Universitat Internacional de Catalunya


Second semester
Main language of instruction: Catalan

Other languages of instruction: Spanish

Teaching staff


The personal attention schedule will be available the first week of class. It is recommended to send an email to Prof. Rebeca Pardo (rpardo@uic.es) to arrange availability at this or other extra hours.



The personal attention schedule will be made available to the student the first week of class. It is recommended to speak personally with the teacher to agree on the availability of this or other extra hours.



2 ECTS credits that are taught in the second semester of the second year of the Audiovisual Communication degree, along with another 2 ECTS credits of design.

The purpose of this part of the subject is to make a brief approach to Photography: historical, theoretical-technical and practical.

Photography is a medium of visual communication with great relevance in our context that is important to know and master, especially in the technical and compositional aspects, in order to control how we photographically represent what surrounds us.

There will be a brief introduction to the history of photography and the most relevant authors, from the pioneers of the nineteenth century to the most current ones, to have a vision of the evolution of the medium.

In the technical part, basic notions such as sensitivity, shutter and aperture will be explained and practiced, which can help us improve our images, especially in difficult places or moments of lighting.

Both technical and creative skills will be carried out, in order to put into practice the knowledge acquired during the course.



Design is a subject that is taught in the second semester of the second year of the degree in Audiovisual Communication and shares a total of 4 ECTS credits. with the subject of Photography.

Design has an autonomous operational instrument that allows it to be explained, constructed, given reason for its own existence. It is not necessary to fall into the common mistake of confusing means with ends to identify the Design with the designed object. 

Design is not the final product, but the process that precedes and originates it. The design is, therefore, the project. The methodology and the phases developed in its process constitute the personality of the discipline.

Solving design problems involves knowing the phases of the project: analyzing, reflecting, synthesizing and knowing its dual tools: conceptual and technical. 

This project activity, which integrates Functional, Cultural (aesthetic), Technological and Economic factors, is one of the basic components of the media strategies of audiovisual communication. 

The subject of Design aims to train students in two aspects. One, the one that develops the capacities to express graphically its ideas, and another one, that can expose them to the external world of suitable and controlled form.

Pre-course requirements


Prerequisites are not necessary.



Prerequisites are not necessary.



  • Introduction to photographic representation as a technical, informative and creative medium.
  • Understanding the differences between the analog and digital context.
  • Theoretical understanding of the evolution of the photographic medium and the basic technical notions involved in the photographic process.
  • Acquisition, optimization or improvement of the mechanical, creative and technological skills involved in the photographic process.
  • Development of critical skills and image analysis.
  • Acquisition of the ability to differentiate mere editing from manipulation, as well as its limits in the different fields of photography.
  • Knowledge of the compositional elements of an image and its influence on its meaning.



Develop the ability to observe, analyze and synthesize. 

Introduce the methodological tools and techniques for creating graphic content in a multimedia environment. 

Know the functionality of design, effectiveness versus creativity. 

Adaptation of the image to the audiovisual medium: creation, layout, and digital retouching.


  • 01 - The ability to adapt to varying circumstances
  • 02 - The ability to understand, accept criticism and correct errors
  • 03 - The ability to administer and manage human and technical resources
  • 04 - The ability to work in a team and autonomously
  • 05 - The ability to organise time and workspace
  • 06 - The ability to develop academic rigour, responsibility, ethics and professionalism
  • 07 - The ability to apply the deontology and respect for the audiovisual sector
  • 08 - The ability of critical analysis, synthesis, concretion and abstraction
  • 09 - The ability to objectify, quantify and interpret (data, statistics, empirical evidence¬Ö)
  • 10 - The ability to confront difficulties and resolve problems
  • 11 - The ability to generate debate and reflection
  • 12 - The ability to meet deadlines, develop the ability to be punctual and respect for human, technical and material resources
  • 13 - The ability to create spoken and written communication
  • 16 - The ability to manage, analysis and reflect on content
  • 20 - Knowledge and mastery of bibliographic media
  • 21 - Knowledge and mastery of the digital culture
  • 25 - The ability to maximize creative development
  • 26 - The ability to develop a sense of taste and perfection in the aesthetics and finalization of projects
  • 33 - The ability to create and direct.
  • 36 - The ability to create, direct and manage audiovisual companies
  • 37 - The ability to contextualize and critically analyze the organizational structure of global communication
  • 40 - The ability to defend and respect authorship and intellectual property
  • 41 - The ability to know how the distinct elemental agencies of the audio visual sector function
  • 44 - The ability to adapt to new audiovisual formats
  • 46 - The ability to dominate resources used for image (Photographs, lighting...) and sound.
  • 47 - The ability to understand and run digital retouching tools, special effects, postproduction and graphics design
  • 50 - The ability to adapt, understand and apply the expressive possibilities of new technologies and future changes
  • 53 - Lingustic ability in Catalan, Spanish and English
  • 54 - The ability to skillfully manage the literature, terminology and linguistic structures of the English language related to the field of communication.

Learning outcomes


Students, after completing the course, will be able to demonstrate the following learning outcomes:

  • Knowledge about the evolution of photography and the most relevant authors.
  • Master the basic techniques of photography.
  • They will have sufficient criteria to be able to participate in communication or creation processes with photographs.
  • Mastery of representation and visual narrative.
  • They will have acquired sufficient knowledge about the ethics and limits of photographic editing, being able to differentiate what can and cannot be done, both in the photographic production and post-production phases.



Students, after completing the signature, will be able to demonstrate the following learning outcomes:

 • They will have aesthetic and functional criteria to optimize the formal presentation of communicative products.

• They will master the techniques of infographics and will have sufficient criteria to be able to act as head of infographics of a media.

• They will produce productions dedicated to leisure and entertainment.

• Manage the communication of institutions, agencies and companies.

• They will master verbal and non-verbal languages, especially those whose mastery is essential in front of an audience and an audience.

• They will distinguish different formats depending on the existing devices.



1. Introduction to the history of photography and the most relevant authors.

2. Photographic equipment and technique: sensitivity, shutter and diaphragm.

3. Composition and photographic genres

5. The report: how to tell a story.

6. The photographic post-production and digital treatment of the image.




The theoretical-practical program of the subject is composed by the following contents: 

Visual language: Levels of representation, semiotics. Compositional fundamentals. The Gestalt. 

The Graphic Form: Basic elements of the form, visual communication techniques. Form and message. 

Visual rhetoric. 

The creative process and infographics. 

Animation techniques. Motion Graphics. 

Adobe Photoshop and Adobe AfterEffects.


Teaching and learning activities

In person


  • 30% master classes of theoretical content.
  • 40% practical workshop: individual camera exercises and post-production (each student will work in their dossier of practice exercices and in their final project).
  • 20% Theoretical-practical seminar on composition, ethical limits of photographic representation and project realization.
  • 10% Personal and group tutoring.

The numerical data are approximate, since the course is very practical and will be adapted as much as possible to the monitoring of the students.



The contents will be worked through various activities that require continuous evaluation. The activities combine reflection and analysis of the subject with technical training and creative development in practice. The activities will have the following distribution:

  • 2 master classes in which the theoretical contents will be worked. They will use visual and audiovisual examples in multimedia formats. 
  • 4 hours of focused praxis in which exercises will be performed to learn the theory through practice. 
  • 6 hours of labs in which theory and practice are combined. The labs will culminate in a professional product. 
  • 6 hours of workshop, an eminently practical space, in which skills are acquired that lead to experimentation and mastery of technical tools.
  •  2 hours of coaching, personal follow-up of each student to optimize the subject and detect their needs. The first meeting will take place after the block of theoretical classes. The second meeting will take place before the delivery of the final project.

Evaluation systems and criteria

In person


The evaluation of the this part of the course will take into account the assignments presented during the course, including tests that can be done in class, and a final project:

- 40% Practice Dossier

- 30% Other assignments or tests presented during the course

- 30% Final project



The type of evaluation will be continued. Students must submit several projects on a regular and agreed basis.

The typology of projects to be developed during the semester will consider the different subspecialties of the discipline. 

Short and long-term projects will be addressed in parallel to streamline the organizational capacity of the student and thus approach a professional work environment. 

Long-term projects: that emphasize the analytical, organizational effort, the precision, the degree of coherence and the rigor in the use of the techniques.

 The objects of evaluation of the long-term projects will be the works and exercises realized in class, consequently, works will not be accepted that, at least, have not been raised in class, nor will be evaluated to any student who has not delivered punctually all their work in the successive phases of each project. 

Short-term projects: emphasizing synthetic effort; exercises that require fast and concrete graphic answers, consistent use of techniques and materials, depending on the parameters that are determined. Works submitted after the agreed day and time will not be accepted either, but for a serious and justified reason. 

It should be noted, (although it is common sense ....) that the mere delivery of all work (short and long) only gives the student the right to be evaluated, but at no time is a approved unconditionally.

Bibliography and resources


BARTHES, R. (1990) La cámara lúcida, Barcelona: Paidós.

RODRÍGUEZ, Hugo (2005) Imagen digital. Conceptos básicos. Barcelona: Marcombo.

EVENING, M. (2020) Adobe Photoshop 2020 for Photographers. Routledge

Gisèle Freund (2017) La fotografía como documento social. Barcelona: Editorial Gustavo Gili.

LANGFORD, M. (2003) Fotografía Básica. Barcelona: Omega.

MELLADO, J.M. (2017) Los fundamentos de la fotografía. Fotografía de Alta Calidad: Adobe CC 2017. Grupo Anaya Publicaciones Generales

MOMEÑE, E. (2009) La visión fotográfica. Curso de fotografía para jóvenes fotógrafos. Madrid: Eduardo Momeñe.

NEWHALL, B. (1983) Historia de la Fotografía. Barcelona: Gustavo Gili.

PRADERA, A. (2005) El libro de la fotografía. Madrid: Alianza.

SONTAG, S. (2018) Sobre la fotografía. Debolsillo.

Sougez, Marie-Loup (2011) Historia de la fotografía. Cátedra.

WESTON, C. (2009) La exposición digital. Barcelona: BLUME (Naturart)



ACASO, María: El lenguaje Visual (Paidós, 2009)

ADOBE PRESS: After Effects CS5 (Anaya Multimedia, 2011) 

BARROSO Gracía, Jaime; Realización de los géneros Televisivos (Editorial Síntesis, 2002)

BERGSTRÖM, Bo: Tengo algo en el ojo (PromoPress, 2009)

BROCKMANN, Josef Müller: Historia de la comunicación visual (Gustavo Gili, 2005) 

CHION, Michel: La audiovisión: Introducción a un análisis conjunto de la imagen y el sonido (Ediciones Paidós, 1998)

COSTA, Joan: Identidad televisiva en 4D (Grupo editorial Design, 2005)

DONDIS, D.A.: La sintaxis de la imagen (Gustavo Gili, 2010)

GLASER, Milton: Milton Glaser Graphic design (Penguin Books, 1983)

HARRIS, Ambrose: Fundamentos de la tipografía (Parramón, 2007)

HERVÁS Ivars, Christian: El diseño gráfico en Televisión: Técnica, lenguaje y arte (Cátedra, 2002)

MEGGS, Philip B.: Historia del Diseño Grafico (Editorial RM, 2009)

OTTO & OLAF: Color y Percepción (Index Book, 2008)

RAFOLS, Rafael: Diseño Audiovisual (Gustavo Gili, 2006)

WIGAN, Mark: Imágenes en secuencia (Gustavo Gili, 2008)

WOOLMAN, Matt: Tipos en movimiento (Index Books,S.L., 2000)