Extension of the first semester Laboratory A. Based on the student’s initiative and on the fusion of disciplines. Students become aware of the creative process by interacting, sharing and contrasting other student’s endeavors.
History of the Latest Trends
This subject tackles the study of the main artistic proposals
developed since the end of WWII.
Artistic Field: Texts and Contexts
Art is the theoretical and material territory where all
social agents take action. Each agent´s (artists, galleries,
exhibition organisers, art critics and theorists) position must
be analyzed so that its underlying structure and practical
implications can emerge.
Processes & Methodology of Artistic Creation & Professionalization
This cross-disciplinary, theoretical and practical subject
consists of a comparative study of processes and
methodologies developed by creators from different
periods and areas of artistic creation. Similar to an artistic
epistemology, it will provide self-knowledge and reflection
about the students’ particular methodological experiences.
Pictorial Methodology & Processes
Students will tackle different aspects of the actual construction of the work as well as the conceptual decisions and aspects which must be taken into account when it comes to making a work of art.
Concepts of the Sculptural Space
The concept of space is essential for the configuration of the
historical, modern and postmodern sculptural praxis. Our
topological, vital, reflexive, active and creative interactions
with the space that surrounds us are observed in this subject.
Photography in the Discourse of Contemporary Art
This subject clarifies the contribution that photography
has profiled by virtue of its specific nature. It stimulates the
expression of the individual’s singularity.
This course deals with graphics focused on the conception and realization of artistic projects. It covers all of the graphics techniques, systems, and strategies which participate in the creative process, both in its aspect of ideation and projection and in the plasmation or realization, without forgetting their potential as analytic tools. It is approached connected to the development of projects in different settings: video, sculpture, illustration, design, painting, scenic space, photography. In the Technological Graphics area the focus is on the connection between digital graphics and the material supports with special attention on the printing processes in a broad sense: digital printing, lithography, chalcography, photography, cutting.
Rules & Use of the Basque Language
This subject is based on the following competencies: A.Being aware of the influence of the higher degrees in the use and development of Basque (Euskera), and thought about its communicative role in this context (10%). B. Systematization, explanation, and revision of the personal linguistic intuitions and experiences in light of the criteria of correction in the use of the language (80%). C. Skill in the use of the linguistic consultation tools (particularly those accessible on the Internet) to respond to the needs deriving from communicative situations from the academic arena or the corresponding performance (10%).
Work knowledge and practice in the fields of illustration, graphic design and multimedia, and in the spatial-object arena, paying special attention to the materialization of the project. Going deeper into the methodologies of Creative Arts and Design projects, introducing innovation strategies, heuristic thought, investigation and critical questioning resources. This second Project level will also look at verification, formalization and communication aspects of the projects. Collective reflection about the issues involved in each of the projects.
General History of Design
This subject seeks to look at the history of the different movements which, since the 19th century, developed the serialized production of objects with an intrinsic aesthetic-functional value. The economic and social conditions, as well as the technological advances, marked and mark the evolution of this discipline which, thanks to industrial techniques, allows for the unlimited reproduction of the piece projected by the artist-designer.
Contexts & Practices of Contemporary Visual Culture
In disciplines which analyze visual culture, the term “iconic turn” giro icónico refers to a new form of understanding an aesthetic artifact from perspectives attentive to that which the semiotic interpretations cannot manage to capture. The objective is to interrogate oneself about the nature and structure of images, going from understanding them not only in terms of representation but rather of presentation. The aim is to analyze the practical mediator role of objects of art and of visual culture through social processes, moving away from the perspectives which studied such objects as if they were languages or texts. In particular, this subject will pay attention to the pedagogical implications of the cultural product supported in the visual.
Professionalism & Management
In a technologically complex productive environment and with certain market requirements which cannot be explained simply, a flexible and creative organization of the production systems is required. Different fields of Creative Arts and Design, which may synthesize different functions involved in the production processes, involve essential factors through a structured work process in order to define new visual, objectual and spatial concepts and their original resolution. As a result, Creative Arts and Design are linked to the innovation process: they are used to create something new or to improve something that already exists, thereby contributing in the radical or incremental innovation processes. This subject involves an introduction to the production system in order to achieve innovative, efficient and competitive management of corporations.
Interactive Graphic Design
Engages in providing a theoretical-practical base for the functioning of graphic language in an increasingly influential informative scenario and greater participation in our daily social life, motivating the student in the practical project of Graphic Design in general, through interactive digital media as a specific communicative situation. The field of application of these graphics projects is very broad: from different structures and models applied to the internet to communicate and promote companies and institutions, from cultural events to e-books and other digital supports which require effective visual interfaces. Interactive design is conceived from its clear informative dimension, but also in its training capacity, investigating in a practical and participative manner into the visualization strategies for the organization into a hierarchy of graphics information.
Art & Function
Ceramics has and continues to present a very close
interaction with the area of containers (in a plurality of
meanings) and the architectonic (structural or covering);
two notably deeply-rooted competences, but not at all
forced, as it is the characteristics and qualities of clay which
make them possible.
Critical creative capacity to rethink the archetypes of
ceramic competence from art and function, with a vision of
experimentation and innovation. Capacity to formulate a
project and its development.
The approximation to Art and Design from the field of Ceramics. Knowledge of the matter and systems that are proper to the elaboration of form. Study of temperature and atmosphere as transforming and defining elements. Practical-theoretical approaches to sequencing systems. Introduction to the concept and application of vitreous products and glazes. Approaches to the theory of the project.
Scientific Basis of Conservation & Restoration
This course introduces the student to the terminology and the fundamental principles and concepts of the scientific field which governs the behaviorr of the materials used for artistic purposes. The subject provides the basic tools to have a deeper look at the interdisciplinary knowledge of the work, establishing interactions between different scientific fields and the artistic field.
Foundations of the Conservation of Pictorial Works on Different Supports
History of the Conservation of Cultural Assets
This subject focuses on studying the basic aspect of the
conservation and restoration of Cultural Heritage: its
concept, history, theories, principles and regulations.
Pictorial Materials & Processes
Conceived to go into more depth in the degree student’s essential pictorial training. We will develop the analysis and awareness skills necessary for any future profession in the conservation and restoration of cultural assets. By starting this process we join together artists from all periods. All of them learnt how to interpret the visual arts through intense observations, as well as developing a basic technical skill.
Techniques & Concepts of Reintegration Applied to the Preservation of the Cultural Assets
Analysis, study and basis of the function of reintegration in safeguarding and consolidating any type of Cultural Asset. Specific methodologies and techniques applied in the reintegration of cultural assets.
Preventative Conservation: Factors of Change & Degradation of Cultural Patrimony
Direct Work Preparation Technics and Procedures on Paper and their Conservation
Nature of the components of printed works of art.
Origin of printing and chronology systems.
Identification of the different printmaking procedures.
Behaviour of the materials which constitute a printed work.
conservation and/or restoration treatments.
Preventative Conservation - Alteration and Deterioration Factors of Cultural Assets
This subject studies the importance of prevention as a medium for the conservation of cultural assets. Preventative conservation is understood as any operation which deals with applying existing mediums, external to the objects, which guarantee their correct preservation and maintenance. The objectives of prevention are considered the control of the suitable environmental conditions (lighting, atmosphere, pollution), security (fire, robbery, natural disasters), and the guarantees of transport, handling, installation and storage.
Restoration of Pictorial Works on Canvas
The registered person prepares an individual project
restoring a pictorial work on canvas, where they apply all of
the different disciplines previously studied, going further
into the structural and aesthetic treatments in order to
facilitate the reading and understanding of the work.
Art & Technology III
This is a space for working artistic languages and
methodologies from the discourse of new contemporary
Students will learn how to use drawing as a conceptual support to express ideas, having a bearing on the attention to the configuration process of an image and its reading, giving special relevance to the development of the critical spirit as an instrument of reflection and self-assessment. It proposes a reflection about representation from the area of drawing, its ideological and experiential models, taking into account its techniques and procedures.
Education & Meditation in Art
This subject looks at artistic awareness and human
experiential diversity while reflecting on artworks as
contextualized cultural products. The intention is to
get closer to different areas of formal and informal art
education, to critically analyse its discourses, practices and
The focus of the subject is that the students learn to observe
their creative process as something that develops over time
in dialogue and contrast with the work of other students, as
shown through the configuration of the operative field of
artistic creation itself.
Collective reflection is produced on subjects common to the
entire artistic creation process.
Designed to impart knowledge in the field of painting,
adapting techniques and methods from other disciplines
of artistic practice, for students to tackle the world that
surrounds them from a critical perspective.
This subject is based on the function of representation
as complex mimesis, based on principles originating in
statuary, monuments and sculptures. It aims at disciplinary
sculptural creation, which is necessary for understanding
art as a problem of subjective construction.
Graphics in the Expanded Field
Printmaking as a term which covers all technical, procedural
and relatable mechanisms with each and every one of the
phases of the technical process (mould, mark, mirror).
Painting Practices in Relation to Context
Pictorial practice is context-dependant. Here we analyze
their insertion possibilities into the urban setting, their role
in the political-cultural sphere and other circumstances.
Painting, Technologies & Interdisciplinary
This subject seeks to analyze the borderline area where
pictorial practice meets the latest technologies. A
multiform area where connections are made with other
artistic languages and practices.
The Artistic Object
The objective is to achieve that any handling of a material,
whatever it may be, constitutes an expression as close as
possible to the subject which allows for both objective
and hybrid results, which work autonomously and
independently, allowing for reflection on the value of that
Environment, Action, & Participation
This subject explores the dynamic space-time practices which arose after 1960´s and which have had a significant repercussion on the artistic practices at the end of the 20th century.
Sculpture, Architecture, & Urban Landscape
The notions of scale, proportions, limits, hollowness, mass
and volume work in tension both in the architectonic
interpretations of the sculptural object and the sculptural
interpretations of the urban landscape and architecture.
Furthermore, the evolution of the city over time under
certain ideological models links spatiality to the landscapes
Interactive Art and Interfaces
Understanding space as another work element not only to realise audio-visual and sound installations, but as a potential in itself within contemporary artistic practice.
Installations & Sound Space
Sound understood as a specific artistic element, historically called Sound Art. It is materialized through advanced practices and technologies which develop the creative potential of the sonorous media.
The aim is to perform a creative reflection within an artistic context and its materialisation in sequential formats. It deals with the audio-visual sequencing from experimental animation and video, to narrative technique.
This subject is configured as an experimental workshop
which sets out an analytic vision of Geometry in Art and
an experimental formulation with proposals and projects
where the drawing and descriptive tools are an essential
part. It also considers the training which our graduates
must have in order to teach in secondary education and
the quality of this training from a critical and practical
orientation adapting the descriptive and constructive tools
to the medium in question, i.e. its disciplinary adaptation.
Communicacion in Basque: Artistic Disciplines
This subject will pay special attention to the following
aspect of academic and professional communication
corresponding to the activity of artistic disciplines:
A.Requirements of the communicative activity in the
artistic arena: conditions and restrictions of context;
objectives of communication; subjects of discourse;
handling of specific themes; etc.
B. Communicative modality: situational parameters,
interlocution, communication media and channels,
C. Linguistic activities of communication: careful listening;
discriminant reading; oral and written interaction; oral
communications and presentations; document drafting;
D. Textual genres: academic texts (specialised articles,
summaries, academic debates, bibliographic analysis,
essays on artistic productions and works, etc.); technical
texts (catalogues, guides, expert reports and audits,
projects, didactic, materials, etc.); general and specialised
media texts (reports, interviews, critiques, etc.);
dissemination texts, literary texts; etc.
E. Professional communication style and specialized
This practical-theoretical subject is focused on dealing with space from its sensitive, perceptive and meaningful consideration, taking into consideration different ways of understanding their use and function. It refers to both the configuration of spaces as objectual and environmental elements and to the consideration of aesthetic, historic and sociocultural aspects which allow the space to be identified as a place. It allows the development of proposals which voice criteria, competencies and skills which come from art and sculpture adapted to the analysis and realization of projects relating to urban settings and spaces which combine practical, communicative and symbolic needs.
Graphic Design involves a discursive practice which is efficiently developed in a collective manner, a productive technology of messages and functions, an innovative intervention on the discourse and a cultural reproduction process. At the same time, it is an instrument of contemporary society in which the designer is involved, where the importance of the design lies in the creation of meaning and social significance. In this way, Graphic Design as a productive discipline of visual signs, cannot be distanced from its commitment to the current social discourses and must innovate sensibly by adapting to the needs of each moment. From these principles, this subject introduces the student to an intuitive, rational and operative creation process useful to human beings aimed at fulfilling visual communication functions, tackling the problem of the relationship between the subject and social constructions, the subject and culture and how one goes from the individual existence to the social existence of meaning.
Realization of projects with an objective end, paying special attention to reflection on the methodological aspects of the process. This subject introduces the student to the methodology of Creative arts and Design projects, which involves the planning, investigation, analysis, experimentation, creation and design process to guide a project in the fields of illustration, graphic design and creative arts ambit. Thought strategies and methods are used which will be applied in the first stages of the project: planning, analysis and creation.
Resources for the Project
This course aims to find out about and experiment with different resources and mediums for the realization and presentation of design projects in the objectual, spatial and environmental spheres. Flat and three-dimensional resources such as analogical and/or digital drawings and models, and digital and multimedia resources for the visualization of proposals. It starts with the idea that each mode of representation and materialization addresses the project in a different way, revealing its different aspects, making it possible to use them in a combined and comparative manner that allows an approximation and a richer perspective of the creation process and its communication and interpretation by potential recipients.
Container and Packaging
The design of containers and packaging arises from the need to protect and communicate food products and objects created by human beings. The design process of packaging covers aspects of identity, structural design, ergonomics, market, graphic design, materials, and environmental factors. Its development is a visual and technical challenge which contributes to communicating an entity’s brand identity. This subject includes the conceptual and methodological contents of the contexts related to the area of Containers and Packaging, both in its commercial towards developing a new product (packaging), as well as its more speculative and experimental orientation, bringing together aesthetic and production factors.
The Visual Identity subject starts with a global vision of the
corporation and identifies each of its resources capable
of becoming transmitters of the characteristics which
may identify it by its objective public. At the same time,
the graphic designer plans and programs an intervention
which allows an expressive and meaningful translation of
an iconic, typographic and chromatic nature, to provide a
coherent and united projection of the corporation.
Paper Art: Paper Fibres in Artistic Creation - Production and Publishing
This subject explores the conceptual and creative possibilities offered by paper due to its structure and functions, formulating intervention developments with paper fibres in printing systems, from the context of Graphics. These practices will be generated in parallel to reflection, discussion or debate on a theoretical substratum in the field of etching
Ceramics & Design
Creation and object, the experimental parameters of this subject, shall be references to obtain conceptual and technical knowledge about the practice of ceramics. The ceramic context allows us to explore the problem of the object from three aspects: project, prototype, and product, encouraging at all times experimentation and innovation.
Ceramics & Creation
Ceramics and sculpture are aimed at the study, reflection and deepening of the different creative processes which define the ceramics practice and the methodology used to develop its processes. This subject will tackle the problem of sculpture from a specific support and medium: ceramics. Its development needs to have an eminently experimental nature, with a series of theoretical contents which together with artistic practice allows us to formulate a discourse based on three aspects: Project, Work, and Analysis.
Education & Visual Culture
Utilizing the conceptual framework of visual culture studies, it shall stress the need for art education to cover the study of all types of products with aesthetic value, not only from their formal perspective but from the perspective of their social significance and their capacity to generate meaning. A panorama shall also be sought on the different areas of education in art, analyzing their work problems and possibilities.
Foundations of the Conservation of Sculptural Works on Different Supports
Laboratory for the Knowledge of Conservation Materials and Their Application
This subject, laboratory for the knowledge of the
conservation materials and their application, introduces the
student to knowing and describing the products, materials
and procedures used in the conservation treatments of
art works. The knowledge of the materials fundamentally
considers the characteristics, behaviour and applications of
the materials used in the preservation of art works.
Theory of Conservation & Intervention Criteria
Technical-legal framework for the Preservation of the
Artistic Historic Heritage.
Current legislation covering Cultural Assets. Intervention
Technical Examinations & Documentation of Cultural Assets: Scientific Research and Methodology
This subject introduces the student to the knowledge of artworks through scientific examination. They will become familiar with different techniques of physical analysis, chemical analysis, accelerated aging, etc. and their application in the conservation-restoration of cultural assets. The subject also provides basic knowledge for the application and development of research resources aimed at resolving specific problems in the area of conservation-restoration.
Restoration of Sculptural Works on Different Supports
Prior proceedings before the intervention on sculptural Cultural Assets. Need for scientific support. Technical report. Prevention, conservation and restoration treatments of organic wooden and inorganic stone supports in sculptural works. Necessary infrastructure.
Restoration of Pictorial Works on Different Supports
Study and application of a catalogue of restoration methodologies and technologies of pictorial supports, like textile, mural and others.
Sculpture Techniques: Materials & Procedures (Sculp. Dep.)
Study, analysis and experimentation of a series of resources:
materials, techniques and procedures which allow us to
have a sufficient flow of operative potential to tackle and
verify in practice a three dimensional work/idea.
Mural Painting: Supports & Techniques
This optional subject of the Restoration Degree will
promote artistic experimentation practices related to mural
A. The characteristics of the materials.
B. Properly preparing the supports.
C. Performing small projects with the chosen procedure.
Pictorial Methodology & Project
This subject specifically looks at the intangible aspects of
the creation of artistic objects in general and paintings in
particular, including mental mechanisms which precede,
accompany and follow their production. Students will create
a customized icon bank.
Registry and Contextual & Performative Artistic Practices
Artistic practices very much take into account the
recipients to whom they are directed and the possibility
of contributing to the environment and being influenced
by it. A subject in which motivations, attitudes, methods
and processes are given priority adapted to each intention,
above the disciplinary restrictions upon which art is
traditionally understood and even the presumptions of
where a work of art can or must be located.
Basics of Preservation of Sculptural Works on Different Supports
Preservation of the sculptural cultural legacy. Theory of
preservation and techno-legal regulations.
The support in the sculptural work, importance of knowing
the characteristics and properties of the elements which
constitute them in view of their preservation.
Elements associated to the sculptural work.
Deterioration agents, pathologies, diagnosis, documentary
registry. Intervention criteria.
Basics of the Preservation of Pictorial Works on Different Supports I
1st part of the study and analysis of Cultural Assets of a
Origin of the Creation Supports of Cultural Assets: stone or
mineral, proteinic, vegetal. They are used as they are found
in nature or with possible manipulations (manufacture).
Application of pictorial layer.
The behaviour of the supporting and supported elements.
Concerns in the preservation of works from Prehistory to
Basics of the Conservation of the New Artistic Proposals
Sociocultural factors which lead to the appearance of contemporary art. The introduction of industrial production materials as a decisive factor for the preservation of new artistic proposals.
Basics of Conservation of Pictorial Works on Different Supports II
2nd part of the study and analysis of the Cultural Asset of a pictorial nature. The supports of Cultural Assets of a pictorial nature: textile, mural and others. Uses and procedures. Application of pictorial layer. The behaviour of supported
and supporting elements.
Revision of the conservation of works from Prehistory to
Restoration of New Artistic Expressions
Keys in the conservation of contemporary art. Lack of
precedents as reference for restoration interventions.
Presence of the artist, and legal changes. Changes in the
concept of degradation and intervention criteria. New
methodology based on test-tube trials.
Heritage Management, Exhibition & Registration
Concept of heritage management, and applicable legislation according to its classification as: temporary exhibition, transit, and handling of artworks; cause of the appearance of new types of deterioration; post function. Definition of the registry department; competences which indicate the need for specialization in conservation and restoration.
Genres and Subjects in Art
The study of the different genres and subjects which
throughout history have been developed in the visual arts.
Creation and Innovation Processes and Methodologies
The study of creation and design in all their contemporary manifestations means involving oneself in the knowledge of the ideas, strategies, methodologies, and processes of innovation so as to introduce new proposals, updates, new features and improvements in different cultural, aesthetic, social, technological, operative and ideological contexts. The innovation process, where creativity is the mental conductor, must be understood as a social event looking for questions and answers, framed in a reference system determined by the cultural and aesthetic experience of the agents who participate in the formalization of an innovative response.
The concept of multimedia discourse will be developed in its interactive and non-interactive modalities, taking into account its specific characteristics, as well as its relations with precedents like audiovisual discourse. It will place emphasis on the preparation of projects aimed at specific target audiences, taking into account the formal adaptation of resources and dissemination mediums (physical supports and online supports). For this reason, we consider controlling the procedures, technologies, techniques, and materials associated with the creation and design and their involvement in different contexts and to find out about the management and professionalization system of the involved sector. Reflection will be implicit in the student’s praxis and content shall be introduced relating to the development of concepts, tools, styles, and fields of discipline throughout the course.
The function of the graphic designer consists in achieving the homogeneous fusion of the text and the image into a meaningful and aesthetic whole, making the divergence disappear between typography, which is the fundamental linear reference point, and the image, which given its own forms of creation and perception is a two-dimensional system. It aims not only to put information into a hierarchy from a practical perspective but also to create aesthetic criteria through practice in the development of publishing products: press, books, magazines, catalogs, etc.
This course provides idea-sharing of the participant’s personal concerns in the area of the graphics creation of comics. It provides a global reflection on processes, mechanisms, and techniques, from the preparation of scripts to the inking or final viewing. And it goes through different genres and authors emphasizing the close connection with other languages of image and temporality.
Allows for a closer look at the methods and models of
literary and textural graphic illustration, in historic or
generic contexts. It reflects on and looks closer at the
specific significance and narration processes, according
to the nature of the texts and according to the genres of
illustration. It provides technical resources and specific
procedures from the category of illustration. It considers
working methods (graphic, meaning, creative, productive)
according to the purpose to be obtained.
Prototype & Publishing
The exclusive aim is to situate the student in the professional task of generating illustrations. Images are realized for newspapers, for literary texts and educational texts. It works on analyzing each state of the prototype, stressing them in order to overcome the initial parameters via quality, the initial parameters. It completes and gives a definitive form to the idea derived from other subjects, leaving it finished for publication. The student is in contact with professionals from Publishing houses, Professional Associations, Forums or Fairs.
This subject seeks to provide the future graduate with
sufficient resources to be objective and to resolve the
professional problems relating to geometry which arise in
secondary education teaching, the development of projects,