| 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 |
| VCD2131 | Moving Image | Fall | 2 | 2 | 3 | 7 |
| 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): |
Dr. Öğr. Üyesi GÜVEN ÇATAK Dr. Öğr. Üyesi İPEK TORUN Prof. Dr. HASAN KEMAL SUHER |
| Recommended Optional Program Components: | VCD1111 & VCD1112 / VCD1023 & VCD1026 |
| Course Objectives: | Main objective of the course is to introduce time-based design and film language to communication design students. Dada and Surrealism art movements will stand as a theoretical base for the course due to their influence on current media and experimental background for moving images. Throughout the semester, students will mainly practice stop-motion and motion-graphics techniques to produce digital time-based collages and montages using still images (photos, graphics, drawings, etc.). Inspired by the Dadaist and Surrealist concepts, they will develop their own ideas and edit them through time. As a final project, students will shoot/design a music video which will link their overall experience and experiments to the market expectations. |
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The students who have succeeded in this course; 1) Define the concepts and methods of time-based design. 2) Recognize stop-motion as a narrative method for moving still images. 3) Study necessary editing and motion graphics software skills in order to realize design ideas into final products. 4) Study necessary shooting and lighting skills in order to realize story ideas into short films. 5) Recognize motion-graphics as a narrative method for moving still images. 6) Execute time-based design projects based on concepts and narratives. 7) Identify the current art & design influences of early avantgarde art movements. 8) Recognize film language by experimenting with camera scales and angles. 9) Define the culture of music video and its current experimental and commercial status. 10) Recognize sound and moving image relation by designing music-videos. 11) Manage time and process for a commercial video project. |
| The course is structured in three parts. First part focuses on dream theories of Freud and Jung and how dadaists and surrealist got inspired by their works. Stop-motion technique is analyzed and practiced during the first project in order to change the flow of time in a dreamy way. Basics of Adobe Premiere Pro software is taught as a non-linear editing tool for this first step. • Second part will concentrate on the Dada and Surrealism (anti) art movements and how they still influence various art forms and media. Related artists and their methods will also be discussed. To practice those concepts, motion-graphics technique and basics of Adobe After Effects software is introduced to the students. Due to those practices and discussions, a moving collage is done as a second project to simulate real-time in a graphical way. • The third part combines the overall experience and experiments in order to design/shoot a music video as a final project. During this process, stages of a commercial time-based project will be analyzed and discussed. |
| Week | Subject | Related Preparation |
| 1) | Introduction to the course; review of the syllabus | |
| 2) | 2. Discussing Freud & Jung Introduction to Stop-Motion Basics of Adobe Premiere Pro Announcement of Project1: “Dreaming my Dream” | |
| 3) | 3. Forming the Film Language Basics of Camera and Lighting Continue to Adobe Premiere Pro First drafts of PRJ1: concepts & test shootings | |
| 4) | ||
| 5) | 5. Advanced drafts of PRJ1: final cut Working on the soundtrack Getting feedbacks | |
| 6) | 6. Submission of PRJ1 Discussing Dada & Surrealism Introduction to Motion-Graphics Basics of Adobe After Effects Announcement of PRJ2: “Art Moves” | |
| 7) | 7. Continue to Adobe After Effects First drafts of PRJ2: concepts & motion experiments Getting feedbacks | |
| 8) | 8. Advanced drafts of PRJ2: rough cut Solving technical issues Getting feedbacks | |
| 9) | 9. Advanced drafts of PRJ2: final cut Working on the soundtrack Getting feedbacks | |
| 9) | 9. Advanced drafts of PRJ2: final cut Working on the soundtrack Getting feedbacks | |
| 10) | 10. Submission of PRJ2 History of Music Video; Icons and Idols Announcement of the FINAL PRJ: “Music Non-Stop” | |
| 11) | 11. Work of Directors First Drafts: Concepts / Synopsis | |
| 11) | 11. Work of Directors First Drafts: Concepts / Synopsis | |
| 12) | 12. Work of Directors Advanced Drafts: Storyboards / Animatics | |
| 13) | 13. Advanced Drafts: Shooting / Editing Getting feedbacks | |
| 14) | 14. Advanced Drafts: Color Correction / AV Effects Last Critics |
| Course Notes / Textbooks: | • dada and surrealism: a very short introduction • stop motion: passion, process & performance • motion graphic design: applied history and aesthetics • reinventing music video • 30fps: art of the music video • work of director series • stash series |
| References: | • dada and surrealism: a very short introduction • stop motion: passion, process & performance • motion graphic design: applied history and aesthetics • reinventing music video • 30fps: art of the music video • work of director series • stash series |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 10 | % 10 |
| Application | 2 | % 50 |
| 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 |
| Application | 2 | 8 |
| Study Hours Out of Class | 14 | 98 |
| Final | 1 | 4 |
| Total Workload | 166 | |
| 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. | 5 |
| 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. | 5 |
| 6) | Identify complementary design solutions in the visual field in order to solve communication problems. | 3 |
| 7) | Perform necessary operational skills in order to finalize products in the visual communication design field. | 5 |
| 8) | Evaluate recent design trends and the evolving aesthetic perspectives. | 5 |
| 9) | Use recent design softwares that coincide with the developing information technologies and communication channels. | 5 |
| 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. | 4 |
| 12) | Demonstrate leadership qualities in a design team as well as individual skills during the progress of a visual communication design project. | 2 |
| 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. | 4 |