PERFORMING ARTS | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
EDT5016 | Graphic Design | Fall | 3 | 0 | 3 | 8 |
This catalog is for information purposes. Course status is determined by the relevant department at the beginning of semester. |
Language of instruction: | English |
Type of course: | Non-Departmental Elective |
Course Level: | Bachelor’s Degree (First Cycle) |
Mode of Delivery: | Face to face |
Course Coordinator : | Prof. Dr. TUFAN ADIGÜZEL |
Recommended Optional Program Components: | None |
Course Objectives: | This is a visual aided lecture course supported with studio learning environment designed specifically for educational technology program students. The general aim of the course is to introduce design basics as they relate to the issues of visual communication in the field of education. |
The students who have succeeded in this course; 1.Identify design elements and design principles. 2.Realize relative visual relationships in graphic composition. 3.Exercise visual form and visual language. 4.Develop creative visual communication skills. 5.Develop critical design thinking 6.Exercise with design software 7.Develop effective education models using visual design |
The course will introduce the dynamics of word( typography) and image projecting on visual identity; the employment of tools in the application areas of graphic design; and principles of animation, multimedia and interactive design. |
Week | Subject | Related Preparation |
1) | Introduction to the Course / Review of the Syllabus Journal/Sketch Book Requirements | |
2) | Visual Literacy (Lecture) Introduction: – Point Exercise | |
3) | Intentional - Unintentional Design Street Graphics (Lecture) / Point and Line in Arts and Design (Lecture) | |
4) | Street Graphics: Signs and Symbols (Lecture) Introduction to Typography | |
5) | Gestalt Principles (Lecture) Critique :Graphic Space in Photography / Rhythm/Tension/Contrast (Lecture) Positive-Negative Space (Lecture ) | |
6) | SHAPE in Art and Design /COMPOSITION ( Lecture) | |
7) | Meaningful White Space( Lecture) / Composition with 3 Basic Shapes | |
8) | MID-TERM : Visual Composition and Poster Design | |
9) | Visual Identity Design | |
10) | Basic Drawing as a tool of communication | |
11) | Principles of animation | |
12) | Digital image processing | |
13) | Visual concept development | |
14) | Multi-media and interaction design |
Course Notes / Textbooks: | 1-David A Lauer, and Stephen Pentak, Design Basics, Fifth Edition (New York: Wadsworth, 2002) 2-Otto G.Ocvirk, Robert E.Stinson,Philip R. Wigg, Robert O. Bone, David L.Cayton; Art Fundementals:Theory and Practice; Tenth Edition;(Mc Graw Hill, 2006). 3-Donis A. Dondis, A Primer of Visual Literarcy (Cambridge: The MIT Press, 1996) 4-Herbert Zettl, Sight Sound Motion: Applied Media Aesthetics, (California: Wadsworth, 1993) |
References: | Arnheim, Rudolf. (1969). Art and Visual Perception: A Psychology of the Creative Eye, University of California Press, Berkley. Becer, Emre. ( 2008). İletişim ve Grafik Tasarım, 6.Baskı Dost Kitabevi, Ankara. Berger, A. Arthur. (1998). Seeing is Believing, Mayfield Publishing, London. Brereton, Richard. (2009). Sketchbooks:The Hidden Art of Designers, Illustrators& Creatives, Laurence King Publishing, London.UK. Bowers, John. (1999). Introduction to Two Dimensional Design, John Wiley & Sons, USA. Colour Mania (Victionary, 2009). Mustieness, Carlos, and Hilland Thomas(ed.).(2006).Icons, Colors, Signs,Taschen, Italy. Donis A. Dondis. (1996) A Primer of Visual Literacy ,The MIT Press, Cambridge. Feldman, Edmund Burke.(1992).Varieties of Visual Experience, Fourth Edition, Harry N.Abrams, New York. Gastman, R., Neelon C, Smyrski, A. (2007). Street World:Urban Culture from Five Continents, Thames& Hudson., London. Janson, H. W. Janson.(1970). History of Art, Abrams, New York Krause, Jim. (2006). Color Index, David and Charles Books,UK. Krause, Jim. (2002). Color Index, USA Levey, Michael. (1968). A History of Western Art, Oxford University Press, Oxford. Lucie-Smith, Edward. (1995). Art Today, Phaidon Press Limited, London Mason, John Mason. (1989). Arts and Artists, J.G. Ferguson Publishing Company. McAlhone, Berly. (1998 ). A Smile in the Mind: Witty Thinking in Graphic Design, Phaidon Press, London. Naegele Isabel, and Baur Ruedi. ( 2004). Scents of The City, Lars Müller Publishers, Switzerland. Oei, Loan and Kegel De Cecile. (2002). The Elements of Design, Thames & Hudson, London, UK. Ocvirk, Stinson, Wigg, Bone, Cayton.(2006). Art Fundamentals, Tenth Edition, Mc Graw-Hill International Edition, New York. Pentak, Stephen and Roth, Richard. (2003). Color Basics, Wadsworth Publishing, USA. Pentak, Stephen, Lauer A David.( 2002). Design Basics, Fifth Edition, Wadsworth Publishing, USA. Tyson, Carl N. (1996). Art Through The Ages, Harcourt Brace & Company Zakia, D Richard. (1994). Perception and Imaging, Focal Press, Boston. ZelanskiI, Paul; Fisher, Mary Pat. (1996, 1984). Design Principles and Problems, by holt, Rinehart and Winston, USA. Zettl,Herbert. (1993). Sight, Sound, Motion: Applied Media Aesthetics, Wadsworth, California. |
Semester Requirements | Number of Activities | Level of Contribution |
Attendance | 14 | % 15 |
Homework Assignments | 2 | % 45 |
Project | 1 | % 25 |
Midterms | 1 | % 15 |
Total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 75 | |
PERCENTAGE OF FINAL WORK | % 25 | |
Total | % 100 |
Activities | Number of Activities | Duration (Hours) | Workload |
Course Hours | 14 | 3 | 42 |
Project | 1 | 50 | 50 |
Homework Assignments | 2 | 30 | 60 |
Midterms | 1 | 40 | 40 |
Total Workload | 192 |
No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
Program Outcomes | Level of Contribution | |
1) | They acquire theoretical, historical and aesthetic knowledge specific to their field by using methods and techniques related to performing arts (acting, dance, music, etc.). | 2 |
2) | They have knowledge about art culture and aesthetics and they provide the unity of theory and practice in their field. | 2 |
3) | They are aware of national and international values in performing arts. | 2 |
4) | Abstract and concrete concepts of performing arts; can transform it into creative thinking, innovative and original works. | 1 |
5) | They have the sensitivity to run a business successfully in their field. | 3 |
6) | Develops the ability to perceive, think, design and implement multidimensional from local to universal. | 3 |
7) | They have knowledge about the disciplines that the performing arts field is related to and can evaluate the interaction of the sub-disciplines within their field. | 2 |
8) | They develop the ability to perceive, design, and apply multidimensionality by having knowledge about artistic criticism methods. | 3 |
9) | They can share original works related to their field with the society and evaluate their results and question their own work by using critical methods. | 1 |
10) | They follow English language resources related to their field and can communicate with foreign colleagues in their field. | 1 |
11) | By becoming aware of national and international values in the field of performing arts, they can transform abstract and concrete concepts into creative thinking, innovative and original works. | 3 |
12) | They can produce original works within the framework of an interdisciplinary understanding of art. | 2 |
13) | Within the framework of the Performing Arts Program and the units within it, they become individuals who are equipped to take part in the universal platform in their field. | 3 |
14) | Within the Performing Arts Program, according to the field of study; have competent technical knowledge in the field of acting and musical theater. | 2 |
15) | They use information and communication technologies together with computer software that is at least at the Advanced Level of the European Computer Use License as required by the field. | 3 |