Virtual museums are the answer a digital society, a new cultural, social, and economic system and a tool for educational innovation and digital learning. This article aims to collate all relevant evidence in virtual cultural museums with a teaching approach and detect what is published using the following question "What is published about virtual museums for educational purposes?". Its objective is to verify what can be found in the academic field about virtual museums for didactic purposes applied to the professional environment. The research analyzes two hundred and twenty-three articles, of which seventeen were selected for their didactic and professional environment characteristics. The bibliographic review presents indicators that determine a virtual museum is an effective tool both in the field of reinforcing learning, as well as in the theoretical and practical development of activities that encourage creation by students.

Teaching technical drawing to fine arts students in 2001 is the beginning of an idea that searches for an integration of different fields of knowledge. Life brings you then to teach artistic drawing to industrial design engineering students and, therefore, to face again the difficulty of merging into one concept: art and science as a whole. So lets introduce a better connection with the professional world into our teaching-learning process. In 2011, Silvia Nuere created a scientist journal called ArDIn, Art, Design, and Engineering to promote the STEAM approach to learning. Art, design, and engineering must configure the basic elements of a new way of understanding not only the teaching-learning process but the way of being in the twenty-first century. ArDIn becomes then their method to involve students in the necessary integration of art and science through a constant dialog and critical thinking. Between the educational contexts, we want to point out transmedia narratives as a movement that enhances the creative process. We need to be opened to new proposals as well as going further looking for connections beyond media. Through this project working interdisciplinary, we prepare students remotely for their story in a possible transmedia format.

Professors from different studies such as fine arts, engineering in industrial design and digital graphic design and from different universities (Politécnica de Madrid, Complutense de Madrid and Internacional de La Rioja) have participated in an educational innovation project dealing with sketching as a starting point to creation. Teachers from the Universidad Complutense de Madrid and the Universidad Politécnica de Madrid proposed to their students exchange experiences. Students from industrial design went to classes to the Fine Art Faculty and fine art students had to deal with an industrial design proposal. The aim of the experience is to know how students from different studies manage drawing tools to start their work; drawings to finally paint a still life, drawings to understand volume in a sculpture plaster model to reproduce it with clay, and sketches to propose a Christmas ornament made with wood. After the experience, drawings from exercises from the three universities have been analyzed to establish similarities and differences in the use of visual language (points, lines, planes, surfaces, and color, between others). Fine art students use the lines with ease, hints, light with the inclusion of color spots as part of the approach to the solution. Industrial design students, on the other hand, consider the line as an essential element in their drawings, well-marked, clearly delimiting the edges of the object, integrating color as an addition rather than as an integrating element. And finally, but not last, students from digital graphic design use lines as a language to propose fast schematic approaches, lines as added texts, and generally a lack of color. Even though each field of knowledge has some particularities, we think that the drawing approach is essential to face creations no matter their essence. Sketches in early stages mean to face problems, to think and to translate ideas into a two-dimensional surface.

Presentar un proyecto de producción cinematográfica documental, cuya temática se centra en el tema de la discapacidad supone todo un reto si, además, queremos desarrollarlo a través de una investigación artística. Existe literatura que plantea los aspectos que atañen a este desafío (la investigación artística, la representación en el cine documental, la representación cinematográfica de la discapacidad), de forma extensa y detallada, pero no es tarea sencilla encontrar documentación que exponga cómo se ha desarrollado un proyecto de estas características desde la definición del contexto y surgimiento de la idea, hasta su materialización como pieza artística audiovisual. En este artículo, apoyándonos primero en una selección de autores de diversas áreas, todas ellas relacionadas con el proyecto que se describe en él, se comienza un planteamiento teórico reflexivo del estado de la cuestión que nos ocupa, a continuación se desvelan algunos de los recursos y maneras de hacer de parte del equipo que lo lleva a cabo y se termina, por un lado, con la materialización de un cortometraje documental sobre Moisés (persona que posee parálisis cerebral) y, por otro, con el establecimiento metodológico utilizado que puede ser útil en futuros procesos de búsqueda similares al planteado en esta ocasión.