Theory of Art relies on the ability to analyse, relate and contextualize different theories and authors of contemporary art, integrating them to the context of New Media.

Activities developed throughout the semester will consist in the group reflexive practice on main themes for contemporary art practice, taking into consideration the view of the public and of the author. will be asked to read, review and reflect upon relevant essays and/or articles, to study and analyze relevant case studies and to actively engage in discussing and thinking the approached topics.

The discipline will also take advantage from a know-how approach, enabling students to understand authors and important topics with research activities, monitoring and analysis of distinct contemporary works of art.

1. Art and Culture: Comsuption, creating and acting;
2. Intervention and Participation: notes over Bourriaud’s Relational Aesthetics;
3. Symbolism in Art: exchange, sharing and symbolic space;
4. International Situacionism and spectacle society;
5. Site-specific art: artistic intervention and community;
6. Art and Politics: Moral, Ethics and Society;
7. Art and Technology: Past, Present and Future.

AAVV (2012) Akademie X – Lessons in Art+Life. Phaidon Press, London.
Benjamin, W. (2012). Sobre Arte, Técnica, Linguagem e Política. Relógio d’Água, Lisboa.
Berger, J. (2004) Modos de Ver. Gustavo Gili, Barcelona. (Publicado originalmente em 1972).
Debord, Guy (2012). A Sociedade do Espectáculo. Antígona. Lisboa. (Publicado originalmente em 1967).
Griffin, J. et al (2014) The Twenty-First Century Art Book. Phaidon Press, London.

The current course aims to teach students to understand and master the fundamental concepts and techniques related to the development of static web pages, based on client-side technologies. In this way, students are expected to:

Know the historical evolution, architecture and main services of the internet;

Understand principles and methods of conceptualization and project development which integrate the main technologies and standards;

Understand the importance of Web Standards for developing Web projects;

Develop static web pages using HTML, CSS and javascript (JS);

Understand the fundamental concepts of algorithmic thinking and apply them, using JS;

Deploy specificities of various Web technologies, by selecting and using them accordingly, depending on the nature of the projects;

Apply the knowledge gained in the development of a group project.

Unit I. Introduction to Web Standards (WS)

What is it and how it’s work

Pros and cons of WS

Entities (W3C, WHATWG, IANA, ISO, etc.)

Unit II. HTML5

Introduction to HTML, with emphasis on HTML5

Sintax and semantics

Basic structure of a static web page

HTML tags (links, images, etc.)

Tables and Lists

Multimedia Elements (audio, video, etc.)

Forms

Other elements (iframe, object, etc.)

Unit III. CSS3

Introduction to CSS, with emphasis on CSS3 properties

Syntax and semantics

CSS layout models (box model, flexbox, etc.)

Elements (backgrounds, text format, etc.)

Basic transitions and animations

Web layouts (fixed, fluid and adaptive)

Unit IV.

Introduction to JS

Variables, operators, comments, structures (if, for, etc.), as others

Document Object Model (DOM) - window, document, location, etc.

Commands and events

Abreu, L. (2013) HTML5 - 2ª Edição Atualizada e Aumentada. FCA, 2ª Edição
Abreu, L.; Carreiro, J. P. (2012) javascript. FCA, 2ª Edição.
Cederholm, D. (2010) CSS3 for Web Designers. A Book Apart.
Keith, J. (2010) HTML5 for Web Designers. A Book Apart.
Nielsen, J. (1999) Designing Web Usability. New Riders.
Remoaldo, P. (2012) CSS3. FCA, 1ª Edição.

Provide students skills to conceptualize and develop projects through appropriate methodologies and tools.
Students will obtain knowledge of theoretical concepts and mastery of technological tools involved in the development of different products such as symbols, illustrations, maps and infographics.

I - Vectorial Design
Concepts
Tools
Vector drawing
II – Methodologies
Methodological models
Application of projectual methods (graphic diary, research, brainstorming, synthesis, defining keywords, outline and development of the project); participatory methodologies
III - Project-Development
A set of exercises for development in class
Symbol
Book cover
Infographics

BARBOSA, Conceição. Manual prático de produção gráfica – para produtores gráficos, designers e directores de arte. Cascais: Principia, 2009
DABNER, David. Guia de Artes Gráficas: Design e Layout – princípios – decisões – projectos. Barcelona: Ed. Gustavo Gili, 2003
FUENTES, Rodolfo. A prática do design gráfico: uma metodologia criativa. S. Paulo: Ed. Rosari, Ltda, 2009
LUPTON, Ellen. Org Graphic Design Thinking – Intuição, Ação, Criação. Barcelona: Gustavo Gili, SL, 2012

The curricular unit of Multimedia Screenwriting aims to introduce students to the concepts and terminology of the development of audio-visual scripts and scripts for multimedia, linear or interactive applications.

1. Human-Computer Interaction
a). The interface concept
b). Communication process as interaction and vice versa
c). Elements of user experience
d). Principles of Multimedia
e). Usability, accessibility and functionality
f). Multidisciplinarity and evaluation by users. Usability tests
g). Interactions: content and layout
2. Interactivity and Design
a). Concept of interactivity: dimensions and levels
b). Interaction Design
c). User-centered design
d). Interfaces Design: the user experience - products and audience
e). Design Vs. users: different optics
f). Usability, user experience and UGC [user-generated content]
g). Contents and cross-platforms
H). Interaction Design and Multiplatform
3. Production of multimedia applications
a). From conceptualizing the product to the script development process
b). Design, implementation, validation and exploitation
c). Authoring tools
4. The multimedia guide
a). Concept and principles of the multimedia script
b). Elements for the construction of a multimedia script - plot and objectives, contents, navigation and interactivity flows, storyboard
c). Wireframes and storyboards; navigation flow maps - case studies
d). The structure of the multimedia script
e). The script and the different multimedia applications
5. Concept of narrative and audiovisual narratives
a). Narrative concept and the specificities of the narratives: actors and elements of the audiovisual narrative;
b). Narrative structure, plot-point;
c). Scene, sequence, characters, action, space, time, dialogue writing;
d). Storyline and synopsis;
e). The audiovisual script;
f). Literary guide and technical script;
g). Graphic Formatting Standards;
h). Master Scenes format.

BOU BOUZÁ, Guillem (1997). El guión multimedia, Madrid: Anaya Multimedia - Universidad de Barcelona
COMPARATO, DOC (1992). Da criação ao guião. Lisboa: Editora Pergaminho
JIMÉNEZ, J. G. (1993). Narrativa audiovisual. Espanha: Edições Catedra
MILLER, Carolyn (2004), Digital Storytelling: A Creators Guide to Interactive Storytelling. Burlington, MA: Focal Press.
NIELSEN, Jakob (2000), Usabilidad, Diseños de Sitios Web, Madrid, Prentice May.

Understanding video production.

Being able to have ideas for short video works.

Run small screenplays.

Form teams.

Mastering the equipment to a level of basic functions.

Mastering the videographic language in order to communicate ideas accurately.

The professions in the video production industry.

The process of production:

Production Teams.

From Pre-Production to Post Production.

Introduction to Scriptwriting.

The camcorder (elements and operation).

Composition of images (field vectors, psychological effects).

The language of the plans. Scale. Designations.

Camera movements: optical and mechanical

Block, Bruce – The Visual Story – Ed.Focal Press, 2013
Zettl, H. - Video Lab - 4 - DVD-rom - 2011

Acquire knowledge about sound and its propagation.

Acquire knowledge on the human auditory system

Acquire knowledge about psychoacoustics

Reflecting on Aesthetic Audio

Acquire basic knowledge about the History of Contemporary Popular Music

The sound

Physical properties of sound.

The propagation medium

Speed, frequency, wavelength and amplitude

Types of sound waves.

Influences in the propagation of sound

Loudness (decibel)

The human hearing system

Psychoacoustics

Hearing sensitivity

The Sound Aesthetics: the Arts and Music

Brief History of Popular Contemporary Music

The industry of sound

Augusto, Carlos Alberto – Sons e silêncios da paisagem Sonora portuguesa (FFMS – 2014
Crook;Tim – The sound handbook (Ed Routledge-2012)

The curricular unit of Multimedia Laboratory II intends to develop skills in the field of Design Thinking, Human Centered Design and Prototyping.

I - Design practice, creativity and users
The Design Thinking Approach
Human-Centered Design
Project methodologies
II - Design and Design
Digital Product Research & Documentation: HCI, Scenarios, People, Requirements, Wireframes, Storyboards
Introduction to UI Sketching
Introduction to Designing and Implementing Mockups
Development and Design of High Fidelity UI Mockups
Development of necessary documentation for production and evaluation (Site Maps, Task Models, User Flow)
Introduction to prototyping
Implementation of UI drawings in specific high-fidelity non-functional prototyping tools

Keller, Taute, Capsule (2012). Design Matters: an essential primer. Massachusetts: Rockport.
Marc, S. (2012). This is service design thinking: Basics-Tools-Cases. Bis Publishers.
Miller, Carolyn (2014), Digital Storytelling: A Creators Guide to Interactive Entertainment. Burlington, MA: Focal Press.
Norman, D. (1988). The Design of Everyday Things. New York: Doubleday.
Preece, J.; Rogers, Y. & Sharp, H. (2007) Interaction Design: Beyond Human-computer Interaction. New York, NY: John Wiley & Sons.

Know the rules of text and image composition.

Study the information hierarchies, typography size relationships with reading distances.

Know the concepts and elements related to the editorial project: format, pagination and composition.

Apply the rules of pagination and composition, combining texts and images in grids to structure the pages

The curricular unit Editorial Design works the understanding and knowledge of editorial design project.

Text composition: theory, tools and concepts for typographic composition.

Establish organization and identification criteria for the different pagination elements.

AAVV – A Graphic Design Project from Start to Finish. 1ª edição. Barcelona: Indexbook,2010. ISBN 9788492643301.
AMBROSE, Gavin e HARRIS Paul – The layout book. London: Ava Book, 2007. ISBN 9782940373536.

In this course it is intended that students are able to understand and master the concepts and techniques inherent to the design (design and programming) multimedia mobile games. Accordingly, itisintendedthatstudents can:

Meet the world of electronic games: their history and evolution;

Identify and understand the different types of games and their respective characteristics;

Mastering the concepts of gameplay, storytelling, among others;

Mastering spatiotemporal techniques for game development, balancing scenarios, goals, time and pace of play;

Understand and identify key characteristics of different types of platforms and devices;

Know and master the key technologies and development tools for multimedia games today;

Apply the knowledge gained in the development of a group project.

Module I - Introduction to video games

History and cultural aspects of video games;

What is an video game and its features;

Notions of gameplay, interactivity, rules, among others;

Module II - Process design of video games

Analysis of the various game design phases;

Study of various strategies of game development;

Design and implementation of mobile games;

Eberly, D. H. (2010) Game Physics. Morgan Kaufmann.
Fullerton, T. (2008) Game Design Workshop: A Playcentric Approach to Creating Innovative Games. Morgan Kaufmann.
Martinho, C.; Santos, P.; Prada, R. (2014) Design e Desenvolvimento de Jogos. Lisboa: FCA, 1ª Edição.
Salen, K.; Zimmerman, E. (2003) Rules of Play: Game Design Fundamentals. The MIT Press, 1st Edition.
Vasconcelos, J. B.; Ribeiro, N. M. (2014) Tecnologias de Programação de Jogos. Lisboa: FCA, 1ª Edição.

— Understand and apply all phases of the creative process in the development of the project;
— Define information hierarchies;
— Develop communication strategies.

— Project Methodology;
— Information Hierarchy (information architecture; elements of the structure and navigation)
— Usability;
— Interface Design (visual elements, typography, colour, grid, responsive design).

DABNER, David; STEWART, Sandra e ZEMPOL, Eric - Graphic Design School: A Foundation Course for Graphic Designers Working in Print, Moving Image and Digital Media. Thames and Hudson. 2014.
DIJCK, Peter Van - Information Architecture for designers: Structuring websites for business sucess. Rotovision:UK. 2003 ISBN: 2880467314
FIGUEIREDO, Bruno- Web Design: Estrutura, concepção e produção de sites Web. 2ª edição. Lisboa: FCA - Editora de Informática, Lda, 2004. ISBN 9725-722-433-4.
LYNCH, Patrick J.; HORTON Sarah- Guia de Estilo da Web: Princípios básicos de design para a criação de web sites. 2ªedição. Trad. Oscar Hernández Quiles. Barcelona: Editorial Gustavo Gili, SA, 2004. ISBN 84-252-1932-9.
RIBEIRO, Nuno- Multimédia e Tecnologias Interactivas. 1ª edição. Lisboa: FCA - Editora de Informática Lda, 2004. ISBN 972-722-415-6.

The present course is intended to develop programming skills that enable the development of interactive multimedia applications. Thus, the aims of this course are:

Identify and understand the specifics of interactive multimedia applications and different technological solutions for its development;

Understand and master the concepts associated with the technologies used and their respective programming languages;

Explore a programming language that allows the integration of multimedia elements according to the type of multimedia application;

To idealize and implement applications for different platforms;

Apply the knowledge gained in the preparation of a project.

Module I - Development of web systems using PHP frameworks:

Study of PHP framework Laravel;

Design and implementation of a small system using the selected framework;

Module II - Development of multiplatform applications. Identifying categories, techniques and different development methodologies;

Analysis of the main concepts and technologies;

Introduction to Microsoft Xamarin (with C#) for multiplatform (Android, iOS and Windows Phone);

Android Design - Livro de estilos da Google. [Online]http://developer.android.com/design/index.html
Microsoft Xamarin Guides [Online] https://developer.xamarin.com/guides
Snider, Ed. (2016) Mastering Xamarin.Forms. Packt Publishing, 1st Edition
Stauffer, M. (2016) Laravel: Up and Running: A Framework for Building Modern PHP Apps. O'Reilly Media, 1st Edition.
Versluis, Gerald (2017) Xamarin.Forms Essentials: First Steps Toward Cross-Platform Mobile Apps. Apress, 1st Edition.
Vogel, L. Android Development Tutorial. [Online] http://www.vogella.com/articles/Android/article.html

Chopine, A. (2011). 3D Art Essentials: The Fundamentals of 3D Modeling, Texturing, and Animation (1st ed.): Focal Press.
Williams, R. (2012). The Animator's Survival Kit: A Manual of Methods, Principles and Formulas for Classical, Computer, Games, Stop Motion and Internet Animators (4th ed.): Faber & Faber.
Whitaker, H., & Halas, J. (2009). Timing for Animation (Second Edition ed.): Focal Press.

Bilton, C. (2010). CreativeStrategy: Reconnecting Business and Innovation. Chichester, West Sussex: John Wiley &Sons.
Dionísio, P., Rodrigues, J. V., Faria, H., Canhoto, R. & Nunes, R. C. (2009). bMercator – Blended Marketing. Alfragide: Publicações Dom Quixote.
Flew, T. (2012). TheCreative Industries. Culture and Policy. London: Sage.

The curricular unit of Multimedia Laboratory III intends to develop skills in the field of digital content management and cross-platform production.

A digital environment
- From Web 1.0 to Web 3.0;
- Convergence and the growth of digital entertainment;
- New business ecosystem: crowdfunding, digital advertising, digital marketing and blended marketing;
- Interactive and transnmedia narratives;
- Process of creating interactive multimedia contents.
Digital content management
- Principles of content management;
- Content management features;
- Applications of content management systems;
- Online communication strategies;
- Website support services.
Multiplatform production
- Mobile production: contents, tools and techniques;
- New forms of content distribution, new products and new audiences;
- Multiplatform projects: planning and management;
- Crossmedia as a multidisciplinary production.

Jenkins, H. (2006) Convergence Culture: Where Old and New Media Collide, New York: New York University Press.
Ribeiro, N. M (2012). Multimédia e Tecnologias Interactivas. Lisboa: FCA.
Miller, C.H. (2014) Digital Storytelling: A Creators Guide to Interactive Storytelling, Burlington, MA: Focal Press.

At the end of the course the student is expected to be able to:
1. Acquire the fundamentals concepts of interaction design, HCI guidelines and usability principles, applied to diverse platforms/media;
2. Apply the basics concepts of web design (learned in Web Design I), UI & UX in the stylization and development of web pages
3. Understand and transpose prototyping and conceptualization technics to multimedia projects that aim to optimize HCI.
4. Acquire and apply usability evaluation techniques and methodologies.

1. HCI, USABILILITY, UX & INTERACTION DESIGN
1.1 HCI & Gestalt Principles applied to HCI
1.2 Interaction Design & Interaction Paradigms
1.3 User Interface Design & User Experience
1.3.1 Foundations of Usability
1.3.2 Basics of User Interface Design
1.3.3 User Experience
1.4 Case Studies Analysis
2. DESIGN & DEVELOPMENT OF INTERFACES
2.1 Conception of Projects
2.1.1 Brainstorming, Research & Analysis
2.1.2 Personas & Scenarios
2.1.3 Organization of Information
2.2 Wireframing & Prototyping
2.2.1 Prototyping (Low, Medium & High Fidelity)
2.2.2 Wireframing / Prototyping Tools
3. EVALUATION & DOCUMENTATION OF PROJECTS
3.1 Usability Evaluation Methods (Heuristic Evaluation, Expert Reviews & User Testing)
3.2 User Testing & Evaluation – Practical Implemantion
3.3 Mockup’s & Documentation (Kit UI/UX)

Krug, S. (2014). Don't Make Me Think, Revisited: A Common Sense Approach to Web Usability (3th ed.): New Riders.
Norman, D. (2013). The Design of Everyday Things: Basic Books.
Preece, J., Sharp, H., & Rogers, Y. (2015). Interaction Design: Beyond Human-Computer Interaction (4th ed.): Wiley.
Tidwell, J. (2011). Designing Interfaces (2nd ed.): O’Reilly Media

The course unit of Multimedia Laboratory IV intends to develop competences in the field of Digital Marketing and Communication in Social Networks, Instructional Design and implementation of multimedia projects in a logic of responsive web design.

1. Introduction to Digital Marketing
- Fundamentals of Social Media Marketing
- Digital Marketing Tools
- Social Media Analytics and Consumer Behavior
- Social networks
- Social networks: tools, functionalities, public, good practices
- Multiplatform production and distribution of multimedia content on social platforms
- Strategic plan of presence in social networks
- Management of communities in social networks
2. Fundamentals of Instructional Design
- Distance learning
- Theories and Methods of Instructional Design
- Types of learning objects, needs analysis, pedagogical strategies, resources, design for reuse
- LMS Systems
3. Project practice, creativity, users and content management
- The Thinking Design Approach
- Human-Centered Design and Design Methodologies
- Integrated production processes for multimedia, interactive media, hybrid media and multiplatforms
- Multimedia projects and content management system
- Cross-platform projects: planning, implementation in CMS and management

Jenkins, H. (2006) Convergence Culture: Where Old and New Media Collide, New York: New York University Press.
Keller, Taute, Capsule (2012). Design Matters: an essential primer. Massachusetts: Rockport
Miller, C.H. (2014) Digital Storytelling: A Creators Guide to Interactive Storytelling. Burlington, MA: Focal Press.
Ribeiro, N. M (2012). Multimédia e Tecnologias Interactivas. Lisboa: FCA.
Silva, A. R. L. (2014). Design instrucional e construção do conhecimento na EAD. Paco Editorial.

• This curricular unit aims to develop competences in audio production and post-production techniques, in order to interpret and design an audiovisual work. It is intended that the student understand the process of creation, manipulation and transmission of audio content for different media, such as cinema, animation or video games.
• The student will also learn theoretical concepts and will know the main technologies and sound equipment. Topics such as digital audio and sound effects will also be considered.
• Another objective is to provide the student with the capacity for analysis and reflection. Thus, the sound phenomenon will be studied as part of an audio-visual system. The communicative and semiotic strategies and mechanisms for the sound/image relation will also be addressed.
• From the consolidation of these concepts and techniques, it is intended that the student can enhance his/her creativity in order to design and implement sound projects using sound editing software.

1. Music in Audio-visual Communication
1.1 Audio Elements
1.2 Socio-Semiotics Perspective of Musical Communication
1.3 Music in Audio-visual Communication (connotations, musical meaning, musical codes)
2. Audio Technologies and Digital Sound Basics
2.1 Acoustics (nature of sound, graphics, vibratory movements, reverb...)
2.2 Signal Conversion Systems (AD/DA converters, sampling rate, bit resolution, dynamic range, SNR, bit rate/compression...)
2.3 Formats / Codecs (MP3, MP4, AAC, WAV, AIFF...)
2.4 Audio Interfaces and Studio Equipment (connectors, mixers, equalizers, speakers, microphones...)
2.5 General techniques about sound capture
3. Audio Production and Sound Projects
3.1 Sound Design (frequency, timbre, amplitude, effects)
3.2 Introduction of audio software
3.3 Editing, Mixing and Mastering (exercises)
4. Audiovisual Projects (sound design of audio-visual contents in conjunction with the digital video editing and 3D Animation I curricular units)

Chion, M. (1994). Audiovision: Sound on Screen. New York: Columbia University Press.
Fonseca, N. (2012). Introdução à engenharia de som (6ª ed.): FCA - Editora Informática.
Pohlmann, K. (2010). Principles of Digital Audio (6ª ed.): McGraw-Hill Education TAB.

• This curricular unit has as main aim to improve the knowledge acquired in the previous curricular unit - 3D animation I. 3D Animation II will allow students to explore in more detail, all the elements of a 3D project. During the semester will be developed projects involving bones and deformed objects as well as the using of dynamics, mograph and effectors. Advanced materials, lighting and rendering will be also explored.
• It is also objective of this curricular unit introduce the student to motion design, more specifically to 2D and 3D Motion graphics. Thus, the student can explore the different contexts of the use of Motion Graphics, as well as the basics of composition and main techniques of visual effects.
• In summary, from the consolidation of these concepts and techniques, it is intended that the student have a knowledge base that allows sufficient autonomy to develop 3D animation projects, and also work with motion graphics (2D/3D).

1. Advanced 3D Modelling and Animation (Cinema 4D)
1.1 Advanced Modelling (Models, Rigging & Tags)
1.2 Animation (Dynamics, Mograph, Effectors)
1.3 Materials and Illumination
1.4 Advanced Render
2. Visual Composition & Effects
2.1 Consistency and Visual Unity
2.2 Hierarchy, Legibility and Visual Organization
2.3 Effects and Post-Production
2.5 Compositing?
3. Introduction to Motion Graphics
3.1 History and Application Contexts
3.2 Diegetic Motion Graphics & Non-Diegetic Motion Graphics
3.3 Intro and Graphic Composition
3.4 Integration of typography in Motion Graphics
4. Introduction to Compositing Software (After Effects / Cinema 4D)
4.1 Projects & Composition (After Effects)
4.2 Main Techniques (After Effects)
4.3 Animation / Keyframing and Cameras (After Effects)
4.4 After Effects & Cinema 4D Integration
5. Project Development (3D Animations and 2D & 3D Motion Graphics)

Krasner, S. (2008). Motion graphic design: applied history and aesthetics. Taylor & Francis.
Wright, S. (2010). Digital Compositing for Film and Video (3rd ed.): Focal Press.
Shaw, A. (2015). Design for Motion: Fundamentals and Techniques of Motion Design. CRC Press.

• This curricular unit has as main aim to improve the knowledge acquired in the previous curricular unit – Sound Lab I, more specifically in audio production and post-production techniques.
• In Sound Lab II is intended that the student understands the process of creation, manipulation of audio content for different media (television, cinema, animation and videogames). The student will also learn theoretical concepts and will know adapt digital audio and sound effects depending on the context.
• Another objective is to provide the student with the capacity for analysis and reflection. Thus, taking into account the sound phenomenon depending of the context, the communicative and semiotic strategies and mechanisms for the sound/image relation will also be addressed.
• From the consolidation of these concepts and techniques, it is intended that the student can enhance his/her creativity in order to design and implement different sound projects.

1. Importance of Sound and contexts of use
1.1 Audio Elements
1.2 Hierarchy of Sound
1.3 Diegesis
1.4 Techniques for Sound Effects
2. Audio Production and contexts of use
2.1 Foley & Audio Capture
2.2 Sound for Radio
2.3 Sound for Animation / Motion Design
2.4 Sound for Television
2.5 Editing, Mixing and Mastering depending of the context
3. Sound Projects
3.1 Animation / Motion Graphics
3.2 Radio & Podcast
3.3 Television

Ament, V. T. (2014). The Foley grail: The art of performing sound for film, games, and animation. CRC Press.
Rona, J. (2009). The Reel World: Scoring For Pictures-Updated and Revised Edition (2nd ed.): Hal Leonard Book
Viers, R. (2008). The sound effects bible: how to create and record hollywood style sound effects. Michael Wiese Productions.

This curricular unit aims to provide students with the possibility to build a portfolio of communication products to include in their CVs. At the end of the curricular unit, each student must have built a portfolio with one or more communication products elaborated from fieldwork and in-depth research.

• Review of basic concepts to design a (strategic, creative, entertainment or scientific) communication product: Language, ethics and techniques.
• Plan a communication product: design a project and organize work plan, including objectives, tasks and deadlines.
• Design communication Project: select and analyse material for the Project.
• Produce communication project: fieldwork.
• Project implementation.

Denzin, N. K., & Lincoln, Y. S. (Eds.) (2011). The Sage handbook of qualitative research. Sage.
Lupton, E. (2012). Graphic Design Thinking – Intuição, Ação, Criação. Barcelona: Gustavo Gili.
Ribeiro, N. M. (2012). Multimédia e Tecnologias Interativas. Lisboa: Lisboa.
Schneiderman, B. & Plaisant, C. (2004). Designing the User Interface. Addison Wesley.

The curricular unit aims to present the great historical references of the design and to integrate them in the contemporaneity, developing a theoretical course that allows the understanding of the historical contextualization of the design and its contribution to the contemporary culture.

1. The design and artistic movements of the 19th century
2. Design Schools in the 20th Century

Meggs, P. B., & Purvis, A. W. (2016). Meggs' History of Graphic Design. John Wiley & Sons.
Samara, T. (2007). Design elements: A graphic style manual. Rockport Publishers.

- Provide the recognition and understanding of the main cores of European artistic production, since their origins until today;
- Analyze historically the different artistic expressions, taking into account the relationship between the ideas and forms, the integration of the artistic element in its context of production and in their divulgation circuits;
- Understand the language codes of visual arts as means of achieving what we want to express and communicate.

1 – Introduction: the Art Before and After Art
1.1 – Approximations to the Concept of Art
1.2 – The Historical Roots of Art
2 – Erwin Panofsky: A Proposal for Analysis of Images
2.1 – Renaissance Art: New Visions of the Human and the World
3 – 19th Century: Ruptures and Innovations
3.1 – Historical, Social Context and Artistic Backgrounds
3.2 – Impressionism: The Movement of Rejected
3.3 – Neo-Impressionism and Post-Impressionism: New Aesthetic Orientations
4 – 20th Century: The Artistic Vanguard
4.1 – Cubism
4.2 – Fauvism
4.3 – Futurism
4.4 – Dadaism

NUNES, Paulo Simões (2004). História das Artes Visuais no Ocidente e em Portugal. Lisboa, Lisboa Editora, 736 pp.
FAGIOLO, Maurizio; ARGAN, Giulio Carlo (1994). Guia de História da Arte. Lisboa, Editorial Estampa, 158 pp.

- To master fundamental principles and tendencies in the area of documentary creation;
- Historically and culturally contextualize cinema and documentary photography;
- To develop capacities for the criticism and analysis of documentary works;
- Identify and analyze different types of narrative and strategies to represent reality;
- Learn technical and creative approaches.

I - Documentary Photography
- The image as a document;
- What is documentary photography;
- Photographic Image vs. Documentary image;
- References of documentary photography: Henri Cartier-Bresson, Robert Frank, William Klein and Sebastião Salgado;
- Documentary photography in Portugal.
II - Video Documentary
- The nature of the documentary;
- Documentary as Art;
- The camera and the man: a look of Dziga Vertov;
- The advertising cinema: Leni Riefenstahl, Frank Capra and John Huston;
- Ethical issues. Objectivity and subjectivity;
- Direct Cinema and Cinema Vérité;
- The documentary in Portugal;
- The construction of a documentary: language, methodology, preproduction, production and post-production.

Currean Bernard, Sheila (2007). Documentary Storytelling. New York: Focal Press.
Rabiger, Michael (2015). Directing the Documentary – 6th edition. New York: Focal Press.
Rothstein, Arthur (1985). Documentary Photography. New York: Focal Press.

The curricular unit of Infographics has as main objective to develop competences in the conceptualization, process and techniques of production of infographic projects as vehicle of transmission of information.

1. Introduction to computer graphics, basic concepts, applications
a). Brief History of Infographics
b). Basic concepts of visual language, graphic composition and communication. The functions of language.
c). Verbal language and the degree of iconicity.
2. Infographics: processing and visualization of information
a). Applications of the Infographics
b). Characteristics of infographics in the media: visual factors and infographic structure
c). Differences between static infographics and animated infographics.
3. Information design methodologies
a). Importance of interface in infographic design
b). Reading and readability issues
c). Usefulness and usability
d). Types of infographics
e). Credits and sources of information

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