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1. IDENTIFICATION DETAILS
Title:
Degree in Design
Faculty/School:
Communication Sciences
Course subject:
Set Design for Stage and Screen
Type:
Obligatory
Credits ECTS:
6
Year / Semester:
4th Year – 7th Semester
Code:
1539
Subject:
Spacial
Module:
Fields of Creativity
Language:
Spanish
Total
number
of
undertaken by pupil:
hours
150
2. DESCRIPTION OF THE COURSE
The subject is raised so that the students will perform three different exercises designed to develop
skills and solve various projects of different nature to expand their careers. Thus arises a purely scenic
project, another interior design and complements the former and latter during the development of
which delve into a specific aspect of design.
3. SKILLS TO DEVELOP
3.1. General skills
Developing the creative capacity of students from a solid theoretical and practical basis that allows
pose, solve and present design problems in a unique and original manner.
Form designers capable of developing in the experimental setting, using the basic tools of aesthetics,
such as drawing and processing color, along with the latest technological tools applied to the field of
graphic design, audiovisual design, space design and other techniques from the field.
Instill in students the ability to work as a team, starting from independent research at the service of a
global project, which allows you to define responsibilities and collaborate with other professions and
trades, pursuing a common goal.
To provide students with a broad view of the world of Design by knowledge of their different disciplines
to exploit synergies and creative resources to share the different professionals in the field.
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Instill in students the need and responsibility to apply usability methods, legal and environmental
regulations during the design and manufacture of products or messages.
To train students to work as a freelancer, self-design projects.
Teach the student to explain, argue and defend your project at both the university and in a
professional environment, facing clients or design professionals.
Join an intellectually curious professional, who rejects the weak thought, and aims to improve the
transmitting contemporary culture values based on the search for truth, goodness and beauty.
3.2. Specific skills
Acquire knowledge and master typography.
Master the editing and photography.
Understand the fundamentals of geometry.
Master the technical drawing.
Know the relevant aspects of the theory and design criticism.
Acquire basic knowledge of product development processes.
Acquire basic knowledge of economics and marketing.
Acquire basic knowledge of legal aspects of the design (patents and trademarks, copyright, intellectual
property).
Acquire basic knowledge of techniques for the organization of labor and cost management. And solve
design problems.
Solve problems, buy design methods and design projects.
Analyze constraints and define criteria. Get aesthetic appreciation.
Acquire basic knowledge and relevant research design methods.
Develop the ability to communicate and be understood orally and in writing (preparation of brief,
defense proposals, report writing, information display).
Acquire basic knowledge of physiology of visual perception and its implications for visual
communication.
Acquire basic knowledge of construction, materials technology and production techniques to acquire.
Master the basic design and principles.
Design and make models and models.
Master exposure and modeling techniques.
Acquire usability evaluation methods.
Acquire basic knowledge of manufacturing.
Acquire the ability to decide construction criteria, choice of materials and production systems.
Acquire the ability to evaluate applications and functions.
Acquire the ability to find alternative design solutions and evaluate them.
Acquire a critical understanding of the history, theory and current art discourse.
Acquire a critical understanding of the evolution of aesthetic, historical, material, financial and
conceptual.
Acquire the ability to (self) and analytical thinking (self-) critical creative work.
Acquire the ability of curiosity and surprise beyond the practical perception.
Acquire a basic knowledge of research methodology of the sources, analysis, interpretation and
synthesis.
Acquire the ability to communicate.
Present orally and in writing clearly complex artistic problems and projects.
Develop the ability to work autonomously.
Develop the ability to work together.
Acquire the ability to persevere.
Develop the capacity of initiative and self motivation.
Know the rules of action arising out of copyright and ownership.
Acquire a critical understanding of the performative dimension and social impact of design.
Develop the ability to collaborate with other disciplines of Design.
.Collaborate with other professions and, especially, with professionals from other fields.
Acquire the ability to self-employment and job creation.
Develop interpersonal skills and awareness of the capabilities and resources of its own.
3.2. Complementary skills
Know how to relate all other knowledge acquired in other subjects to learn to solve the proposed
statements.
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4. PRE-REQUISITES
The knowledge gained in previous courses in subjects such as: Color I, Drawing I, of Design Fundamentals,
Volume, Systems analysis of form and space, Drawing II, Design Projects I, Applied Technology, Industrial
Design, Design fashion design Projects II. They particularly value the knowledge of: Photoshop, Auto Cad, 3D
Studio Max and Rhinoceros.
5. WORK TIME DISTRIBUTION
CONTACT HOURS
REMOTE STUDY HOURS
60
90
6. OBJECTIVES
Analyze, develop and implement a methodology for the future designer, through the stages necessary
to weigh out a full draft stage space, interior design and ephemeral architecture in the context of the
general conception of an overview or guideline.
Manage the necessary tools that allow rationalization and conceptualization of ideological justification
a stage-set design, interior architecture or ephemeral design.
Learn to integrate into this process, the designer's work with the rest of the cast and crew.
Know how to analyze the different areas in which they intend to act and choose the most appropriate
technologies in a project, knowing the different technical and technological possibilities and materials
both traditional and next generation.
Understanding of space as a plastic unit with a meaning, a function capable of provoking certain
emotions in the viewer or user.
To reflect on the relationship between dramaturgy, stage-set design and staging under performing and
artistic practices of the twentieth and beginning of the XXI.
Be able to contextualize the plastic-visual design in a particular style and learn to evoke different
historical epochs.
7. INDEX OF SUBJECTS
Students will perform three different exercises designed to develop skills and solve various projects of
different nature to expand their careers. Thus arises purely scenic project, another interior design and
complements the former and latter during the development of which delve into a specific aspect of
design.
8. METHODOLOGY/LEARNING ACTIVITIES
The proposed learning method is to "workshop class" combined with continued practice: Colloquium
talk and theoretical introduction to the subject by the teacher.
9. EVALUATION SYSTEM
Continuous assessment.
Being an essentially practical and artistic discipline, but also theoretical and intellectual, the student
will be required not only the acquisition of knowledge and proper use of some techniques, but priority
will be finding its own way of working and development their creativity and analytical skills.
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10. BIBLIOGRAPHY
BACHELARD, G., La poética del espacio. Fondo de Cultura Económica, México, 1994.
CRUCIANI, F., Arquitectura teatral, Colección Escenología, México, 1994.
HORMIGÓN, J. A., Trabajo dramatúrgico y puesta en escena, A. D. E., Madrid, 1991.
HORMIGÓN, J. A., Investigaciones sobre el espacio escénico, Alberto Corazón Editores. Madrid,
1970.
INNES, C., El teatro sagrado. El ritual y la vanguardia, Fondo de Cultura Económica, México, 1992.
IRVIN, P., Directores. Artes Escénicas, Océano, Singapur, 2003.
SÁNCHEZ, J. A., La escena moderna. Manifiestos y textos sobre teatro de la época de las
vanguardias, Akal, Madrid, 1999.
SÁNCHEZ, J. A., Dramaturgias de la imagen, Ediciones de la Universidad de Castilla-La Mancha,
Madrid, 1999.
SELDEN, S., La escena en acción, Editorial Universitaria de Buenos Aires, 1960.
SURGERS, A., Escenografías del Teatro Occidental, Ediciones Artes del Sur, Buenos Aires, 2004.
MACKINTOSH, I., La arquitectura, el actor y el público, Arco/ Libros S. L., Madrid, 2000.
UBERSFELD, A., La escuela del espectador, A.D.E. Madrid, 1997.
BEAULIEU M, El vestido moderno y contemporáneo, Barcelona,1971.Oikos-tau / El vestido antiguo y
medieval, Barcelona,1971. Oikos-tau .
BOEHN,M von, La historia del traje en Europa, Barcelona, 1929, Salvat
BOUCHER ,F. Historia del traje en occidente desde la antigüedad
hasta
nuestros días,
Barcelona,1967. Montaner y Simón
DALMAU, R. Historia del traje, Barcelona, 1947. Dalmau y Jover
DESLANDERS, I. El traje imagen del hombre, Barcelona, 1985. Tusquets
GAVARRON, L. Piel de ángel, Barcelona, 1988. Tusquets , La mística de la moda, Valencia, 2003.
Engloba
KYBALOVA, L. El gran diccionario de la moda, Paris, 1970. Gruñid
LAVER, J. Breve historia del traje y de la moda, Madrid, 1989. Cátedra
FIELL, Ch, P. 1000 Chairs, Taschen
BAYRAS M. Nuevas sillas, GG 2006
LOVELL S. Furnish,Die Gestalten Verlag 2007
EL CROQUIS Revista de arquitectura
DISEÑO INTERIOR, Interiorismo Arquitectura y diseño.
CASANOVAS SOLEY, M. MODERN INTERIOR DESIGN , FKG 2008
11. ADDITIONAL INFORMATION
Since this is Artistic Teaching, the professor reserves to introduce certain changes over the course if
necessary.
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