DIGITAL GAME DESIGN | |||||
Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 |
Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
POV3337 | Fine Art Photography | Fall 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 |
Recommended Optional Program Components: | None |
Course Objectives: | This course aims to introduce the concept of fine art photography and related printing techniques. Students are expected to familiarize with different exhibition methods and put this knowledge into practice. |
The students who have succeeded in this course; 1. Recognize different printing methods. 2. Analyze the effects on presentation and exhibition techniques. 3. Identify fine art printing processes from 20th Century and before. 4. Analyze different practices in photographic history. 5. Practice fine art printing by using different printing methods. |
This course offers knowledge and practice of post-photographic processes like archival prints, alternative processes, different chemical and digital printing within the context of historical and contemporary practices. The effects of these processes on narration and production will also be explained and some of these processes will be put in practice by the students when applicable. |
Week | Subject | Related Preparation |
1) | Notion of fine art photography and its historical evolution – 19th century practices. | |
2) | Notion of fine art photography and its historical evolution - 20th century and contemporary practices. | Weekly readings will be assigned. |
3) | Early theories about fine art and their reviews, examples from notable practitioners. Assignment I | Working on the assignments. |
4) | Fine Art printing techniques and corresponding examples. | Working on the assignments. |
5) | Analyzing Alfred Stieglitz’s works within the context of platinum and palladium print of pictorialism. Assignment II. | Working on the assignments. |
6) | Fine art printing and presentation techniques. | Working on the assignments. |
7) | Exhibiting methods and materials of exhibition. Assignment III. | Working on the assignments. |
8) | Stilistic interpretations of famous photographers within the techical context of photography. | Working on the assignments. |
9) | Analyzing Edward Steichen’s Works from pictorialism to direct photography. Assignment IV | Working on the assignments. |
10) | Printing in the context of galleries and art market | Working on the assignments. |
11) | Archival processes of fine art prints. | Working on the assignments. |
12) | Analyzing Ralph Gibson’s Works and the effects of material choice on representations | Working on the assignments. |
13) | Analyzing Jeff Wall’s Works. Contemporary Examples of Fine Art Printing | Working on the assignments. |
14) | Evaluation Final Assignment; Oral Presentation of the works | Working on the assignments and presentations. |
Course Notes / Textbooks: | 1. Hirsch, R. (2009). Photographic possibilities the expressive use of equipment, ideas, materials, and processes. Amsterdam Boston: Focal Press/Elsevier. 2. Steinmueller, U. & Gulbins, J. (2008). Fine art printing for photographers : exhibition quality prints with inkjet printers. Santa Barbara, CA: Rocky Nook. |
References: | 1. Adams, A. & Baker, R. (1995). The negative. Boston: Little Brown. 2. Adams, A. & Baker, R. (1983). The print. Boston: Little, Brown. 3. Gibson, R. (2001). Ex libris : photographs and constructs. New York, NY: PowerHouse Books. 4. Greenough, S. & Stieglitz, A. (2002). Alfred Stieglitz : the key set : the Alfred Stieglitz collection of photographs. Washington, D.C. New York: National Gallery of Art Harry N. Abrams. 5. Wall, J. & Duve. (2009). Jeff Wall : the complete edition. London: Phaidon. 6. Smith, J. & Steichen, E. (1999). Edward Steichen : the early years. Princeton, N.J: Princeton University Press in association with the Metropolitan Museum of Art. |
Semester Requirements | Number of Activities | Level of Contribution |
Attendance | 1 | % 10 |
Homework Assignments | 4 | % 40 |
Presentation | 1 | % 10 |
Final | 1 | % 40 |
Total | % 100 | |
PERCENTAGE OF SEMESTER WORK | % 60 | |
PERCENTAGE OF FINAL WORK | % 40 | |
Total | % 100 |
Activities | Number of Activities | Duration (Hours) | Workload |
Course Hours | 14 | 4 | 56 |
Study Hours Out of Class | 13 | 3 | 39 |
Presentations / Seminar | 1 | 1 | 1 |
Homework Assignments | 4 | 7 | 28 |
Final | 1 | 2 | 2 |
Total Workload | 126 |
No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
Program Outcomes | Level of Contribution | |
1) | Comprehend the conceptual importance of the game in the field of communication, ability to implement the player centered application to provide design. | |
2) | Analyze, synthesize, and evaluate information and ideas from various perspectives. | |
3) | Analyze the key elements that make up specific game genres, forms of interactions, mode of narratives and understand how they are employed effectively to create a successful game. | |
4) | Understand game design theories and methods as well as implement them during game development; to make enjoyable, attractive, instructional and immersive according to the target audience. | |
5) | Understand the technology and computational principles involved in developing games and master the use of game engines. | |
6) | Understand the process of creation and use of 2D and 3D assets and animation for video games. | |
7) | Understand and master the theories and methodologies of understanding and measuring player experience and utilize them during game development process. | |
8) | Comprehend and master how ideas, concepts and topics are conveyed via games followed by the utilization of these aspects during the development process. | |
9) | Manage the game design and development process employing complete documentation; following the full game production pipeline via documentation. | |
10) | Understand and employ the structure and work modes of game development teams; comprehend the responsibilities of team members and collaborations between them while utilizing this knowledge in practice. | |
11) | Understand the process of game publishing within industry standards besides development and utilize this knowledge practice. | |
12) | Pitching a video game to developers, publishers, and players; mastering the art of effectively communicating and marketing the features and commercial potential of new ideas, concepts or games. |