| Course Name | History of Graphic Design |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| VCD 301 | Spring | 3 | 0 | 3 | 4 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Required | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | ||||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This lecture-based course introduces visual communication design students to the history of graphic design. Through an examination of approximately 150 years of graphic design production (starting from the present day early 21st c. back to the late 18th century) students will develop an awareness of the changing priorities of graphic designers, that is, when and why certain professional concerns were added, and why and when others were forgotten, or/and reinvented/resurfaced. Students are expected to be prepared before coming to class, participate creatively in class, and critically think. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | The sessions will include discussions from Western (and nonWestern) contexts, and on works from a range of graphic design applications (commercial: advertising, books, magazines, leaflets/brochures etc., noncommercial: civil service forms, tickets, receipts, and contemporary examples of multimedia and web design), as well historical documents, statuses, and manifestoes. The aim is: A. to survey the development of graphic design movements, styles, and ‘schools’ in the long 20th century (chronological/diachronic approach) B. to discuss key historical (political, social, cultural) and technological conditions that interact/intersect with graphic design (conceptual/synchronic approach) |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction to History of Graphic Design, Introduction to the Class Requirements | |
| 2 | PRE-20th Century Influences: Invention of Writing • Asian contribution • Alphabets • Illuminated Manuscripts • Renaissance and Origins of European • Typography | Stephen J. Eskilson, Graphic Design A New History • Philip B. Meggs, A History of Graphic Design • Richard Hollis, Graphic Design A Concise History • Alain Weill, Grafik Tasarim • Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| 3 | PRE-20th Century Influences: Industrial Revolution • Victorian Era • Development of Print • Arts&Crafts and Its Heritage | Stephen J. Eskilson, Graphic Design A New History • Philip B. Meggs, A History of Graphic Design • Richard Hollis, Graphic Design A Concise History • Alain Weill, Grafik Tasarim • Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| 4 | Japanese Impact: Ukiyo-e • Art Nouveau • Glasgow School • Viennese Secession • Jugendstil • The New Objectivity | Stephen J. Eskilson, Graphic Design A New History • Philip B. Meggs, A History of Graphic Design • Richard Hollis, Graphic Design A Concise History • Alain Weill, Grafik Tasarim • Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| 5 | The Modern Age & Design and Technology Unity & Corporate Identity Visualization • Class Discussion: Avantgarde & Kitsch, 1939 (Clement Greenberg), Work of Art in the Age of Mechanical Representation, 1935 (Walter Benjamin) | Walter Benjamin, Work of Art in the Age of Mechanical Reproduction • Clement Greenberg, Avant-garde and Kitsch |
| 6 | VCD Workshop (April 24th) | |
| 7 | The Influence of Modern Art: Impressionism • Fauvism • Expressionism • Sachplakat | Stephen J. Eskilson, Graphic Design A New History • Philip B. Meggs, A History of Graphic Design • Richard Hollis, Graphic Design A Concise History • Alain Weill, Grafik Tasarim • Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| 8 | The Influence of Modern Art: Cubism • Futurism • Surrealism • Dada | Stephen J. Eskilson, Graphic Design A New History • Philip B. Meggs, A History of Graphic Design • Richard Hollis, Graphic Design A Concise History • Alain Weill, Grafik Tasarim • Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| 9 | The Influence of Modern Art: De Stijl • Russian Suprematism • Russian Contructivism | Stephen J. Eskilson, Graphic Design A New History • Philip B. Meggs, A History of Graphic Design • Richard Hollis, Graphic Design A Concise History • Alain Weill, Grafik Tasarim • Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| 10 | MIDTERM EXAM | |
| 11 | The Influence of Modern Art: Abstract Expressionism • Opart • Pop Art • Fluxus • Minimalism • Conceptualism | Stephen J. Eskilson, Graphic Design A New History • Philip B. Meggs, A History of Graphic Design • Richard Hollis, Graphic Design A Concise History • Alain Weill, Grafik Tasarim • Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| 12 | American Art Deco • The Bauhaus and The New Typography | Stephen J. Eskilson, Graphic Design A New History • Philip B. Meggs, A History of Graphic Design • Richard Hollis, Graphic Design A Concise History • Alain Weill, Grafik Tasarim • Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| 13 | New York School • Modernism and The International Style (Swiss Style) | Stephen J. Eskilson, Graphic Design A New History • Philip B. Meggs, A History of Graphic Design • Richard Hollis, Graphic Design A Concise History • Alain Weill, Grafik Tasarim • Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| 14 | (Official Holiday May19th – To be covered) Post Modern Design • Digital Revolution, Contemporary Graphic Design | Stephen J. Eskilson, Graphic Design A New History • Philip B. Meggs, A History of Graphic Design • Richard Hollis, Graphic Design A Concise History • Alain Weill, Grafik Tasarim • Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| 15 | Review of semester | |
| 16 | Review of semester |
| Course Notes/Textbooks | Stephen J. Eskilson, Graphic Design A New History Philip B. Meggs, A History of Graphic Design Richard Hollis, Graphic Design A Concise History Alain Weill, Grafik Tasarim Richard Poulin, Graphic Design and Architecture: A Guide to Type, Image, Symbol, and Visual Storytelling in the Modern World |
| Suggested Readings/Materials | Walter Benjamin, Work of Art in the Age of Mechanical Reproduction Clement Greenberg, Avant-garde and Kitsch Ellen Lupton, Graphic Design The New Basics Michael Bierut, Looking Closer (Essays) |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 2 | 20 |
| Presentation / Jury | 1 | 10 |
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 30 |
| Final Exam | 1 | 30 |
| Total |
| Weighting of Semester Activities on the Final Grade | 60 | |
| Weighting of End-of-Semester Activities on the Final Grade | 40 | |
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 3 | 48 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 0 | ||
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 2 | 15 | |
| Presentation / Jury | 1 | 5 | |
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 5 | |
| Final Exams | 1 | 20 | |
| Total | 108 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to apply the fundamental principles of design in creating visual narratives and messages, using physical and digital media, | X | ||||
| 2 | To attain complex problem-solving skills, using various design methods, | X | ||||
| 3 | To have a clear understanding of creative/art direction, | X | ||||
| 4 | To be able to use the advanced theoretical and applied knowledge attained in the areas of Visual Communication Design, | X | ||||
| 5 | To act with social and ethical awareness and to take responsibility, both individually and collectively, for developing aesthetic and effective design solutions, | X | ||||
| 6 | To be able to investigate, interpret and evaluate the developments on Visual Communication Design in the world and in Turkey, | X | ||||
| 7 | To have an advanced level of knowledge and experience in producing/editing still and moving images, | X | ||||
| 8 | To attain proficiency in using related software, media, and communication technologies, | |||||
| 9 | To gain reflexive and critical thinking abilities, | X | ||||
| 10 | To undertake self-directed and continuous education in the discipline, to develop a lifelong learning attitude, | X | ||||
| 11 | To be able to collect data in the areas of Visual Communication Design and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1), | X | ||||
| 12 | To be able to speak a second foreign at a medium level of fluency efficiently, | |||||
| 13 | To be able to relate the knowledge accumulated throughout the human history to their field of expertise. | X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
