| Course Objectives: |
Three characters you will create will be members of a “crew” of your choosing, such as of a ship, a restaurant, a mining team, etc. These characters, their themes, and the world they belong to must be your own creation. Absolutely no fan art will be allowed, and anything that you reference must be clearly stated in your presentation. |
| Course Content: |
Character Concept Art is a course that explores understanding of creating individuals, including animals, humanoids, creatures, cyborgs, droids, androids, etc. while constructing them in a solid ground, and making them believable in their ownworlds and/or themes, exploring their assets, character traits, backgrounds, and combining all of these elements to create a presentation of your created characters with detailed statements by using your illustration and sketching techniques. |
| Week |
Subject |
Related Preparation |
| 1) |
Introduction to the course and topics, meeting the students. |
Prepare for class. |
| 2) |
Discussion on character creation, talk on masters of concept design: Syd Mead, Frank Frazetta, H.R. Giger, Scott Robertson, Ashley Wood etc. |
Prepare for basic presentation of characters |
| 3) |
Basic presentation on themes, mood boards, references, background data about characters. class discussion on presented presentations. |
Continue with presentations |
| 4) |
Basic sketches, forms of the characters, revisions will be given if needed, no colours allowed at this point. |
Prepare for next week' s presentaiton |
| 5) |
Revisions and fixes. In class discussions on revisions. |
Prepare for next week' s presentaiton |
| 6) |
Revisions and fixes |
Prepare for mid-term presentation. |
| 7) |
MID-TERM PRESENTATIONS |
|
| 8) |
Detailing and cumulatively progressing your characters forward; thinking about costumes, items, side characters, pets, weapons might be sketched individually. |
Prepare for next week' s presentation |
| 9) |
Continuation of previous week with presentations. Class discussion on presented characters. |
Prepare for next week' s presentation |
| 10) |
Continuation of previous week with presentations. Class discussion on presented characters. |
Prepare for next week' s presentation |
| 11) |
Drafts of the final presentation might be presented starting with
this week. Class discussion on presented characters. |
Prepare for next week' s final draft presentation |
| 12) |
Continuation of the presentations of the final draft.Class discussion on presented final drafts. |
Prepare for next week' s final draft presentation |
| 13) |
Continuation of the presentations of the final draft.Class discussion. |
|
| 14) |
Consultation and revisions for final presentation |
Prepare for final presentation. |
| |
Program Outcomes |
Level of Contribution |
| 1) |
Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. |
|
| 2) |
Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. |
|
| 3) |
Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. |
|
| 4) |
Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. |
|
| 5) |
Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. |
|
| 6) |
Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. |
|
| 7) |
Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. |
|
| 8) |
Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. |
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ISTINYE UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
