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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 | ||||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description |
|
| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Required Materials |
| 1 | Introduction: discuss course syllabus and procedure | Why study the history? | • Heller, S., ‘The Beginning of History’ in S. Heller, G. Ballance (2009), pp.viii-x • Heller, S., ‘Better Skills Through Better Research’ in Bennett (2006), pp.10-13 • Drucker, J., 'Philip Meggs and Richard Hollis: Models of Graphic Design History', Design and Culture, 1 (1) March 2009, pp.51-77 |
| 2 | Methodology: Studying the history of graphic design (and why not the history of visual communication design). | • Frascara, J., ‘A History of Design, a History of Concerns’ in S. Heller, G. Ballance (eds.) 2000, pp.13-18 |
| 3 | The ‘Citizen Designer’: social responsibility in the 2000s, common concerns in the past | • ‘The Citizen Designer’ in Eskilson, S.J. (2007), pp.417-420 • Frascara, J., ‘Graphic Design: a Fine Art or a Social Science?’ (1988), reprinted in Bennett (2006), pp.26-35 • Heller, Vienne (2003). Citizen Designer • ‘First things first – or OUR THINGS FIRST?’ On a parochial manifesto by sated professionals; by Jan Michl |
| 4 | The Alternatives to Modernism: ‘Retro’, ‘Punk’ (Britain) and ‘New Wave’ (Holland, USA) | ‘Alternatives to the International Style’ in Hollis (1994), pp.187-192 • ‘Mature Post-modernism’ pp. 336, 352-356, ‘Post-Modernism of Resistance’, pp.369-371, ‘Eclectic Experiments’, pp.374-379, ‘Motion Graphics’,pp.397-404, in Eskilson (2007) • ‘Postmodernism in Design, 1970s-1980s and Beyond’ in Drucker/McVarish (2009), pp. 301-309 • ‘Postmodern Design’m pp. 432-442, ‘Pioneers of digital graphic design, pp. 457-461, ‘Revitalizing magazine design’, pp.461-463 in Meggs (ed. 1998) |
| 5 | The growth and demise of the ‘International Style’, and Psychedelics | ‘Corporate Identities and International Style’, 1950s-1970s in Ducker/McVarish (2009), pp. 259-277 ‘Protest: 1968 and Vietnam’ in Hollis, pp.184-185 ‘Psychedelic Posters’ in Eskilson (2007), 338-343 |
| 6 | The International Typographic Style (Swiss) and Corporate identity (USA) | ‘Corporate Identities and International Style, 1950s-1970s’ in Ducker/McVarish (2009), pp. 259-277 ‘The Swiss Style’ in Eskilson (2007) pp.302-312 ‘Switzerland and Neue Grafik’ in Hollis (1994), pp.130-137 Hollis, R., Swiss Graphic Design: The Origins and Growth of an International Style, 1920-1965. Yale University Press. 2006 ‘American Innovators’ in Eskislosn (2007), pp.315-330 |
| 7 | WWII, Propaganda, and Information Graphics (ISOTYPE | Germany in the 1930s’ and ‘The Second World War’ in Eskilson (2007), pp. 278-293 ‘War and Propaganda, 1920s-1945’ in Hollis (1994), pp.104-111 ‘The flight from Fascism’ in Meggs (1983), pp. 305-311 ‘Wartime propaganda’, ‘Wartime Information’ in Drucker/McVarish (2009), pp. 245-255 ‘Heartfield in Context’, in Lavin (2001), pp.12-25 |
| 8 | Ödev teslimi | ‘Germany in the 1930s’ and ‘The Second World War’ in Eskilson (2007), pp. 278-293 ‘War and Propaganda, 1920s-1945’ in Hollis (1994), pp.104-111 ‘The flight from Fascism’ in Meggs (1983), pp. 305-311 ‘Wartime propaganda’, ‘Wartime Information’ in Drucker/McVarish (2009), pp. 245-255 ‘Heartfield in Context’, in Lavin (2001), pp.12-25 |
| 9 | HOLIDAY | None |
| 10 | The New Typography and Art Deco | ‘The New typography’ in Tschichold (2006), pp.xxiv-xxviii ‘The New Typography’ in Eskilson (2007), pp.245-249 ‘Jan Tschicold and Die Neue Typographie’ in Meggs (1994), 287-290 ‘Art Deco in France and Britain’ in Eskilson (2007), pp.170-178 ‘France’ in Hollis (1994), pp.83-88 |
| 11 | ESSAY SUBMISSION | FRASCARA WORKSHOP |
| 12 | Constructivism, De Stijl, The Bauhaus | A New Utopia’ and subsequent sections, in Eskilson, pp. 201-209 ‘EL Lissitzky’ in Eskilson, pp. 215-221 ‘Weimar Bauhaus’. ‘Dessau Bauhaus’ in Eskilson, pp. 229-245 Cees W.de Jong, Alston W. Purvis, Dutch Graphic Design: A Century of Innovation, Thames & Hudson Ltd (2006) |
| 13 | The Balkan Wars, WWI and Propaganda. Dada and Futurism | ‘The First World War’ in Eskilson (2007), pp.116-132 ‘Dada’, pp.133-135, ‘Futurism’, p.158 in Eskilson (2007) ‘Futurism and Italy’ in Hollis (1994), pp.37-43 |
| 14 | From ‘Graphic Art’ to ‘Graphic Design’, 1890-1914 The Industrial revolution and the Arts and Crafts Art Nouveau and its alternatives | ‘From Graphic Art to Design, 1890-1914’ in Hollis (1994), pp.11-17 ‘The Nineteenth Century, an Expanding Field’ and ‘The Advent of Graphic Design’, ‘The Arts and Crafts Movement’, ‘The Four’, ‘Vienna Secession’ in Eskilson (2007), pp. 24-29, 32-39, 72-82 ‘Historical Context’, in Frascara (2004), pp. 15-21 |
| 15 | Review of the Semester | |
| 16 | Review of the Semester |
| Course Notes/Textbooks | Power point presentations |
| Suggested Readings/Materials | Key texts B. Gomez-Palacio, A. Vit. (2011). Graphic Design, Referenced. Rockport G. Lees-Maffei, R. Houze (eds.). (2010). The Design History Reader. Berg H. Clark, D. Brody. (2009). Design Studies: A Reader. Berg J. Drucker, E. McVarish. (2009) Graphic Design History: A Critical Guide. Pearson Education Inc. S.J. Eskilson. (2007). Graphic Design, a New History. Laurence King Publishing J. Frascara. (2004). Communication Design. Principles, Methods and Practices. Allworth Press S. Heller, G. Ballance (eds.). (2000). Graphic Design History. Allworth Press (IEU Library) S. Heller, E. Pettit (2000). Graphic Design Timeline. Allworth Press E. Lupton, A. Miller. (1996). Design/Writing/Research. Writing on Graphic Design. Phaidon R. Hollis. (1994). Graphic Design. A Concise History. Thames and Hudson (IEU Library) P. Meggs. (1983). A History of Graphic Design. Allen Lane (IEU Library) Additional texts A. Bennett. (2006). Design Studies: Theory and Research in Graphic Design. Princeton Architectural Press J. Tschichold (trans. R. McLean) (2006/1928). The New Typography. University of California Press S. Heller, V. Vienne (eds.). (2003). Citizen designer. Allworth Press M. Bierut, et al. (eds.) (1999). Looking Closer 3. Classic Writings on Graphic Design. Allworth Press A. Forty. (1986). Objects of Desire. Design and Society Since 1750. Thames and Hudson (IEU Library) |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation | 1 | 20 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 25 |
| Presentation / Jury | ||
| Project | 1 | 30 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 25 |
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 60 | |
| Weighting of End-of-Semester Activities on the Final Grade | 40 | |
| Total |
ECTS / WORKLOAD TABLE
| 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 | 16 | 3 | |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 4 | |
| Presentation / Jury | |||
| Project | 1 | ||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 3 | |
| Final Exams | 4 | ||
| Total | 103 |
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), | |||||
| 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