Atendimento avaliação

Fica o horário de atendimento para efeito de avaliação, que decorrerá amanhã (20/06) na sala PS12.

	GRUPOS
15:00	2.3
15:15	1.4
15:30	3.1
15:45	1.2
16:00	2.1
16:15	1.3
16:03	3.5
16:45	1.6
17:00	3.6
17:15	3.7

Até lá,

pc.

[ ! ] Eventos + Notas [ ! ]

1) Tal como anunciado na aula, deixo aqui o seguinte convite para quem tiver interesse:
https://docs.google.com/forms/d/1EiQdm6weKC-3bH_77VEVIYtb5A48g89sv3N5olB_ytY/viewform

2) Fica também a informação de que ainda neste mês (de 25 a 28 de junho) realizar-se-á, no Porto, o xCoAx 2014: Second conference on Computation, Communication, Aesthetics and X. Todos os interessados poderão conhecer o evento e registar-se at http://2014.xcoax.org.

The development of computational tools and media has been radically transforming the landscape for the practice of the arts, of design and of numerous cultural manifestations. Recognizing this, xCoAx is designed as a multi-disciplinary enquiry on arts, computers, computation, communication and the elusive x factor that connects them all.
xCoAx is a forum for the exchange of ideas and the discovery of new and valuable synergies. It is an event exploring the frontiers of digital arts with the participation of a diverse confluence of computer scientists, media practitioners and theoreticians, with a focus on the relations between what can and cannot be computed, what can and cannot be communicated, what is beautiful and how humans and computational systems intersect in the development of new directions in aesthetics.
The first edition of xCoAx took place in 2013 in Bergamo, Italy. The 37 works presented — selected from a total of 114 submissions from 28 countries — are compiled in the proceedings book, available at 2013.xcoax.org.

3) Relembra-se ainda que todos os grupos deverão publicar o material apresentado nos respectivos blogues até ao final do dia de terça-feira (17/06).


Boas férias,
pc.

Questionário + Inquéritos pedagógicos + Sessão de atendimento

* Pede-se a todos os estudantes desta unidade curricular que preencham o seguinte questionário logo após a realização do P03, com o maior nível de sinceridade e honestidade: https://docs.google.com/forms/d/1L6iQ8UUAiS7XHfuOpP1ZSFrbelTHqmFzHj9FboH5yjA/viewform. Obrigado.

* Pede-se ainda, de igual modo, a todos os estudantes que preencham os inquéritos pedagógicos no sigarra.

* Informa-se ainda que as sessões de atendimento para efeitos de avaliação decorrerão esta semana ao longo do dia de sexta-feira (20/06), mediante requerimento por email até ao fim do dia 18/06 (quarta-feira). Deste modo, o respectivo horário será anunciado neste blogue no dia seguinte. O atendimento será realizado mediante os grupos de trabalho estabelecidos, e não individualmente.


A todos um bom trabalho,
pc.

P03 —> Horário das apresentação finais [!] UPDATED [!] —> 13/06

IMPORTANTE! 

Indicações de procedimento

* A apresentação não deverá durar mais do que 7 minutos (recomenda-se que apontem para os 5 minutos, a fim de evitarem as discutidas penalizações), sendo que será interrompida quanto esse tempo terminar.

* Todas as apresentações terão uma sessão subsequente de 3 minutos dedicada a Q&A (Questions and Answers) que deverá ser obrigatoriamente colocada em prática pelo respectivo grupo que se encontra listado na coluna “Q&A” no horário de apresentações. Por outras palavras, esse grupo deverá colocar questões e elaborar uma breve crítica construtiva ao projeto apresentado.

* De modo a cumprir o horário com o máximo de rigor possível, os todos grupos de trabalho deverão ter o material a apresentar devidamente preparado quando a sessão de apresentação do grupo imediatamente anterior tiver terminado. Caso contrário, esgotarão o tempo dedicado à sua apresentação.

* Todos os grupos deverão respeitar o horário estipulado, e em caso de ausência o seu projeto será classificado com 0 (zero) valores, sendo que o grupo seguinte apresentará antecipadamente, e que para isso deverá estar devidamente preparado.

* Todos os grupos deverão estar presentes durante as apresentações dos seus colegas, adoptando uma postura de respeito pelo seu esforço e trabalho executado.

Horário [!] UPDATED [!] —>13/06

	APRESENTAÇÃO (5 +2 min.)	Q&A (3 min.)
14:00	Apresentação da sessão.
14:10	G3.8	G1.1
14:20	G3.7	G1.2
14:30	G3.6	G1.3
14:40	G3.5	G1.4
14:50	G3.4	G1.5
15:00	G3.3	G1.6
15:10	G3.2	G2.1
15:20	G3.1	G2.2
15:30	Intervalo
15:40
15:50	G2.3	G3.8
16:00	G2.2	G3.7
16:10	G2.1	G3.6
16:20	G1.6	G3.5
16:30	G1.5	G3.4
16:40	G1.4	G3.3
16:50	G1.3	G3.2
17:00	G1.2	G3.1
17:10	G1.1	G2.3
17:20	Final da sessão

[!] NOTIFICAÇÕES [!]

* A apresentação final ocorrerá no Auditório do Pavilhão Sul, na segunda-feira (16/06), com início às 14:00. O horário das apresentações será publicado brevemente.

* Estarei disponível para atendimento na segunda (09/06) e quarta-feira (11/06) à tarde, mediante requerimento por email.


Bom trabalho a todos,
pc.

Tim Brown: Tales of creativity and play

How to give a great ignite talk

More info at http://scottberkun.com/2009/how-to-give-a-great-ignite-talk/.

“Death by PowerPoint”

“Death by PowerPoint” is a criticism of slide-based presentations referring to a state of boredom and fatigue induced by information overload during presentations such as those created by the Microsoft application PowerPoint. (…) “PowerPoint hell” is the tedium some people report on sitting through PowerPoint visual presentations that are too long and complex, making excessive use of the software’s features and when the presenter just reads from the slides.

At http://en.wikipedia.org/wiki/Death_by_PowerPoint#.22Death_by_PowerPoint.22.

Lightning talks

"Remember, you're talking to an intelligent crowd here who can normally move from A to B without having to be handled through each and every step."

"One of the biggest mistakes people make about the details is misunderstanding that just because they've put something on the slides it means that they have to explain it."

"When it comes down to it there's only one way to make sure that your talk will fit in the time-slot, and that's to practice it. Read it out aloud several times. Present it to the cat. Try to convince your colleague/flatmate/significant other to listen to it."

"Preparation is everything."

"Set up and load all the apps you're going to use first — no one wants to be caught on stage in an awkward silence with nothing to say while they wait the 20 seconds it takes Mozilla to load. While you're at it don't forget to close down instant-messenger clients, calendaring apps, and anything else that might randomly pop up dialogs when you're trying to speak."

"During a lightning talk it's vital that you keep your rapport with the audience, rather than diverting your attention to the computer every slide change. Unlike a 40-minute talk, you don't have time to take breaks between slides."

"Even when you take every precaution, you'll still encounter unexpected problems. Your demo won't work. You'll discover you're using a slightly older version of the slides. Your software will use the wrong font. The computer will burst into flames and burn down the venue. Remember that you don't have time to recover from any of these problems. Even if it takes you 30 seconds to locate a new version of the slides and remember where you were, that's a tenth of your talk gone. More importantly, the audience has lost interest while you're doing this and has slipped into their daydream world where you'll have to work really hard to reacquire their attention."

At http://www.perl.com/pub/2004/07/30/lightningtalk.html.

More at http://en.wikipedia.org/wiki/Lightning_Talk.

Ignite & Pechakucha

"Ignite is the name for a particular type of event that is held throughout the world—organized by volunteers—at which participants speak about their ideas and personal or professional passions according to a specific format. The event holds the motto, “Enlighten us, but make it quick!” (…)  In Ignite each speakers gets 5 minutes, and must use 20 slides with each slide advancing automatically after 15 seconds, forcing speakers to get to the point, fast."

http://en.wikipedia.org/wiki/Ignite_(event)

http://igniteshow.com

"PechaKucha or Pecha Kucha (Japanese: ペチャクチャ, IPA: [petɕa ku͍̥tɕa],[1] chit-chat) is a presentation style in which 20 slides are shown for 20 seconds each (six minutes and 40 seconds in total). The format, which keeps presentations concise and fast-paced, powers multiple-speaker events called PechaKucha Nights (PKNs)."

http://en.wikipedia.org/wiki/PechaKucha

http://www.pechakucha.org

[book] Presentation Skills 201

At http://www.amazon.com/dp/B003L780ZG/

P03

Agora sim, a proposta de trabalho 3 já está publicada na respectiva página.
http://mid20132014.blogspot.pt/p/propostas-de-trabalho.html

Bom trabalho,
pc.

P02 - Prazo suplementar

Informa-se que quem não conseguiu cumprir o prazo original relativo à P02 poderá fazê-lo até às 23:59 do dia 18/05, mediante a devida penalização de 25% da classificação total.

Bom trabalho a todos,
pc.

IMPORTANTE! —> Programa da próxima sessão de aula (12/05)

Segue o programa relativo à próxima sessão de aula (12/05), incluindo o horário de apresentações da P02. Pede-se que passem a mensagem aos colegas, por favor.

IMPORTANTE! 
Indicações de procedimento:
* Cada grupo deverá proceder a uma breve apresentação do seu trabalho com recurso ao concept map e às maquetas desenvolvidas.

* A referida apresentação não deverá durar mais do que 4 minutos (recomenda-se que apontem para os 3 minutos), sendo que será interrompida quanto esse tempo terminar.

* Todas as apresentações terão uma sessão subsequente de 3 minutos dedicada a Q&A (Questions and Answers) que deverá ser obrigatoriamente colocada em prática pelo respectivo grupo que se encontra listado na coluna “Q&A” no horário de apresentações. Por outras palavras, esse grupo deverá colocar questões e elaborar uma breve crítica construtiva ao projeto apresentado.

* De modo a cumprir o horário com o máximo de rigor possível, os todos grupos de trabalho deverão ter o material a apresentar devidamente preparado quando a sessão de apresentação do grupo imediatamente anterior tiver terminado. Caso contrário, esgotarão o tempo dedicado à sua apresentação.

* Todos os grupos deverão respeitar o horário estipulado, e em caso de ausência o seu projeto será classificado com 0 (zero) valores, sendo que o grupo seguinte apresentará antecipadamente, e que pare isso deverá estar devidamente preparado.

* Todos os grupos deverão estar presentes durante as apresentações dos seus colegas, adoptando uma postura de respeito pelo seu esforço e trabalho executado.

Horário

	APRESENTAÇÃO (4 min.)	Q&A (3 min.)
16:00	Apresentação da sessão.
16:05
16:10	G1.1	G3.9
16:17	G1.2	G3.8
16:24	G1.3	G3.7
16:31	G1.4	G3.6
16:38	G1.5	G3.5
16:45	G1.6	G3.4
16:52	G2.1	G3.3
16:59	G2.2	G3.2
17:06	G2.3	G3.1
17:13	G3.1	G1.1
17:20	G3.2	G1.2
17:27	G3.3	G1.3
17:34	G3.4	G1.4
17:41	G3.5	G1.5
17:48	G3.6	G1.6
17:55	G3.7	G2.1
18:02	G3.8	G2.2
18:09	G3.9	G2.3
18:16	Final da sessão

Bom trabalho a todos,

pc.

Slides Keynote – Ricardo Melo

Encontram-se disponíveis os slides da apresentação do Ricardo Melo, que decorreu na passada aula:
https://www.dropbox.com/s/s5ohmm9lvz5yyz8/MID-20140427_FBAUP-RicardoMelo.pdf.

Ficam igualmente os seus contactos:

ricardo[at]ricardomelo.net

ricardomelo.net

designingserendipity.net

endlessend.up.pt/phddesign

Atendimento

#1
Devido à ocorrência da semana académica, a próxima aula não se realizará. Contudo, na próxima segunda-feira à tarde (05/05) estarei disponível para atendimento a fim de discutir os projetos em curso, mediante requerimento por email, a ser enviado com antecedência.

#2
Para a próxima aula (12/05), todos os grupos de trabalho deverão levar todo o material definido e discutido para poderem efectuar a sua apresentação com sucesso.

Bom trabalho a todos,
pc.

Próxima Aula —> auditório, pav carlos ramos

A próxima aula (28/04) realizar-se-á no auditório do pavihão Carlos Ramos. Entre as 16:00 e as 17:00, comentarei os projetos em curso, mediante o material apresentado e por ordem de chegada.

A partir das 17:00 contaremos com a presença de Ricardo Melo, que realizará uma apresentação sobre o seu trabalho. Segue uma breve biografia.

Ricardo Melo é licenciou-se em 2008 em Design de Comunicação pela Faculdade de Belas Artes da Universidade do Porto, começando no mesmo ano a sua prática profissional como designer gráfico e de interfaces na Fraunhofer AICOS onde, como parte da equipa de HCI (human-computer interface), onde desenvolveu aplicações destinadas a utilizadores com necessidades específicas, seniores, doentes de Alzheimer ou para comunidades rurais da África subsariana.

Em 2012 termina o Mestrado em Multimédia pela Faculdade de Engenharia da Universidade do Porto, com a dissertação "Call to Adventure: Designing for Online Serendipity".

Em 2013 inicia o programa doutoral em design pela UP, UA, ID+ e UPTEC com a investigação: "The Serendipitous Web: Mechanisms and processes for designing online serendipity." É atualmente investigador bolseiro pela FCT (Fundação para Ciência e Tecnologia).

Sonic on Oculus Rift

At http://kotaku.com/sonic-on-the-oculus-rift-is-a-recipe-for-awesome-puki-1567793059.

Prazo P02 —> 12/05

Devido à semana académica o prazo da proposta de trabalho 2 está alterado:

Entrega suporte digital: 11/05/2014 até às 23:59;
Entrega impressão em papel e apresentação: 12/05/2014 até às 16:00.

Bom trabalho a todos,
pc.

[Book] Graphic Design Thinking

Creativity is more than an inborn talent; it is a hard-earned skill, and like any other skill, it improves with practice. Graphic Design Thinking: How to Define Problems, Get Ideas, and Create Form explores a variety of informal techniques ranging from quick, seat-of-the-pants approaches to more formal research methods for stimulating fresh thinking, and ultimately arriving at compelling and viable solutions. In the style with which author Ellen has come to been known hands-on, up-close approach to instructional design writing brainstorming techniques are grouped around the three basic phases of the design process: defining the problem, inventing ideas, and creating form.

Lupton, Ellen; Graphic Design Thinking: Beyond Brainstorming, Princeton Architectural Press, 2011.

Creating Concept Maps

A concept map is a picture of our understanding of something. It is a diagram illustrating how sets of concepts are related. Concept maps are made up of webs of terms (nodes) related by verbs (links) to other terms (nodes). The purpose of a concept map is to represent (on a single visual plane) a person’s mental model of a concept.

At http://www.dubberly.com/concept-maps/creating-concept-maps.html.
http://www.dubberly.com/concept-maps
http://www.dubberly.com/concept-maps/creative-process.html
http://www.dubberly.com/concept-maps/a-model-of-play.html
http://www.dubberly.com/concept-maps/innovation.html

A concept map is a diagram showing the relationships among concepts. It is a graphical tool for organizing and representing knowledge.

At http://en.wikipedia.org/wiki/Concept_map

[Free Book] How do you design?

Everyone designs. The teacher arranging desks for a discussion. The entrepreneur planning a business. The team building a rocket.
Their results differ. So do their goals. So do the scales of their projects and the media they use. Even their actions appear quite different. What’s similar is that they are designing. What’s similar are the processes they follow.

At http://www.dubberly.com/articles/how-do-you-design.html e http://www.dubberly.com/wp-content/uploads/2008/06/ddo_designprocess.pdf.

aula 07/04 —> pav carlos ramos, sala 302

Tal como anunciado, a aula de amanhã decorrerá no pavilhão carlos ramos na sala 302 às 16.00 em ponto. E tal como na passada aula, será imprescindível que todos os grupos de trabalho levem folhas A2 e material riscador (esferográficas, marcadores, grafite, etc.).

Relembra-se ainda que o material produzido na passada semana deverá ser publicado nos respectivos blogues.

Pede-se ainda que informem os colegas, por favor.

bom trabalho,
pc.

Tim Brown urges designers to think big

"Tim Brown says the design profession has a bigger role to play than just creating nifty, fashionable little objects. He calls for a shift to local, collaborative, participatory "design thinking" — starting with the example of 19th-century design thinker Isambard Kingdom Brunel."

At http://www.ted.com/talks/tim_brown_urges_designers_to_think_big.

10 Commandments Of Creativity

I. THOU ART CREATIVE
II. THOU SHALT GET OUT OF THY COMFORT ZONE
III. THOU SHALT CHANGE THY ENVIRONMENT
IV. THOU SHALT TRY DIFFERENT THINGS
V. THOU SHALT HONOR THY INTUITION
VI. THOU SHALT SEEK SEVERAL OPTIONS
VII. THOU SHALT JUSTIFY THY EFFORTS
VIII. THOU SHALT SEEK INPUTE FROM OTHERS
IX. THOU SHALT BELIEVE THOU WILT SUCCEED
X. THOU SHALT TAKE ACTION

At http://designtaxi.com/article/101835/10-Commandments-Of-Creativity/.

[book] Ideation

Mahon, Nik. 2011. Basics Advertising 03: Ideation. Lausanne/CH: Bloomsbury Publishing PLC, AVA Publishing SA.

http://www.amazon.co.uk/Basics-Advertising-03-Nik-Mahon/dp/2940411506/

"Internet search engines cannot solve all research challenges."

Since design objects do not exist in a vacuum, in addition to exploring the context in which the objects reside, students must evaluate them in terms of effectiveness, consequence, and overall influence on the culture. The results are indeed "object lessons" that serve as building blocks of critical design writing.

At http://www.theatlantic.com/health/archive/2011/06/why-google-will-never-beat-old-fashioned-design-research/240566/

PlayStation 2 Ads

"PlayStation marketing has always been pretty strange — David Lynch created a PlayStation 2 ad, after all — but the Paris branch of TBWA took strange to an entirely twisted new level."

At http://kotaku.com/youll-never-unsee-this-gallery-of-grotesque-playstatio-1554417734.

[Notificação] Próxima aula —> sala 302, pav carlos ramos

Aula 31/03
Informam-se todos os estudantes que a próxima aula decorrerá na sala 302 no pavilhão Carlos Ramos, 2º andar. Todos os grupos de trabalho deverão levar folhas A2 e material riscador (esferográficas, marcadores, grafite, etc.), e ainda os mind maps realizados na passada aula e ao longo desta semana. Pede-se ainda que informem os colegas, por favor.

Brainstorming —> Mind maps —> Blogue
Todos os grupos deverão publicar até ao final da semana nos respectivos blogues os mind maps resultantes do momento de brainstorming que ocorreu na passada aula, assim como os realizados posteriormente.

Bom fim de semana,
pc.

About Divergent, Convergent, and Lateral Thinking

Psychologists have found that a high IQ alone does not guarantee creativity. Instead, personality traits that promote divergent thinking are more important. Divergent thinking is found among people with personality traits such as nonconformity, curiosity, willingness to take risks, and persistence.
Activities which promote divergent thinking include creating lists of questions, setting aside time for thinking and meditation, brainstorming, subject mapping / "bubble mapping", keeping a journal, creating artwork, and free writing.

At http://en.wikipedia.org/wiki/Divergent_thinking

Convergent thinking is also linked to knowledge as it involves manipulating existing knowledge by means of standard procedures. Knowledge is another important aspect of creativity. It is a source of ideas, suggests pathways to solutions, and provides criteria of effectiveness and novelty.[1] Convergent thinking is used as a tool in creative problem solving.

At http://en.wikipedia.org/wiki/Convergent_thinking

Lateral thinking is solving problems through an indirect and creative approach, using reasoning that is not immediately obvious and involving ideas that may not be obtainable by using only traditional step-by-step logic. (…) [L]ateral thinking deliberately distances itself from standard perceptions of creativity as either "vertical" logic (the classic method for problem solving: working out the solution step-by-step from the given data) or "horizontal" imagination (having a thousand ideas but being unconcerned with the detailed implementation of them).

At http://en.wikipedia.org/wiki/Lateral_thinking

About Mind Maps and Brainstorming

A mind map is a diagram used to visually outline information. A mind map is often created around a single word or text, placed in the center, to which associated ideas, words and concepts are added. Major categories radiate from a central node, and lesser categories are sub-branches of larger branches. Categories can represent words, ideas, tasks, or other items related to a central key word or idea.

At http://en.wikipedia.org/wiki/Mind_map

Brainstorming is a group or individual creativity technique by which efforts are made to find a conclusion for a specific problem by gathering a list of ideas spontaneously contributed by its member(s). The term was popularized by Alex Faickney Osborn in the 1953 book Applied Imagination. Osborn claimed that brainstorming was more effective than individuals working alone in generating ideas, although more recent research has questioned this conclusion. Today, the term is used as a catch all for all group ideation sessions.

At http://en.wikipedia.org/wiki/Brainstorming

On Focus Groups, Research Interviews, and Visual Research Methods

About Focus Groups 

A focus group is a form of qualitative research in which a group of people are asked about their perceptions, opinions, beliefs, and attitudes towards a product, service, concept, advertisement, idea, or packaging. Questions are asked in an interactive group setting where participants are free to talk with other group members. The first focus groups were created at the Bureau of Applied Social Research in the USA, by associate director, sociologist Robert K. Merton. The term itself was coined by psychologist and marketing expert Ernest Dichter.

At http://en.wikipedia.org/wiki/Focus_group.

This article has outlined the main features of focus group research, paying particular attention to the benefits of interaction and group dynamics which only this method can offer. Practical considerations and the time it takes to conduct focus group research may discourage many from attempting to collect data using this method. Nevertheless those who participate in this kind of research often find the experience rewarding. The process of research can be more collaborative than other forms of study, and so focus group research can be an empowering process for participants, and an exciting challenge for social researchers wanting to gain a different perspective on their field of interest.

At http://sru.soc.surrey.ac.uk/SRU19.html.

Basics of conducting Focus Groups 

Focus groups are a powerful means to evaluate services or test new ideas. Basically, focus groups are interviews, but of 6-10 people at the same time in the same group. One can get a great deal of information during a focus group session.

1. Preparing for Session 
2. Developing Questions 
3. Planning the Session 
4. Facilitating Session 
5. Immediately After Session 

At http://managementhelp.org/businessresearch/focus-groups.htm.

General Guidelines for Conducting Research Interviews

Interviews are particularly useful for getting the story behind a participant's experiences. The interviewer can pursue in-depth information around a topic. Interviews may be useful as follow-up to certain respondents to questionnaires, e.g., to further investigate their responses. Usually open-ended questions are asked during interviews.
Before you start to design your interview questions and process, clearly articulate to yourself what problem or need is to be addressed using the information to be gathered by the interviews. This helps you keep clear focus on the intent of each question.

At http://managementhelp.org/businessresearch/interviews.htm.

Visual Research Methods

Visual data have been of concern to the social sciences in two ways: visual records produced by the investigator, and visual documents produced by those under study. In recent years, however, this dichotomy between the observer and the observed has begun to collapse (as it has across the qualitative social sciences more generally) and a third kind of visual record or "more accurately" representation has emerged: the collaborative representation.
Thus visual anthropology and visual sociology proceed methodologically by making visual representations (studying society by producing images), by examining pre-existing visual representations (studying images for information about society), and by collaborating with social actors in the production of visual representations.

At http://sru.soc.surrey.ac.uk/SRU11/SRU11.html.

Your Mom Hates Dead Space 2

Na continuação de uma conversa na passada aula, fica aqui a playlist de vários vídeos da campanha que publicitou o Dead Space 2, presentes na conta oficial do Youtube do referido videojogo.

Bom trabalho a todos.

A Designer's Research Manual [livro completo]

Link: https://www.dropbox.com/s/tmapsj21pnhy4p1/A%20Designers%20Research%20Manual.pdf 

[book] A Designer's Research Manual

Alguns excertos selecionados podem ser descarregados at https://www.dropbox.com/sh/liiwq25slreke28/a2HYINJqdN.

Textos recomendados

Alguns estudantes manifestaram dificuldades em aceder aos seguintes textos recomendados. Creio que agora isso não deverá constituir problema.

Boas leituras e bom trabalho e todos,
pc.

— — — — — — — — — — — —

"The designer, of course, cannot combine just any set of beliefs with a subject to reach the communication goal. Communication is directed toward a specific audience and that audience comes to the argument with particular cultural beliefs and understanding."

At TYLER, Ann C., Shaping Belief: The role of audience in visual communication, 1992.

"Graphic designers are always in need of active dialogue with their clients and with other professionals (…) to really make the best of their practice. This certainly has important implications in relation to the evaluation of graphic design quality and to the education of graphic designers."

At FRASCARA, Jorge; Graphic Design: Fine Art or Social Science; 1988.

"Research is not, however, some pedagogic make-work or punishment. It is rather a necessary dimension in undergraduate and graduate programs. (…) Nonetheless, research in the design discipline has also traditionally been something of a bugaboo. While appreciating its value in certain circumstances, designers realize it has proven to be double-edged sword. (…) The fact is graphic design, indeed all design, is not produced in a vacuum. If the correct structures are in place, outside influences must be considered and also prevail."
At HELLER, Steven; Better Skills through Better Research; 2006.

Game Studio 78 needs your help!

http://www.gamestudio78.com

The More-Or-Less Completely Inaccurate Origin Of Sonic The Hedgehog

"A hedgehog." "Really?" "Yeah, yeah, a hedgehog." "But hedgehogs are really slow." "They don't have to be." "I'm listening..." Beasts Comedy's hilarious reenactment of the birth of Sonic the Hedgehog (…).

At http://kotaku.com/the-more-or-less-completely-inaccurate-origin-of-sonic-1535370931.

[book] Visual Research: An Introduction to Research Methodologies in Graphic Design

"From the Publisher. Visual Research: An Introduction to Research Methodologies in Graphic Design (second edition) is a guide to the practice of researching for graphic design projects. This book explains the key terms and theories that underlie design research; examining the importance of audience, communication theory, semiotics and semantics. It features a range of case studies that demonstrate how the use of rigorous research methods can form the basis of effective visual communication and design problem solving, eschewing end product analysis for a discussion of the way research feeds into the design process. This edition also includes 12 new international case studies, end of chapter exercises, a new chapter on Visual Grammar and a foreword by Ellen Lupton, an internationally renowned graphic designer, writer, curator and educator."

http://www.designersandbooks.com/book/visual-research-second-edition
http://www.amazon.co.uk/Visual-Research-Introduction-Methodologies-Graphic/dp/2940373205

P01.2—publicada

Informam-se todos os estudantes que a proposta de trabalho 1.2 já se encontra publicada na respetiva página: http://mid20132014.blogspot.pt/p/propostas-de-trabalho.html.

Bom trabalho a todos,
pc.

Shaping Belief: The role of audience in visual communication

The designer, of course, cannot combine just any set of beliefs with a subject to reach the communication goal. Communication is directed toward a specific audience and that audience comes to the argument with particular cultural beliefs and understanding.

At TYLER, Ann C., Shaping Belief: The role of audience in visual communication, 1992.

Convites blogue MID

Foram enviados por email convites para todos os estudantes com o intuito de poderem participar/publicar neste blogue, a fim de partilharem o que considerarem relevante para toda a turma. Pede-se que confirmem nas vossas caixas de email, incluindo os filtros de spam.

Relembramos ainda que a aula de amanhã iniciará cerca de 15 minutos mais tarde, pelas 16:15, na mesma sala de aula.

Bom trabalho a todos,
pc.

Aula 03/03 —> 16:10 / 16:15

Informam-se todos os estudantes que a próxima aula (a 03/03) iniciará 10 a 15 minutos mais tarde, pelas 16:10 / 16:15.

Bom trabalho,
pc.

[book] Design Studies: Theory and Research in Graphic Design

"[T]he discipline of graphic design has undergone a sea change. Where visual communication was once informed by a designer's creative intuition, the proliferation of specialized audiences now calls for more research-based design processes.
Designers who ignore research run the risk of becoming mere tools for communication rather than bold voices. Design Studies, a collection of 27 essays from an international cast of top design researchers, sets out to mend this schism between research and practice. The texts presented here make a strong argument for performing rigorous experimentation and analysis."

http://www.amazon.com/Design-Studies-Theory-Research-Graphic/dp/156898586X

[Notificação] Confirmação dos grupos de trabalho

Peço mais uma vez que confirmem os vossos grupos de trabalho e respectivos endereços de email. No caso de haver algum erro ou omissão notifiquem-me com brevidade via email, por favor.

http://mid20132014.blogspot.pt/2014/02/peco-que-confirmem-os-vossos-grupos-de.html


Bom trabalho a todos,
pc.

Design Thinking

http://courses.washington.edu/art166sp/documents/Spring2012/readings/week_3/design_thinking.pdf

http://www.amazon.co.uk/Basics-Design-Thinking-8/dp/2940411174/

Grupos de trabalho

Peço que confirmem os vossos grupos de trabalho e respectivos endereços de email, e no caso de haver algum erro ou omissão notifiquem-me via email, por favor.


PROJETO 1: IPO Porto

G1.1
Ana Filipa Leal da Rocha <anaflealr@hotmail.com>
Inês Pinto Dias <inexdias@gmail.com>
Rute Filipa Duque Nogueira <ruteduquenogueira@gmail.com>
Telmo Ribeiro Moranguinho <telmo.moranguinho@gmail.com>

G1.2
Maria Benedita Leão <beneditaleao1@hotmail.com>
Maria Teresa Barandela <teresa_barandela@hotmail.com>
Suzana Bigio <suzanabigio@hotmail.com>

G1.3
André Gonçalves <andre.fil.g@gmail.com>
Inês Araújo <ines_araujo@live.com.pt>
Luísa Gomes <lsgomes9@hotmail.com>
Rita Prates <rita_prates95@hotmail.com>

G1.4
Angelina Isabel Moreira Santos <angelinaisantos@ gmail.com>
Maria Pereira da Cunha <zzebraga@gmail.com>
Tiago André Botelho Andrade <tiago.botelho.andrade@gmail.com>

G1.5
Yevgeniya Tsyba <gtsyba@gmail.com>
Priscila Quintana <priscilamq@gmail.com>

G1.6
Artur Santos <info@artursantos.com>
Luís Martins <luis.pe_dro@hotmail.com>
Joaquim Pinto <rodrigo.galvao.p@hotmail.com>


PROJETO 2: Nintendo Wii^OLO

G2.1
Daniel Faria <dfaria94@gmail.com>
Ana Rita Café <ritinhacafe@hotmail.com>
Susana Bento <susana_otneb@hotmail.com>
Beatriz Correia de Carvalho <beatrizcorreiacarvalho@gmail.com>

G2.2
Inês Cruz <seni_cruz@hotmail.com>
Sílvia Moura <silviamoura93@hotmail.com>
Maria Sofia Gouveia <msgouveia@me.com>
Marta Carrazedo <martacarrazedo@hotmail.com>

G2.3
Alexandra Maria Gonçalves Freitas <up201304240@fba.up.pt>
Bruno Filipe de Sousa Barros <up201305185@fba.up.pt>
Jose Joaquim Vaz Ferreira <up201307173@fba.up.pt>
Helena Sofia Monteiro Lopes Cardia <up200104000@fba.up.pt>


PROJETO 3: Sega Fusion

G3.1
Ana Marta Dias <anamartadias@hotmail.com>
Marina Pinto <marina_pinto21@hotmail.com>
Tânia Ramos <tanica_ramires@hotmail.com>
Rita Ribeiro <ritadmribeiro@gmail.com>

G3.2
José Manuel da Conceição Raimundo <up201307174@fba.up.pt>

G3.3
Ana Paula Costa <paula95costa@hotmail.com>
Rita Fonseca <rita.fonseca@live.com.pt>
Rúben Almeida <almeida.ruben95@gmail.com>

G3.4
Cláudia Machado <c.machado95@hotmail.com>
Liliana Barros <lilianaraquel94@hotmail.com>
Rita Campos <ritacamp0s@hotmail.com>
Sara Martins <www.saraalexandra@gmail.com>

G3.5
Mafalda Marinho <mafalda_marinhomr@hotmail.com>
Maria Beatriz Carvalho <beatriz.soeiro@gmail.com>
Sara Bruna Martins <bruna25martins@gmail.com>

G3.6
Fátima de Assunção Bravo <fatimabravo21@hotmail.com>
Inês de Caldas Martins <icaldas9@gmail.com>
Inês Rodrigues Neves <inesrodriguesneves@gmail.com>

G3.7
Beatriz Amaral <beatriz_f_amaral@hotmail.com>
Ana Panêlo <ana.panelo@hotmail.com>
Fátima Chen <fatimachen94@gmail.com>

G3.8
António Manuel Fonseca Ramos <use@live.com.pt>
Diogo Campo Grande <diogocgrande@gmail.com>

G3.9
Filipa Franqueira Oliveira <filartes@hotmail.com>

About ExistenZ and Holodeck

"As in Videodrome, [David] Cronenberg gives his psychological statement about how humans react and interact with the technologies that surround them. In this case, the world of video games. (…) In the near-future, organic virtual reality game consoles known as "game pods" have replaced electronic ones. The pods are attached to "bio-ports", outlets inserted at players' spines, through umbilical cords. Two game companies, Antenna Research and Cortical Systematics, compete against each other. In addition, a group of "realists" fights both companies to prevent the "deforming" of reality."

At http://en.wikipedia.org/wiki/Existenz.

"A holodeck, in the fictional Star Trek universe, is a simulated reality facility located on starships and star bases. (…) The holodeck is depicted as an enclosed room in which objects and people are simulated by a combination of transported matter, replicated matter, tractor beams, and shaped force fields onto which holographic images are projected."

At http://en.wikipedia.org/wiki/Holodeck.

More on design briefs

Your design can only be as good as the brief you worked from. The best projects are borne from creative briefs that are open enough to inspire ideas, while being specific enough to feel workable.

At http://business.tutsplus.com/articles/the-ultimate-design-brief--fsw-204

As a designer it is important to have a template such as this one to give to clients as clients will not always come to you with a design brief – feel free to use this one as you please. By having a template ready, it shows them your professionalism and ultimately saves them (and you) a lot of time and money.

At http://justcreative.com/2008/09/26/how-to-write-an-effective-design-brief/

How do you write a design brief? — David Airey

Any graphic design project needs a detailed design brief. There are two main reasons:

• It ensures the client knows exactly what s/he wants to achieve from the project.
• It acts as a point of reference for designers, forming the focus of their work.

At http://www.davidairey.com/how-do-you-write-a-graphic-design-brief/

How to write a design brief - Kate Melsom

7 Basics to Create a Good Design Brief

The design brief serves as the guiding document for the project. Think of it as like a business plan for a specific project. It should cover everything necessary to the project, in a manner that is easy to refer to throughout the project timeline.
Make notes on your design briefs once you start the project. Keep your proposal along with it, as well as other important documents. Highlight the important parts of each, or make notes in the margins. Don’t just look it over at the beginning and then file it away somewhere. Effectively using a design brief throughout the process can result in a much better end result.

At http://www.webdesignerdepot.com/2011/03/7-basics-to-create-a-good-design-brief/.

Tudo Isto É Design! 2014

(O que, infelizmente, ficou por anunciar na aula de hoje.)

Estão todos convidados para a conferência "Tudo Isto É Design!". É um evento promovido pela Comissão de Acompanhamento da Licenciatura de Design de Comunicação que tem como objectivo dar a conhecer alguns dos projectos realizados, e saídas profissionais e académicas que têm sido encontradas por alumni da LDC da Faculdade de Belas Artes da Universidade do Porto.

Nesta quinta-feira (13/02) às 17:00, na aula magna, contaremos com a presença de Pedro Amado, Rita Coelho, Pedro Serapicos, Júlio Dolbeth, IP4 Magazine, Rui Ricardo, Game Studio 78, Inês Melo, José Carneiro, e Adriano Rangel.

https://www.facebook.com/events/1421934588050575/