Digital Game Design (English) Preview
Bachelor	TR-NQF-HE: Level 6	QF-EHEA: First Cycle	EQF-LLL: Level 6

Course Introduction and Application Information

Course Code:

DGD049

Course Name:

Introduction to Digital Painting

Semester:

Spring

Course Credits:

ECTS

Language of instruction:

English

Course Condition:

Does the Course Require Work Experience?:

Type of course:

Departmental Elective

Course Level:

Bachelor

TR-NQF-HE:6. Master`s Degree

QF-EHEA:First Cycle

EQF-LLL:6. Master`s Degree

Mode of Delivery:

Face to face

Course Coordinator:

Öğr. Gör. SAKIP EFE ERDOĞAN

Course Lecturer(s):

Lect. S. Efe Erdoğan

Course Assistants:

Course Objective and Content

Course Objectives:

This course aims to equip students with the skills necessary to design and represent industrial (manufactured) objects that could serve as project assets within various media. Students will learn to modify and adapt these representations using digital contouring, painting, coloring, and toning techniques while staying within the design concept. By the end of the course, students will be proficient in presenting and delivering these designs as essential components of project files, preparing them for practical application in different contexts.

Course Content:

Students will engage in practical exercises aimed at simplifying and refining complex designs, mastering drawing techniques with a focus on stylization. The course will emphasize the importance of reference and inspiration ethics while encouraging the creation of original and authentic content. Students will explore the core principles of digital art and design, including component production and integration. Weekly practices will allow students to apply these concepts to various project systems, equipping them with the skills needed to create versatile and visually engaging digital art.

Learning Outcomes

The students who have succeeded in this course;
1) Navigate the ZBrush interface with confidence. Demonstrate proficiency in using essential brushes, subtools, and DynaMesh. Initiate and follow a sculpting workflow in ZBrush.
2) Experiment with various brushes to sculpt organic forms. Manipulate subdivision levels to control model details. Conduct anatomy studies and apply anatomical knowledge to sculpting.
3) Differentiate between female and male anatomy. Apply character design principles to ZBrush modeling. Block out characters using primitive shapes. Use ZBrush brushes to refine character features.
4) Understand and utilize Insert Mesh brushes for intricate details. Import and customize insert mesh brushes for specific shapes. Apply alphas and custom brushes for detailing.
5) Understand the basics of hard surface modeling in ZBrush. Utilize ZModeler brush and its functionalities effectively. Create simple hard surface shapes and objects.
6) Integrate organic and hard surface elements effectively. Work on a final project, troubleshooting, and seeking individual assistance.

Course Flow Plan

Week	Subject	Related Preparation
1)	Introduction to class. Discussion, meeting, topics, rules, requirements.	Prepare a simple presentation for your past drawings and designs on any subject.
2)	Techniques of inspiration and reference, and their ethical application in design practices. Critiques of students' presentations.	Researching references for your projects and prepare your presentations.
3)	Line art design techniques, the importance of line art quality in design. Critiques and comments.	Line art work. Prepare presentations for your projects so far.
4)	Line art design techniques. Critiques and comments.	Revise your work based on the critiques.
5)	Basic perspective and object volumes.	Perspective and object volumes. Prepare presentations for your project so far.
6)	Object creation with basic geometric drawings. Critiques and comments.	Revise your work based on the critiques.
7)	Object creation with basic geometric drawings. Critiques and comments.	Objects with geometric drawings. Prepare presentations for your project so far.
8)	Toning and volume representation techniques. Critiques and comments.	Apply toning and represent the volumes. Prepare presentations for your project so far.
9)	Toning and volume representation techniques. Critiques and comments.	Revise your work based on the critiques.
10)	The use of color and its application to the design ethos.	Apply color to your work. Prepare presentations for your project so far.
11)	The use of color and its application to the design ethos. Critiques and comments.	Start preliminaries for your final presentation of your work, using all of the elements you have created so far.
12)	Preliminary work for final submissions. Critiques and comments.	Revise your work based on the critiques.
13)	Critiques and comments.	Revise your work based on the critiques.
14)	Critiques and comments.	Prepare for final submissions.
15)	Finals.	Final submissions.

Sources

Course Notes / Textbooks:	Dersin belirli notları veya bir kitabı yoktur. The course has no specific notes or a book.
References:	The Art of Ron Cobb, Johnston, J., Titan Books, 2022. Drawing Basics and Video Game Art: Classic to Cutting-Edge Art Techniques for Winning Video Game Design, Solarski, C., Watson-Guptill, 2012. The Movie Art of Syd Mead: Visual Futurist, Mead, S., Titan Books, 2017. The Big Bad World of Concept Art for Video Games: An Insider's Guide for Beginners, Lilly, E. J., Design Studio Press, 2015.

Course - Program Learning Outcome Relationship

Course Learning Outcomes	1	2	3	4	5	6
Program Outcomes
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.

Course - Learning Outcome Relationship

No Effect	1 Lowest	2 Average	3 Highest

	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
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.	1
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.	2
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.	1
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.	1
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.	1
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.	3
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.	2

Assessment & Grading

Semester Requirements	Number of Activities	Level of Contribution
Attendance	1	% 10
Project	1	% 50
Final	1	% 40
total		% 100
PERCENTAGE OF SEMESTER WORK		% 60
PERCENTAGE OF FINAL WORK		% 40
total		% 100

Workload and ECTS Credit Calculation

Activities	Number of Activities	Preparation for the Activity	Spent for the Activity Itself	Completing the Activity Requirements	Workload
Course Hours	14	2			28
Laboratory	14	2			28
Presentations / Seminar	13	3			39
Final	1	6			6
Total Workload					101