Master in Drawing

FBAUL — Faculdade de Belas-Artes da Universidade de Lisboa

Drawing Department of the Fine-Arts Faculty of the University of Lisbon

Objectives
This Masters course, in the specific field of the scientific area of Drawing, has the fundamental purpose of deepening and updating
theorectical and pratical knowledge and the corresponding skills development, exercised, particularly, in activities of research or
works that project innovative applications of knowledge. Hence, it should also result in gains of autonomy that expand prospects in
the labor market, contributing also to professional performances guided by high quality standards and demands.
The cultural and technological changes over the past two decades have been changing the ways of representation and graphic
production and gave rise to new forms of teaching-learning and practical applications of drawing. The graphic expression as a specific
field of artistic achievement doesn’t represents today all of the functions of drawing, taking into account the importance of the
development of informatics and information, produced by computer, and transmitted in graphic form. In this context, the cognitive-
communicative function of drawing as an instrument of research and scientific information is relevant and lacks adequate systematic
framework. The purpose of this Master course is to create a response accordant to the needs of consolidation and deepening of
theoretical and practical knowledge and the corresponding skills development in the field of Drawing. To the interest in developing
work in this area, every year expressed by people with artistic training, joins the others with training in the areas of Design,
Architecture and Art Education.

Scientific coordination
Américo Marcelino

Course organization
The Master’s degree in Drawing is granted to those who have obtained 120 ECTS, through the conclusion of the Specialized Course
in Drawing (60 ECTS) and the approval in the public defence/assessment of a final work (60 ECTS) – original scientific dissertation
or original project work.
All classes are addressed in portuguese. Therefore, it is recommended an independent knowledge of portuguese language (at least
B1 level according to the Common European Framework of Reference for Languages).

Schedule
You can consult the course’s present schedule in the following link.

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 Master in Drawing Study Programme
1st Year — 1st Semester
CU ECTS Total Class Hours

Name of the Curricular Unit Department
Type credits per Week

1 Analogue Drawing D TP 6 1,5

2 Portrait D TP 6 1,5

3 Digital Drawing D TP 6 2

4 Methods for Precise Representation D TP 6 1,5

5 Research Methodologies CAP T 6 2

5 30 8,5

1st Year — 2nd Semester

CU

ECTS

Total Class Hours

Name of the Curricular Unit Department
Type credits per Week

6 Artistic Project D TP 6 3

7 Editorial Drawing D TP 6 1,5

8 Scientific Drawing D TP 6 2

9 Drawing Theory D T 6 1,5

10 Optional
6

5 30 8

2nd Year — 1st Semester

CU ECTS Total Class Hours

Name of the Curricular Unit Department
Type credits per Week

11 Optional
6

12 Research Project Seminar D OT 3

Project Work / Dissertation D OT 21

3 30

2nd Year — 2nd Semester

CU ECTS Total Class Hours

Name of the Curricular Unit Department
Type credits per Week

Project Work / Dissertation D OT 30

1

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Optional Curricular Units
CU ECTS Total Class Hours

Name of the Curricular Unit Department
Type credits per Week

13 Didactics of Drawing D T 6 1,5

14 Comparative Anatomy D TP 6 1,5

15 Animated Expression AM TP 6 3

16 Composition of the Movement in Animation AM TP 6 3

4 24

CU - Curricular Unit / Type: T- Theoretical / TP - Theoretical-Practical / OT - Tutorial Orientation

ECTS - European Credit Transfer System
D- Drawing Department
CAP- Sciences of Art Department
AM- New Media Department

Curricular Units Abstracts

1st year — Specialized Course in Drawing

Analogue Drawing
The Curricular Unit of Analogue Drawing aims to develop the knowledge and skills acquired in the first cycle of studies and open
new perspectives to the drawing as a form of creative expression, which continues to the technical processes dependent on human
skills and operational techniques with physical support. Initially focused on composition and expressive language, the discipline has
focused on the problem of the human body and its representation, taking into account the development of transfiguration capacities
and the invention of new forms. However, it is important to note the importance of the study of the perceptual reality and the
development of operative capacities from complex structures, as is the case with the human figure. The subject of the human body is
an extensive reference to other curricular units and lacks deep knowledge, not only strictly academic, but above all in the various
professional aspects that point to the fields of animation and editorial illustration.
Professor: António Pedro Ferreira Marques

Portrait
The discipline of Portrait studies its principles through the practical side. The various ideas, theories and processes that have been
more personally or scientifically associated with the art of portraiture are applied and tried. In fact, the conception of portraiture
crosses several domains and expands in time, through new approaches or in a recapitulative way. Thus, this discipline studies in a first
stage the most objective questions as the proportion, the geometry, the anatomy, the expression and the physiognomy. And on a
second level the most speculative questions such as air, attitude, agreement of traits, physiognomy, idealization, ideas about life,
transforming evolution and death. In this sense, portrait exercises are developed with various models, experimenting with materials
and graphic proposals that best suit the specificity of each one.
Professor: Artur Ramos

Digital Drawing
The Learning outcomes of the curricular unit are the following: develop the capacity of creating computer graphics, mastering the
basics of three-dimensional modelling and to develop aesthetic sensitivity from digital media. The goal is to broadest the learning in
the computer-aided design area, so it is understood as a fundamental teaching of various types of digital design, covering areas such
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as drawing bitmap, vector and three-dimensional. There is a greater emphasis on teaching the three- dimensional drawing, particularly
the modelling basics, since it will be a first contract.
Professor: Henrique Costa

Methods for Precise Representation

The curricular unit aims to provide students the essential methods for the correct and scientific representation of existing or
projected forms, ensembles and spaces that are part of the imaginary of artistic, visual and plastic activity in the world of
representation. The methods and theories that will be taught, such as geometric foldings, parallelism and perpendicularity, are
particularly integrated in the science of the linear perspective that are interconnected with drawing, in the representation, for example,
of volumes, oblique or not, shadows and reflections. The mastery of these methods and sub-methods allow the student to avoid naive
representation. In this sense, and taking into account the transversality with the design in general, it is justified the centralization of
the program in the perspectic representation, with greater incidence in the plane frame, but also focusing the curvilinear perspectic
representation, verifying other expressive effects through the variants of the perspectic board.
Professor: António Trindade

Research Methodologies
This curricular unit aims to present the main methodologies of scientific research with a view to the elaboration of the master's
thesis. Acquire techniques of bibliographic research, structuring and indexing, writing (citation-note and author-date systems),
bibliography (the Portuguese norm and most relevant international standards), various indexes, graphic support elements and annexes.
Professor: Cristina Azevedo Tavares (Sciences of Art Department)

Artistic Project
This curricular unit aims to promote in the student skills that allow him to develop a project work with artistic ambition. Starting
with a proposal to develop a personal graphic project for each student and taking into account the multiplicity of solutions, there will
be addressed both wide-ranging and particular issues related to them, such as: the ability to establish new graphical relationships from
pre-existing elements; The autonomization of the projectual sense and deepening of the creation of conceptual maps leading to a
critical attitude demanding the practice and artistic culture; The creation of theoretical-practical discipline towards the capacity for
experimentation and intellectual curiosity, allowing the student to improve his creative skills in drawing, understood in a specific and
comprehensive sense; The development of the ability to conceptualize compositional variants from a theme; The deepening of the
self-critical sense as a way of extending the artistic and cultural horizon of each student, as well as the consequent sense of individual
demand.
Professor: Américo Marcelino

Editorial Drawing
The student of Editorial Drawing will be confronted with the problematic of the edition and the diffusion of the image as
information, in a synchronous and diachronic perspective. To this end, relevant texts and examples will be proposed, which will serve
as a stimulus and challenge for practical exercises, always considered in their respective theoretical framework.
Professor: Manuel San-Payo

Scientific Drawing
Scientific Illustration is the visual communication of science facts and concepts. Drawing skills and technical proficiency of diverse
analogic techniques in black and white and colour are essential approaches to an effective and accurate development of each
illustration project, in every science subject matter. The student must gain significant competence in planning and render an
illustration for each project final format, and also be able to understand scientific language in a given science field for a given
audience.
Professor: Pedro Salgado

Drawing Theory
This curricular unit aims to frame the study of drawing in a spatial and temporal perspective, following the history of artistic
practice and the theoretical perspectives on drawing, explicit in the ideas expressed in treatises, texts of artists, letters and other forms
of reflection. On the other hand there will be taken topics related to the natures, languages, subjects and functions of the drawing,
reflecting on their characteristics, specificities and common aspects in the comprehensive plan of the drawn images. The classes will
be taught by different teachers in the drawing department in a seminar format, organized by thematic modules, in order to provide the
students with a comprehensive theoretical horizon and the conceptual bases that enable them to do investigation that contributes to
improve the consistency and the outlining of research projects, providing a reflection on the role of drawing in artistic practice and its
quality as an autonomous artistic expression.
Professor: Several professors from the Drawing Department

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 Optional Curricular Units

Didactics of Drawing
In the original version of the Master's Degree in Drawing, the Drawing Didactics course corresponded to the need to include in the
study plan the teaching / learning aspect in drawing, taking into account the nature of the academic degree that enabled, with full
recognition, all those who wanted to apply for the exercise of teaching. With the creation of the Institute of Education at the
University of Lisbon, teacher training came to depend on the frequency of master's degrees in education, in a diversified range of
areas, including teaching the visual arts and, by extension, the Drawing as a discipline. Given the doubt of continuing or extinguishing
Didactics, in the Master's Degree in Drawing, it was decided to maintain its inclusion in the syllabus, taking into account the double
aspect of drawing, as art and as science, and the trajectory of knowledge in this Area, which makes the practice of drawing
inseparable from its didactic expression. The contents of this curricular unit contemplate a wide range of methodological strategies, in
a problematic context, where the creative graphic experience, tributary of a vast multicultural heritage, today faces the challenge of a
huge offer in the field of new technologies and new forms of expression.
Professor: António Pedro Ferreira Marques

Comparative Anatomy
The Comparative Anatomy curriculum unit of the FBAUL Master in Drawing aims to guarantee the necessary knowledge for the
development of scientific and artistic skills in a specialization context that includes scientific illustration, creative drawing and various
areas of concept art. The study of anatomical structures of the human being as well as those of various animal species will be done
with the purpose of a better understanding of the hybrid and mythological beings theme. The classes allow access to scientific
information with repercussion in the representation of the human and animal bodies. The visual documentation presented allows the
students to explore different types of human and animal morphology. Study visits will be made to the National Museum of Natural
History and Science and to the Archaeological Laboratory (LARC) (DGPC), among other museological spaces, with the purpose to
observe the variability of the skeletal and muscular system in different mammals and birds. During the semester, fieldwork will be
carried out based on the observation and drawing of anatomical structures. The assessment will be made by the accomplishment of a
work on the theme to be agreed.
Professor: Isabel Ritto

Animated Expression
Global objectives: Analyse the narra tive, dramaturgic, and expressive resources in animation, in the context of several
cinematographic, audiovisual, and multimedia supports; Explore image-by-image motion, using its linguistic qualities and according
to a set of analysis parameters previously provided.; Develop critical analysis of animated works or works incorporating image-by-
image motion, using the specific vocabularies of each author. Specific objectives: Experiment with and compose animated
movements, exploring the notions of direction, rhythm, and simultaneity; Learn and explore the animated graphics associated with the
narra tive and dramaturgic necessities of each animated action; Explore the screen as the receptacle of animated images of various
natures; Explore the plastic and creative resources of animation based on the notion of frame.
Professor: José Pedro Cavalheiro (New Media Department)

Composition of the Movement in Animation

Global objectives: Recognise, analyse, and use animated motion representation resources; execute planning and modelling
activities based on different expressive and technical frameworks; Develop critical thinking based on the analysis and formal
discussion of reference works, where the construction of motion image by image is patent. Specific objectives: Plan and execute
animated movements based on methods and processes complementary to the animation industry; Develop animation exercises,
exploring the intrinsic qualities of the image-by-image motion, based on a set of proposed parameters rooted in the work of
experimental authors; Create animated shapes and compositions based on a set of de constraints.
Professor: José Pedro Cavalheiro (New Media Department)

At the end of the 1st year (when concluding the Specialized Course in Drawing), each student should already have a concrete idea
of the theme, work and research that want to develop. At this moment, depending on the work profile and type of research to be
developed, each student should choose the supervisor who will guide the individual work plan for the next year. The supervisor is
proposed by the student from the following professors of the Drawing Department:

Américo Marcelino - Assistant Professor, Doctor

António Pedro - Associate Professor with Aggregation, Doctor

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 António Trindade - Assistant Professor, Doctor (Geometry section)

Artur Ramos - Assistant Professor, Doctor

Domingos Rego - Assistant Professor, Doctor

Henrique Costa - Assistant Professor, Doctor (Digital Drawing section)

Isabel Ritto - Assistant Professor, Doctor (Anatomy section)

João Jacinto - Assistant Professor, Doctor

Luísa Arruda - Associate Professor, Doctor

Manuel Gantes - Assistant Professor, Doctor

Manuel San-Payo - Assistant Professor, Doctor

Odete Palaré - Assistant Professor, Doctor (Geometry section)

Pedro Salgado - Guest Professor, Specialist (Scientific Drawing section)

Pedro Saraiva - Full Professor, Doctor

Each student should therefore first talk to the potential future supervisor to present his project and to know its availability. Student
and the supervisor will discuss the details of the research and the work plan to be developed. After everything is agreed with the
supervisor, the student will then have to register in the Academic Services the title, the subject and the modality of the final work
(Dissertation or Project Work) to be developed. The student will have specific orientation by his supervisor in the "Research Project
Seminar" accordingly to an individualized working plan that will be considered.

2nd year — Final Work

Research Project Seminar

The Research Project Seminars are organized in moments intended to guide student ́s research projects, being entirely directed by
the respective responsible supervisor. The purpose of this space is to establish specific methodologies for research in drawing and to
provide guiding recommendations or relevant instruments for each individual project. Focused on tutorial orientation sessions
promoted by the project supervisor, an individualized work plan is agreed, contemplating the possibility of, in articulation with the
master's degree coordination, the participation in collective and periodic sessions of presentation of artistic research work at the level
of dissertations, thesis or other postgraduate studies, or the selective attendance of sessions of other postgraduate programs.
Professor: Several professors from the Drawing Department

Project Work / Dissertation

The 2nd year of the master's degree is mainly dedicated to the development of the research work which, according to the
regulations of postgraduate studies, can cover (1) a "Dissertation", which is a work of a more theoretical nature on a given topic,
materialized in a written work of 60 to 90 pages; and (2) a "Project Work", which is an applied work of a more practical nature, which
is materialized in the presentation of the work of the developed practical component and in the respective report or written work that
frames it from 45 to 70 pages.
a) Dissertation: work of scientific nature on a topic or topic of mastery knowledge domain. It should have a framing and critical
discussion component of the relevant literature and a theoretical exercise and reflection component that promotes an innovative
approach to the topic or topic chosen. It should also present a concluding summary and suggestions for future work.
b) Project work: work of applied scope that integrates knowledge and skills acquired throughout the course, in order to present
solutions on practical problems in the area of knowledge of the course, or the development of an artistic work. The dimensions of a
multidisciplinary and experimental character must be valued, without forgetting the need for theoretical framework and
methodological justification. The project work may include the public presentation of the practical component and its portfolio of
developed artwork.

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 Other Information

Who can apply

Are accepted as candidates for the Master in Drawing:
Holders of the Bachelor degree or legal equivalent in the areas of Drawing, Sculpture, Painting, Communication Design,
Equipment Design, Architecture, Teachers of the Second Cycle of Basic Education (variant of Visual and Technological Education);
Holders of a foreign academic degree conferred following a 1st cycle of studies organized according to the principles of the
Bologna Process by a State acceding to this Process, in the areas mentioned above;
Holders of a foreign academic degree in the areas mentioned above, recognized as meeting the objectives of a Bachelor degree by
the Scientific Board of the Faculdade de Belas-Artes;
Holders of an academic, scientific or professional curriculum recognized by the Scientific Board of the Faculdade de Belas-Artes as
attesting the capacity to attend the study programme.

How to apply
The presentation of the application is carried out exclusively online, through the Fenix platform. All the information regarding the
application process (dates, vacancies, necessary documents and form of submission of the application) can be consulted here.
For the presentation of the application, a non-refundable application fee is due.

Tuition fees
See here the tuition fees currently set for the courses frequency.
The tuition fee for full-time students is set annually by the General Council of the Universidade de Lisboa, which may, under the
International Student Statute, set differentiated values for international students.
Tuition fees can be paid in installments, to be defined by the Management Council of the Faculdade de Belas-Artes.

Evaluation criteria and selection

In the process of selection there’s an overall assessment of your application, subject to a numerical scale of 0 to 20 values, in which
the following criteria will be considered:
Final rank of academic degree. In the case of academic degrees obtained in foreign higher education institutions (when the foreign
higher education institution adopts a different scale from the portuguese), the mark will be the result of the proportional conversion of
the obtained grade to the portuguese grading system;
Academic, scientific, technical and artistic curriculum;
Relevant profissional experience in the course area, classified from 0 to 20.
An interview can take place if the Course Coordinator considers necessary, in which case it will be included in the evaluation
criteria indicated above. Candidates who do not attend the interview will be excluded from the selection procedure.

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