The Coen brothers are currently one of the leading exponents of American independent cinema. This paper approaches his work by analysing the promotional posters of 17 of his films, proposing a methodology based on the graphic communication of the promotional poster applicable to the analysis of a single movie or an entire filmography. From Blood Simple to Hail, Caesar!, the graphic communication of each poster has first been analysed individually, relating it to the characteristics of each film. Subsequently, a joint analysis of all the posters was carried out to find parallels between graphic design (colour, typography, image, composition) and the cinematographic discourse of the Coen brothers. The results show that the visual design of the posters is related to seven of the 13 characteristics of the Coens' cinema studied: violence, silly character, wandering character, parody or black humour, philosophical content, objects and places. Furthermore, images and colour are the graphic elements that best transmit these characteristics, with composition and typography being secondary elements. Finally, the visual characteristics of the archetypal poster for a Coen film have been defined.
The intersection of art, design and engineering is a dynamic and collaborative space where creativity, functionality and technique come together to create innovative and beautiful solutions. In this purpose, there is a clear connection between these disciplines through visual media and their support resources, such as freehand drawing. This paper presents the advantages of the interdisciplinary link between Art, Design and Engineering, developing how drawing constitutes a means that favors this link. This is based on understanding drawing as a tool that facilitates visual communication, learning and thinking. Freehand drawing allows the representation of ideas, creative exploration and the development of visual literacy skills. This paper analyzes how this practice, present from the Renaissance to the present day, fosters creativity and spatial understanding, essential for the comprehensive training of engineers, artists and designers. Historical and contemporary examples are presented, that demonstrate the convergence between artistic sensitivity and technical rigor.
This research implements an innovative technique through the artistic production of three-dimensional pieces that require the use of high temperatures. Specifically, it investigates how to use microwave technology to expand the accessibility and autonomy of this type of creative processes and, in turn, to do so while contributing to the goals set out in the 2030 agenda. The methodology used has been based on a procedure for testing ceramic and cast prototypes, in order to design microwave heating suitable for different geometries and volumes. This is due to the fact that the mentioned parameters are determinant in the production efficiency. Once the research tests have been completed, the results show that this energetic implementation constitutes an efficient, autonomous and low environmental impact procedure. In addition, it is confirmed that the designed technique offers high performance with product quality and electrical savings, which places the proposal as a tool with high employability within the field of plastic arts.
Color vision deficiency (CVD), commonly known as color blindness, affects approximately 8% of men and 0.5% of women worldwide. This condition is particularly relevant in disciplines such as animation, digital design, and video games. In these fields, color serves both aesthetic and narrative functions, guiding the viewer and conveying emotions. This study analyzed the level of knowledge and perception of CVD and color accessibility within the university community of the University of Design, Innovation and Technology (UDIT) in Madrid, Spain. A survey was conducted with 387 students involved in visual creation. The results indicate that a portion of the students show limited conceptual knowledge of CVD, as well as a reduced application of color accessibility criteria in their projects. Although some students reported having received prior training, persistent errors in basic concepts revealed that this training was incomplete. As a complementary measure, the self-reported prevalence of CVD in the sample was recorded, with 8% of male students and 1% of female students, showing a notable concentration in the Degree in Video Game Design and Development and Virtual Environments (40% of the total cases). In other programs, such as the Degree in Animation or degrees related to Audiovisual Design, the presence is lower. This distribution, observed descriptively, may point to possible differences between programs that require further investigation in future studies. These findings highlight the need to explicitly integrate color accessibility into academic training, in line with the European Accessibility Act (EAA), which came into force in 2025.
This article condenses the results of a research project funded by the TAI University School of Arts, which aimed to critically review the programming that underlies Generative Artificial Intelligence (GenAI) applied to audiovisual creation. During the 2023-2024 academic year, an analysis of the contents generated by several platforms-in some cases of paid subscription-was carried out. The biases and stereotypes that emerged in the elaboration of an audiovisual piece have been analyzed. The use of different platforms determined the construction process of the short film: from script writing, through the development of the shooting plan and the technical script, to editing and post-production. The elaboration of this audiovisual piece has served as a starting point to highlight the ideological bias of the GenAI, as reflected below in this text.
