| Course Name | History of Art and Design 1 |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| FFD 121 | Fall | 2 | 0 | 2 | 2 |
| 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 | Introduce students to the production of images and objects throughout history and to develop a visual sensibility about artistic and cultural production. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | Introduce students to the production of images and objects throughout history and to develop a visual sensibility about artistic and cultural production. Visual analysis of objects of art, design and architecture. |
| Related Sustainable Development Goals | |
|
| Core Courses | X |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction | |
| 2 | Composition | Reading: “Proportion,”from Art Fundamentals, pp. 56-60. |
| 3 | Color | Reading: “Simultaneous Contrast,” Art Fundamentals, pp. 156-161. |
| 4 | Light | Reading: “Chiascuro & Tenebrism,” Art Fundamentals, pp. 116-119. |
| 5 | Film | |
| 6 | Review | |
| 7 | MidTerm 1 | Everything concerning Composition, Color and Light |
| 8 | Texture | Reading: “Texture, Pattern, Composition,” Art Fundamentals, pp. 136-139. |
| 9 | Space | Reading: “Line, Shape, Value, Texture, Color, Space,”Art Fundamentals, pp. 202-207. |
| 10 | Time | Reading: “Motion Pictures, Video, the Computer and Art,”Art Fundamentals, pp. 213215. |
| 11 | MidTerm 2 | Texture, Space, Time |
| 12 | Representation | Reading: Ernst Gombrich, “Pygmalion’s Power,” Art and Illusion,pp. 8083. |
| 13 | Text | Reading: Janet Marquardt and Stephen Eskilson, “AfricanAmerican Art History,” Frames of Reference, pp. 329-332. |
| 14 | Review | |
| 15 | Course Review | |
| 16 | Semester Review |
| Course Notes/Textbooks | |
| Suggested Readings/Materials | Art Fundamentals: Theory and Practice. Otto G. Ocvirk, Robert E. Stinton, Philip R. Wigg, Robert O. Bone and David L. Cayton. McGraw Hill: New York, 2006.Ernst Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation. Phaidon Press: London, 2002 (6th edition).Janet Marquardt and Stephen Eskilson, Frames of Reference: Art, History and the World. McGraw Hill: New York, 2005 (16th edition). |
| Semester Activities | Number | Weighting |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project | 1 | 25 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 2 | 50 |
| Final Exam | 1 | 25 |
| Total |
| Weighting of Semester Activities on the Final Grade | 3 | 75 |
| Weighting of End-of-Semester Activities on the Final Grade | 1 | 25 |
| Total |
| 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 | 0 | ||
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | |||
| Presentation / Jury | |||
| Project | 1 | 8 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 2 | 8 | |
| Final Exams | 1 | 10 | |
| Total | 66 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to develop and design a collection independently. | X | ||||
| 2 | To be able to do maintain a design research individually or as a team. | X | ||||
| 3 | To be able to develop entrepreneurship- and managerial skills for a future professional practice. | X | ||||
| 4 | To be able to understand, interpret and apply theoretical knowledge in fashion and textile design. | X | ||||
| 5 | To be able to analyze and integrate the particular local and regional needs and of their profession. | X | ||||
| 6 | To be able to obtain a multidisciplinary point of view, follow and analyze the new issues, changes and trends in contemporary design and art in such a way that they can be integrated into design practice. | X | ||||
| 7 | To be able to apply industrial requirements, knowledge of material & usage and know-how knowledge in the creation of high quality fashion products. | X | ||||
| 8 | To be able to use digital information and communication technologies at a level that is adequate to the discipline of fashion and textile design. | X | ||||
| 9 | To be able 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 collect data in the areas of fashion and textile 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. | X | ||||
| 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
