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 |
VCD3124 | Advanced Drawing | Spring Fall |
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 : | Dr. Öğr. Üyesi İPEK TORUN |
Recommended Optional Program Components: | None |
Course Objectives: | The objective of the course is to use drawing as a creative tool to understand, communicate and interpret various artist’s works, art movements and various art theories. Students are encouraged to develop their ability in drawing as an expression and to further their critical analysis and communication effectiveness in drawing. This course aims to develop an understanding of the theory and history of art in relation to individual’s drawing projects. This course includes directed readings. Studio experience in addition to outside research and practices compose the core of drawing II course where body, visual memory and perceptual performance is questioned, communicated and interpreted. |
The students who have succeeded in this course; 1) Master in making sketches with ink and other water based drawing materials 2) Gain the routine of drawing daily to develop own drawing language 3) Use literacy to understand art theories, art movements and artist’s manifestations of art 4) Provide a routine to make use of relevant literary material and writing to communicate individual’s own artistic approach 5) Define “signs” inside verbal, social, cultural material 6) Study the relationship between “signs” and art 7) Experiment with line 8) Experiment with materials 9) Learn to make research from various resources to deepen on creative process 10) Manage time productively 11) Create a productive working plan(sub-learning outcome) 12) Identify progress potential and weak points 13) Trust on intuition and individual’s insights as well as insight of other class members after adequate research and sketches in the progress of a project. |
The course is structured in three parts. First part aims students to practice various qualities of water based painting and drawing materials. Experimenting with various materials on different compositions is expected on small and big scales. An experimental drawing language of individual is explored. In addition, literary resources selected by students are added to the presentations of experimental Works. Second part of the course will concentrate on the research of artistic movements, art theories and various artist’s works. Lectures and student seminars aim to approach diverse artistic manifestations. Out of class visits to art shows, exhibitions support class research and work to give insight and inspiration for individual work. Choosing texts and writing about them as well as about the art Works visited are natural components of this process. “Signs” and “memories” are defined within verbal, social and cultural materials during this process. The third part will cover to provide more space to students to Express themselves in portraits. Context and composition of the work will make use of previous research and literacy skills on signs and memories to render portraits in a creative and innovative way. |
Week | Subject | Related Preparation |
1) | Ink and Brush Exercises | |
2) | Emphasizing Contour (blind contour-edged contour) exercises | |
3) | Preparing Value Scales with water based materials | |
4) | Composition in Line – Experimenting with various line solutions | |
5) | Art and Sign Lecture and Presentation | |
6) | Art and Sign Student Seminar | |
7) | Art and Memory: Lecture and Presentation | |
8) | “Sign and memory” Midterm Project | |
9) | Art and Institution | |
10) | Art and Concept Lecture and Presentation – Definition of concept for art works | |
11) | Visual concept formulation and idea development with class work exercises – Delivery of literary material of each student | |
12) | Portrait and Context – Presentation of research and literary material | |
13) | Portrait and Composition- Presentation of Draft Portrait | |
14) | SUBMISSION OF PORTRAIT |
Course Notes / Textbooks: | |
References: | Vitamin P New Perspectives in Painting; (London: PHAIDON, 2003) John Berger, Ways of Seeing, Penguin Books H.H Arnason & Marla F. Parther, A History of Modern Art, Thames and Hudson, London |
Semester Requirements | Number of Activities | Level of Contribution |
Homework Assignments | 10 | % 20 |
Midterms | 2 | % 40 |
Final | 1 | % 40 |
Total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 60 | |
PERCENTAGE OF FINAL WORK | % 40 | |
Total | % 100 |
Activities | Number of Activities | Workload |
Course Hours | 14 | 56 |
Study Hours Out of Class | 13 | 37 |
Project | 12 | 24 |
Final | 1 | 8 |
Total Workload | 125 |
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 |