TR
11111

COURSE INTRODUCTION AND APPLICATION INFORMATION

mt.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 Discussion
Q&A
Course Coordinator
Course Lecturer(s)
Assistant(s) -
Course Objectives
Learning Outcomes The students who succeeded in this course;
  • Students will be able to explain the concept of “making” in art and design.
  • Students will be able to explain the concept of “style” in art and design.
  • Students will be able to explain the concept of “ideology” in art and design.
  • Students will be able to explain the concept of “use” in art and design.
  • Students will be able to explain the concept of “meaning” in art and design.
  • Students will be able to analyze and discuss a work of art or design using the above concepts, regardless of time period, style or whether or not students have seen it before.
Course Description

 



Course Category

 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 independently develop and design a collection.

 X
2

To be able to apply industrial requirements, knowledge of material & usage and know-how knowledge in the creation of high quality fashion products.

 X
3

To have  a research oriented awareness of design, and being able to do design research individually.

 X
4

To be able to use a foreign language at a good and advanced level.

 X
5

To develop entrepreneurship- and managerial skills for a future professional practice.

 X
6

To be able to follow, observe and analyze the news issues, changes and trends in contemporary design and art in such a way that they can be integrated into design practice.

 X
7

To have an ability to use digital information and communication technologies at a level that is adequate to the discipline of fashion design.

 X
8

To recognize, analyze and integrate within their practice the particular local and regional needs and developments of their profession.

 X
9

To develop an ongoing analytical and professional approach to academic and design research.

 X
10

To be able to recognize the need and importance of a personal lifelong learning attitude towards their chosen area of interest.

 X
11

To be able to understand, interpret and apply theoretical  knowledge in fashion design.

 X

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest

 

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