IPLUSO 23157

Composition and Color Theory

• ApresentaçãoPresentation

  This UC aims to provide students with knowledge of color and visual perception in order to apply intelligently these in your projects.
• ProgramaProgramme

  Syllabus contents COMPOSITION Media: material, formats, limits Technology: technical means, materiality and gestures Elements: point, line, colour, texture, shape and space (perspectives vs near and far) Principles: balance, contrast, emphasis, scale, proportion, harmony, movement, pattern, rhythm, unity. Geometry: surface / flatness, spatiality and perspective Movement: time / visual narrative, rhythm, repetition Function / intention of the contents of an image COLOUR: Perceptual phenomenon Definition of tone, luminosity, saturation, scale and colour gradation (colour qualities) Models and representation systems (colour theories); for affinities and contrasts (chromatic harmonies) Physiological effect and symbolic dimension (meaning of colour) Structures for organizing the composition and layout space through exercises related to stamping and standardization.
• ObjectivosObjectives

  The objective of this UC is to provide students with theoretical and practical skills: 1. about COMPOSITION: what are the structural elements (point, line, texture, color and value), how is the plastic shape visually perceived (shape / background; dense / dispersed, concentrated / diluted; center / periphery; movement, rhythm, perspective, representation scale, juxtaposed / overlapping). 2. about COR: critical awareness for the functioning of the vision in the perception of reality (perception); for the nature and dimension of the chromatic phenomenon (color perception); for the definition of tone, luminosity, saturation, scale and color gradation (color qualities); for models and representation systems (color theories); for affinities and contrasts (chromatic harmonies); for the physiological effect and for the symbolic dimension (meaning of color); 3. Explore structures for organizing the composition and layout space with stamping and standardization exercises.
• BibliografiaBibliography

    AAVV (2011), A Dictionary of color combinations. Seigensha Art Publishing ALBERS, J. (2013), Interaction of colour. New Haven & London: Yale University Press BALL, P. (2003), Bright Earth ? Art and the invention of color. Chicago: The Chicago University Press BATY, P. (2017), The Anantomy of Colour: The Story of heritage & Pigments. England: Thames & Hudson BOULEAU, C. (1963), La Geometrie Secrete des Peintres. Paris: Le Seuil GAGE, J. (1993), Color y cultura. Madrid : Ediciones Siruela GHYKA, M. (1927), Le Nombre d'Or. Paris: Gallimard HOCKNEY, D. (2006), Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters. Londres: Studio ITTEN, J. (1973), Art de la Couleur. Paris: Dessain et Tolra KANDINSKY, W. (1987), Ponto Linha Plano. Lisboa: Edições 70 STOICHITA, V. (1999), L'Instauration du Tableau. Genebra: Droz S.A
• MetodologiaMethodology

  This UC follows a theoretical-practical methodology based on Project-based Learning. 1. Composition - theoretical and conceptual approach followed by a visual challenge to discuss collectively (15%), reports or research in class (15%). 2. Color - theoretical-practical and conceptual approach followed by visual and practical challenges to discuss collectively (30%). 3. Execution of practical exercise and portfolio (40%), in response to the statement presented by the teacher. Assessment is continuous and considers: knowledge acquisition, classroom performance, mandatory attendance (75%), attendance and punctuality, participation in discussions, team spirit and response to exercises. The final assessment considers self-criticism and the capacity for experimentation and resourcefulness. The appeal exam requires the delivery of all the exercises carried out in the semester (60%) and the answer to the exam exercise (40%).
• LínguaLanguage

  Português
• TipoType

  Semestral
• ECTS

  4
• NaturezaNature

  Mandatory
• EstágioInternship

  Não