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- Address of İzmir University of Economics
- Academic Authorities
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- List of Programs Offered
- General Admission Requirements
- General Registration Procedures
- ECTS Credit Allocation
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- Institutional ECTS Coordinator
- Departmental Erasmus Coordinators
- Degree Programs
- Visual Communication Design
- Qualification Awarded
- Level of Qualification
- Specific Admission Requirements
- Qualification Requirements and Regulations
- Recognition of Prior Learning
- Profile of the Program
- Program Outcomes
- Course & Program Outcomes Matrix
- Occupational Profiles of Graduates
- Access to Further Studies
- Program Structure
- Course Structure Diagram with Credits
- Exam Regulations & Assessment & Grading
- Graduation Requirements
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- Program Director (or Equivalent)
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COURSE INTRODUCTION AND APPLICATION INFORMATION
ilt.fadf.ieu.edu.tr
| Course Name | |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| Spring |
| Prerequisites | None | |||||
| Course Language | ||||||
| Course Type | Required | |||||
| Course Level | - | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | DiscussionQ&A | |||||
| Course Coordinator | ||||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description |
|
| Core Courses | X |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Required Materials |
| 1 | Introduction | None |
| 2 | MAKING 1: Materials, Tools and Techniques | Frank Lloyd Wright, “Meaning of Materials – Glass,” (details below) |
| 3 | MAKING 2: Process and Education | Jill Dunkerton, “Drawings and Props,” (details below) |
| 4 | STYLE 1: Time Period, Competition and Change | E.H. Gombrich, The Story pf Art, pp. 58-65 |
| 5 | STYLE 2: Individual Style and Geographical Style | Marlene R. Breu, ‘Traditional Turkish women’s dress’, in: L. Welters, Folk dress in Europe and Anatolia, Oxford/New York 1999, pp. 38-51 |
| 6 | Readings Review | None |
| 7 | MidTerm Exam | None |
| 8 | IDEOLOGY 1: Classical Western and NonWestern Ideologies | Janet Marquardt & Stephen Eskilson, “Alberti and 15thCentury Painting,” (details below) |
| 9 | IDEOLOGY 2: Modernism and Its Criticism | Ulrich Conrads (editor), “Futurist Architecture” and “De Stijl Manifesto I” (details below) |
| 10 | USE 1: Patron, Client and User | J. Raby, ‘A Sultan of paradox: Mehmed the Conqueror as a Patron of the Arts’, Oxford Art Journal, Vol. 5, No. 1 (1982), pp. 3-8 |
| 11 | USE 2: Function and Location | Victor Papanek, “What is Design?” (details below) |
| 12 | MEANING: Like a Message | Peter Schoon and Sander Paarlberg “Jan de Braij: A Couple as Odysseus and Penelope” (details below) |
| 13 | Readings Review | None |
| 14 | Film Screening | None |
| 15 | Field Trip | None |
| 16 | Review of the Semester |
| Course Notes/Textbooks | none |
| Suggested Readings/Materials | Leon Battista Alberti, “Book Seven: Ornament to Sacred Buildings, Section 8” from On the Art of Building in Ten Books, 1450 (translated by Joseph Rykwert, Neil Leach and Robert Tavenor, 1989), pp. 205210. Ulrich Conrads, ed. “Futurist Architecture (1914)” and “De Stijl Manifesto I” from Programs and Manifestoes on 20thCentury Architecture, 1970, pp. 3440. Jill Dunkerton, et al, “Drawings and Props” from Giotto to Dürer: Early Renaissance Painting in the National Gallery, edited by 1991, pp. 141145. Janet Marquardt and Stephen Eskilson “Alberti and FifteenthCentury Painting” and “Ancient Egypt,” Frames of Reference: Art, History and the World, 2005, pp. 143147 and 5661. Victor Papanek, “What is Design?” from Design for the Real World, , 1972, pp. 1724. Peter Schoon and Sander Paarlberg, “Jan de Braij: A Couple as Odysseus and Penelope” from Greek Gods and Heroes in the Age of Rubens and Rembrandt, 2001, pp. 184185. Metin Sözen, “Rugs and FlatWeaves,” The Evolution of Turkish Art and Architecture, 1987, pp. 302305. Frank Lloyd Wright, “In the Cause of Architecture: The Meaning of Materials – Glass,” ARCHITECTURAL RECORD, June 1928, pp. 197202. |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 5 |
| Presentation / Jury | 1 | 10 |
| Project | 1 | 25 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 30 |
| Final Exam | 1 | 30 |
| Total |
| Weighting of Semester Activities on the Final Grade | 70 | |
| Weighting of End-of-Semester Activities on the Final Grade | 30 | |
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 2 | 32 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 15 | 2 | |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | ||
| Presentation / Jury | 1 | 3 | |
| Project | 1 | ||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 10 | |
| Final Exams | 1 | 15 | |
| Total | 90 |
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to use the advanced theoretical and applied knowledge attained in the areas of Visual Communication Design (Multimedia, Photography, Graphic Design and Typography), | X | ||||
| 2 | To be able to investigate, interpret and evaluate the developments on Visual Communication Design in the world and in Turkey, | X | ||||
| 3 | To be able combine images and words creatively in order to convey visual ideas | X | ||||
| 4 | To attain a high level of complex problemsolving using a variety of design methodologies, | X | ||||
| 5 | To understand the principles of compositional space | X | ||||
| 6 | To have a clear understanding of creative art direction, | X | ||||
| 7 | To attain proficiency on the implementation of production standards and to be able to use Visual Communication Design related software and communication technologies. | X | ||||
| 8 | To have an advanced level knowledge and experience in photography and video production, including image processing, editing and postproduction techniques, | X | ||||
| 9 | By using a second foreign language at least on an intermediate level, to be able to follow the information in Visual Communication Design and communicate with colleagues, | X | ||||
| 10 | To have social and ethical awareness in the stages of creating, applying and evaluating the practices related to Visual Communication Design, and to act consciously and sensitively in the application of these values, | X | ||||
| 11 | To take responsibility both as an individual and as a team member in order to solve creatively the unexpected and unforeseen complex design problems encountered in the Visual Communication Design practices. | X | ||||
| 12 | To utilize the ability to evaluate and criticize acquired knowledge and skills, to diagnose ones individual educational needs, and undertake selfdirected and continuous education in the discipline. | X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest