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... In terms of theoretical contributions of the research, key inferences were derived and published on: pedagogical practices at ESBAP in the pre-revolutionary period (Lima, Alvelos, Barreto, & Penedos-Santiago, 2019b;Lima et al., 2020a); the impact of travels abroad on the artistic activity of a generation of students in a dictatorial period Lima, Alvelos, Barreto, Penedos-Santiago, & Martins, 2020b); first pedagogical practices in Design in Higher Education (Lima, Alvelos, Barreto, Penedos-Santiago, & Martins, 2021, 2022a; and monographs by Portuguese artists-designers (Lima, Alvelos, Barreto, Penedos-Santiago, & Martins, 2021a;, 2020Penedos-Santiago & Martins, 2020;. In this domain, the archives have also proved resourceful towards illustrating and complementing presentations made at conferences (Lima et al., 2020a;Lima et al., 2020;Lima, Alvelos, Barreto, & Penedos-Santiago, 2019a, 2019bLima, Barreto, & Penedos-Santiago, 2021). ...
... • The workshop titled "The narrative possibilities of illustration in transgenerational dialogue" with students from Communication Design, Illustration, and Graphic and Editorial Design courses. The main task was to research and create illustrated narratives of the artists, wherein each student was assigned one artist and had to draw a portrait and develop a graphic novel (Santos, 2020). The students' research process in this regard included consulting the archive and making a detailed study of their artist subjects' personality before building an original narrative for the graphic novel (Lima et al., 2022b). ...
This article reviews the development of a visual archive within the scope of a funded project Wisdom Transfer that was realised at the Faculty of Fine Arts (FBAUP), University of Porto, in Portugal from 2018 to 2021. The project’s directional objective was to research on the pedagogic environment at the faculty during key years preceding the Revolution of 25 April 1974, towards recovering and reactivating the connected historical, empirical, and technical heritage – which had had a pivotal influence on the maturation of the faculty’s now distinctive cultural identity. The visual archive was based on photographic and audio-visual materials gathered through a series of interview-based sessions with noted artists who were associated with the faculty during the indicated period as either teachers or students. The photographic materials included both original imageries belonging to the period, and contextual pictures taken during the project period, and became generative resources for both the reconstruction of pedagogic histories, and their reinterpretation in contemporary contexts of creative education. The article, thereby, concatenates the methodological elements that were instrumental in the articulation of the visual archive, alongside a number of key project outputs towards highlighting the efficacy of photographs and photography in conducting social research.
... The practices implemented in both universities were based on a set of methodologies developed within the Wisdom Transfer (https://wisdomtran sfer.fba.up.pt) project aiming to promote knowledge transfer between retired artists and designers and current art and design students and based on workshop models tested within this project . Specifically, the programs and outcomes of three workshops were analyzed: the workshop "The narrative possibilities of illustration in transgenerational dialogue", held at the Faculty of Fine Arts of the University of Porto (Lima et al., 2022;Santos, 2020); the workshop "Typographical essays as a contribution to the transfer of transgenerational knowledge", held at the Lusófona University of Porto (Lima et al., 2020(Lima et al., , 2022; and the workshop "Procedural pattern interpretations of the work of António Quadros Ferreira", held at the Polytechnic Institute of Cávado and Ave . ...
... From the analysis of these workshops, a set of practices were identified that contributed significantly to raising greater interest and involvement of students in the proposed projects; broadening knowledge about artists and works from other generations; stimulating the sharing of knowledge between students with different profiles (Lima et al., 2020). Of these identified practices, we highlight: the possibility of attending the workshop for free, the only requirement being the students' commitment and engagement; the encouragement of proximity between teachers and students, dissipating notions of hierarchy in favor of a more collaborative work; the creation of an environment similar to artists' studios in order to stimulate greater proximity, sharing of ideas and experiences; the gathering of a reduced number of participants which allows a greater follow-up of all the work, the involvement of all (teachers and students) in the project and a sense of belonging and commitment; the engagement of participants coming from different artistic areas, envisaging multidisciplinary groups (Lima et al., 2020(Lima et al., , 2022Santos, 2020). ...
This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.
This article aims to present a set of guidelines for the curricular inscription of invisible stories—empirical knowledge, life experiences, professional and pedagogical practice—of Design professionals, lecturers, and researchers, with a role in the history of Portuguese Design, shortening as much as possible, the scientific findings from the corresponding curricular frameworks. It is intended to revert this matter into a pedagogical context, permeating several Curricular Units, in coordination with the faculty thus creating new pedagogical contexts for the students who take part in these Units. A series of workshops in different Design Faculties were conducted to understand the engagement of the students and the degree of empathy they were able to establish with the different topics through visual representation exercises. This reactivation and inscription of these testimonies, from the voice and experience of several design professionals and researchers, aims to connect the current generation of design lecturers, students, and professionals with Portuguese design. To achieve this, we propose two dissemination approaches: (i) learning methodologies will be put into practice aimed at exploring new visual repertoires that offer a critical look to the new generation of design students on the inheritance of knowledge, and intellectual assets, through visual representation; (ii) conceiving a digital archive to increase outreach and perpetuate knowledge. The guidelines proposed will inform new solutions for the dissemination, inscription, and reactivation of knowledge (shaped by memories and experiences) as curricular or extracurricular modules, using visual narratives as a communicational interface.KeywordsDesign researchDesign educationCurricular inscription
Strategic brand management presupposes the use of different strategies. The dimensions. In this theoretical chapter, the authors analyze how the most known concepts are related. As a result, brand equity plays a great importance in brand image and brand identity, implying different approaches in the communication process of brands. Consequently, storytelling plays a specific role in brand communications, especially digital storytelling. Creating appropriate narratives, brands can improve customer engagement, consumer’s emotional involvement and loyalty.KeywordsBrandingBrand equityBrand image and identityStorytellingNarrativesCustomer involvementConsumer’s memoryDigital marketing
