| COMMUNICATION DESIGN | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| VCD1116 | Basic Design II | Spring | 4 | 4 | 6 | 10 |
| Language of instruction: | English |
| Type of course: | Must Course |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Dr. Öğr. Üyesi İPEK TORUN |
| Course Lecturer(s): |
Instructor SERKAN ŞİMŞEK Instructor DİDEM WONG |
| Recommended Optional Program Components: | None |
| Course Objectives: | Basic Design II course is developed for the first year Communication Design students as a second part of a two-semester studio course introducing design basics as they relate to the issues of visual communication and to mass media applications. The general aim is to develop design skills towards creating an effective visual language and communicating with it. The understanding of visual organization of space and relative visual relationships is supported with lectures, discussions, demonstration, in-class and take-home projects, group critiques and individual consultation. Critical and analtyical thinking is fostered at all stages of design towards modifying action. Design process is emphasized underlining design thinking and design making. The main objective of this course is to exercise visual space in 2D and 3D focusing on visual form. |
|
The students who have succeeded in this course; 1) Recognize and apply visual design vocabulary 2) Develop design skills working with color and texture towards creating an effective visual language and communication. 3) Understand the paradigm of visual form in 2D and 3D and develop design projects using both. 4) Respond to visual problems related to design in the context of three dimentions 5) Transfer the understanding of visual space in 2D to 3D. 6) Apply experimental material use and brain storming with the ability to be critical towards visual work within the design process. 7) Integrate concept and form. 8) Cooperate thoughts into conceptualization process and perform visual expressions. 9) Develop critical visual thinking. |
| The students will develop their design skills working with color and texture while solving design problems in 2D and 3D through projects done both during the studio hours and take home assignments throughout the semester. As the course aims at establishing the foundation of design, the students are expected to come up with creative solutions integrating concept and form according to a given brief. |
| Week | Subject | Related Preparation |
| 1) | Introduction to the course - Review of the Syllabus | none |
| 2) | Pattern Lecture. Pattern Effects in Photography. Pattern Class Work. | Preperation of the related materials and tools for the class work. Photography project submission related to the subject. |
| 3) | Pattern Effects in Photography Critique. Color Effects in Photography. Pattern Class Work Critique. Color Lecture. Color Wheel Class Work. | Preperation of the related materials and tools for the class work. Photography project submission related to the subject. Pattern Class-Work submission. |
| 4) | Color Effects in Photography Critique. Texture Lecture. Texture Effects in Photography. Color Wheel Class Work Critique. Color Class Work. | Preperation of the related materials and tools for the class work. Photography project submission related to the subject. Color Wheel Class-Work submission. |
| 5) | Texture Effects in Photography Critique. Color, Texture and Form Relation. Visual and Tactile Texture Class Work. | Preperation of the related materials and tools for the class work. Photography project submission related to the subject. |
| 6) | Texture and Stencil Templates Class Work. Combining and Composing Class Work. Starting Istanbul Journal Sketchbook. | Preperation of the related materials and tools for the class work. |
| 7) | 3D Forms Lecture. 2D Ready Made Texture Review 2D Ready Made Texture Class Work. | Preparation of related materials and tools for the class work. |
| 8) | 3D with papers Home Work Critique. 3D Design with cardboard -White on Black square concept Class Work. | Preparetion of related materials and tools for the class work. 3D with papers project submission. |
| 9) | Photography and Concept Lecture. 3D Design: concept Material exercise. | Preparetion of related materials and tools for the class work. 3D Design with cardboard -White on Black square concept Class Work submission. |
| 10) | Scents of The City Lecture. Urban Space Textures in Photography Introductio to Final Project 3D: Ready Made construction • Unexpect Istanbul • The View Project • Compare and Contrast • Literal Istanbul • Istanbul photo journal sketch book • Istanbul and me | 3D Design: concept Material exercise |
| 11) | City Space in Visual Design Lecture. Final 3D Ready Made Construction Istanbul Concept Development | First Draft for Final Project. |
| 12) | Photographic Poster Design (word and image). Final 3D Ready Made construction Concept Development. | Second Draft for Final Project. |
| 13) | Review of 3D Ready Made Construction and Poster. | Third draft for final project. Photographic poster of the final project. |
| 14) | Final Review of 3D Ready Made Construction and Poster. | The final draft for final project. Photographic poster of the final project. |
| Course Notes / Textbooks: | Pentak, Design Basics, Fifth Edition (New York: Wadsworth, 2002) and 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). ’Donis A. Dondis, A Primer of Visual Literarcy (Cambridge: The MIT Press, 1996) and Herbert Zettl, Sight Sound Motion: Applied Media Aesthetics, (California: Wadsworth, 1993) as their guiding text books. Students are encouraged to read and research around the topics discussed. Students are expected to make themselves familiar with the library and with how to look for information. Respectively; The following list is recommended reading. |
| References: | Arnheim, Rudolf. (1969). Art and Visual Perception: A Psychology of the Creative Eye, University of California Press, Berkley. Becer, Emre. ( 2008). ‹letiflim ve Grafik Tasar›m, 6.Bask› 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 |
| Homework Assignments | 12 | % 60 |
| 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 | 112 |
| Study Hours Out of Class | 14 | 62 |
| Homework Assignments | 12 | 60 |
| Final | 1 | 4 |
| Total Workload | 238 | |
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Create design oriented application for the visual communication design field. | 5 |
| 2) | Resolve visual communication problems via concept based designs and an integrated perspective in the visual communication design field. | 4 |
| 3) | Qualify in design directing through analysis and design processes. | 4 |
| 4) | Display creative thinking, approach and production process skills. | 5 |
| 5) | Integrate basic fields of visual communication; print, time-based and interactive media, through mastering each one of these fields individually. | 3 |
| 6) | Identify complementary design solutions in the visual field in order to solve communication problems. | 5 |
| 7) | Perform necessary operational skills in order to finalize products in the visual communication design field. | 3 |
| 8) | Evaluate recent design trends and the evolving aesthetic perspectives. | 2 |
| 9) | Use recent design softwares that coincide with the developing information technologies and communication channels. | |
| 10) | Interpret theoretical, historical and intellectual roots of the visual communication design field. | 4 |
| 11) | Perform necessary time management in order to complete a visual communication design project. | 1 |
| 12) | Demonstrate leadership qualities in a design team as well as individual skills during the progress of a visual communication design project. | 5 |
| 13) | Display compositional solutions and aesthetic skills to fulfill design needs in a visual communication design work. | 5 |
| 14) | Develop academical, intellectual and critical point of view for global, local and individual visual communication design works. | 3 |