office Hours
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Mobility
Mobility
No
