FILM AND TELEVISION | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
POV3441 | Creative Sketching | Spring | 2 | 2 | 3 | 5 |
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. NAZLI EDA NOYAN CELAYİR |
Course Lecturer(s): |
Prof. Dr. NAZLI EDA NOYAN CELAYİR |
Recommended Optional Program Components: | POV 2525 Concept Dev. And Visualization POV 3341 Visual Storytelling POV 3211 Multimedia Applications POV 4111Graduation Project I POV 4112 Graduation Project II |
Course Objectives: | Sketching is the first step of visualizing an idea. In this class students work with different tools and methods of creating visual ideas with a focus on drawing and illustration. |
The students who have succeeded in this course; 1. Perceive the fundamentals of drawing. 2. Cultivate skills for working with the line, the form, the light, the texture. 3. Develop an understanding of the difference between looking and seeing, 4. Investigate different styles of drawing and experiment with them. 5. Express ideas through sketching. |
SUBJECT DETAILS Introduction, Overview of the syllabus Review of the course content and expectations from the students The Perception of Edges Pre-instruction self-portrait Pre-instruction drawing of your hand Pre-instruction of the corner of the room The Perception of Edges II warm-up and free drawing with several styles upside down drawing The Perception of Edges III pure contour drawing sketching with the use of a picture plane setting a ground drawing from picture plane to paper sketching various objects The Perception of Spaces sketching with the use of negative space various negative-space exercise sketches The Perception of Relationships sighting an open doorway the knee-foot drawing The Perception of Relationships III The Perception of Relationships II still-life with elipses figure-drawing exercies profile portrait exercises Sketching away The Perception of Lights and Shadows drawing an object lighted from various angles The Perception of Lights and Shadows II Full-face portrait in light and shadow The Perception of the Gestalt using ink and brush hatching and cross-hatching Sketching away The Perception of the Gestalt II urban landscape drawing The Perception of the Gestalt III An imaginative drawing 10x10 drawings |
Week | Subject | Related Preparation |
1) | Introduction, Overview of the syllabus Review of the course content and expectations from the students | |
2) | The Perception of Edges Pre-instruction self-portrait Pre-instruction drawing of your hand Pre-instruction of the corner of the room | |
3) | The Perception of Edges II warm-up and free drawing with several styles upside down drawing | |
4) | The Perception of Edges III pure contour drawing sketching with the use of a picture plane setting a ground drawing from picture plane to paper sketching various objects | |
5) | The Perception of Spaces sketching with the use of negative space various negative-space exercise sketches | |
6) | The Perception of Spaces sketching with the use of negative space various negative-space exercise sketches The Perception of Relationships sighting an open doorway the knee-foot drawing | |
7) | The Perception of Relationships III The Perception of Relationships II still-life with elipses figure-drawing exercies profile portrait exercises | |
8) | midterm | |
9) | The Perception of Lights and Shadows drawing an object lighted from various angles | |
10) | The Perception of Lights and Shadows II Full-face portrait in light and shadow | |
11) | The Perception of the Gestalt using ink and brush hatching and cross-hatching | |
12) | Sketching away | |
13) | The Perception of the Gestalt II urban landscape drawing | |
14) | The Perception of the Gestalt III An imaginative drawing 10x10 drawings | |
15) | Sketching away |
Course Notes / Textbooks: | The New Drawing on the Right Side of the Brain, Tarcher Putnam, 2002 Drawing Lessons from the Great Masters, Robert Beverly Hale,1989 150 Masterpieces of Drawing, Anthony Toney, Dover Fine Art, History of Art, 1963 Playing with Sketches: 50 Creative Exercises for Designers and Artists, Whitney Sherman, 2013 How art made the world, DVD, BBC, 2006 Additional handouts will be on OIS system. |
References: | Art History: www.all-art.org www.artcyclopedia.com www.artlex.com www.rleggat.com/photohistory www.zeroland.co.nz/art_theory.html Museums: www.bauhaus.de www.tate.org.uk |
Semester Requirements | Number of Activities | Level of Contribution |
Attendance | 10 | % 0 |
Project | 10 | % 80 |
Midterms | 1 | % 10 |
Final | 1 | % 10 |
Total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 10 | |
PERCENTAGE OF FINAL WORK | % 90 | |
Total | % 100 |
No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
Program Outcomes | Level of Contribution | |
1) | Being familiar to the main concepts and methods of the social sciences and the fine arts devoted to understanding the world and the society | 4 |
2) | Having comprehensive knowledge regarding different media and branches of art | 3 |
3) | Knowing the historical background of audio-visual moving images in the world and in Turkey and keeping pace with the new developments in the area | 1 |
4) | Having a good command of the language and the aesthetics of audio-visual moving images in the world and in Turkey | 1 |
5) | Being able to create a narrative that could be used in a fiction or a non-fiction audio-visual moving image product | 2 |
6) | Being able to write a script ready to be shot | 2 |
7) | Having the skills to produce the photoboard of a script in hand and to shoot the film using the camera, the lights and other necessary equipment | |
8) | Being able to transfer the footage of a film to the digital medium, to edit and do other post-production operations | |
9) | Being able to create a documentary audio visual moving image from the preliminary sketch stage to shooting, editing and post-production stages | |
10) | Being able to produce an audio visual moving image for television and audio products for radio from preliminary stages through shooting and editing to the post-production stage | |
11) | Being culturally and theoretically equipped to make sense of an audio-visual moving image, to approach it critically with regard to its language and narration and being able to express his/her approach in black and white | 3 |
12) | Having ethical values and a sense of social responsibility | 5 |