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:

DGD109

Course Name:

2D Design For Games

Semester:

Fall

Course Credits:

ECTS

Language of instruction:

English

Course Condition:

Does the Course Require Work Experience?:

Type of course:

Compulsory Courses

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 provide students with a comprehensive foundation in the principles of 2D design specific to video games. Throughout the course, students will learn the essential concepts of unitary systems, scale, and design considerations for the internal architecture and visual building blocks of videogames. Students will progressively advance their skills in designing and creating pixel art-based tiles and tilesets, equipping them with the ability to create aesthetically pleasing and functional 2D game assets that integrate seamlessly into videogame environments.

Course Content:

Students will learn the principles of basic drawing and illustration, enabling them to create fundamental visual elements used in 2D game design. They will explore parallel perspective, understanding how to convey depth and scale effectively within a 2D space. Color theory will be a focal point, as students delve into the psychology of color, color harmonies, and their application in game design. Additionally, students will develop art literacy, gaining a deeper understanding of visual storytelling and composition. The course will also cover digital design techniques, introducing students to tools and software used in creating pixel art and other 2D game assets.

Learning Outcomes

The students who have succeeded in this course;
1) Students will learn to create aesthetically pleasing and functional 2D game assets, mastering the principles of unitary systems, scale, and architectural design considerations for game environments.
2) Students will develop the ability to design and produce pixel art-based tiles and tilesets for videogames, progressively advancing their skills to create versatile and visually engaging in-game assets.
3) Students will understand the significance of seeking inspiration and finding references in the design process, enabling them to draw from a broad range of influences to enhance their creative work.
4) Students will gain proficiency in presentation skills and effectively communicating their design concepts and visual assets, preparing them for professional collaboration and portfolio development in the field of 2D game design.

Course Flow Plan

Week	Subject	Related Preparation
1)	Introduction to class. Discussion, meeting, topics, rules, requirements.	Prepare for the course. Math paper, pen and pencil, eraser.
2)	Introduction to basic design principles, part 1. Exercise: abstraction on a 16x16 grid, monochrome.	Design and draw 5 16x16, monochrome pixel art representations of objects from the reference set.
3)	Introduction to basic design principles, part 2. Exercise: abstraction on a 24x24 grid, black + 2 colors.	Design and draw 5 24x24, black + 2 color pixel art representations of objects from the reference set.
4)	Rotoscoping, historic examples. Classical tileset design. Analogue representation of tiles on paper medium.	Start designing your tileset. 24x24 grid, black + 6 colors.
5)	Scale, proportion, depth, and consistent unitary systems in videogames. Critiques and comments.	Continue working on your tileset designs. Start using Piskel (or similar) and Photoshop for your works.
6)	Presenting design elements and assets. Critiques and comments.	Finalize your tileset designs. Prepare your tiles inside the presentation template. Prepare a simple portfolio for your pixel art works so far.
7)	Mid-terms.	Mid-term review of presentations and 2D Design portfolios.
8)	Parallel projection representations in videogames: isometric and cavalier. Exercise: drawing on isometric and cavalier templates.	Design and draw 4 objects in line art representation and isometric and/or cavalier projection on templates. Transfer to 32x32, black + 6 color pixel art templates.
9)	Tilesets with transparency. Analogue representation of tiles on acetate medium.	Start designing a tileset with 16x16 grid units. Create at least 10 different objects. (City or architectural scale)
10)	Legibility, shading, outlining. Critiques and comments.	Continue working on your tileset designs.
11)	Critiques and comments.	Continue working on your tileset designs.
12)	Final preparations for a demo environment. Critiques and comments.	Continue working on your tileset designs.
13)	Presenting design elements and assets. Critiques and comments.	Finalize your tileset designs. Prepare your tiles inside the presentation template. Prepare a simple portfolio for your pixel art works so far.
14)	Critiques and comments.	Prepare for end-of-semester exhibition.
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:

Drawing Basics and Video Game Art: Classic to Cutting-Edge Art Techniques for Winning Video Game Design, Solarski, C., Watson-Guptill, 2012.

Preproduction Blueprint: How to Plan Game Environments and Level Designs, Galuzin, A., CreateSpace Independent Publishing Platform, 2016.

Video Game Design: Principles and Practices from the Ground Up, Salmond, M., Bloomsbury Academic, 2019.

Visual Development for Web and Mobile Games, Carman, C. P., CRC Press, 2017.

Level Design: Concept, Theory, and Practice, Kremers, R., CRC Press, 2018.

Course - Program Learning Outcome Relationship

Course Learning Outcomes	1	2	3	4
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.	3	3	1	1
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.	2	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	3
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	1	2
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.	1	1	2
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	3		1

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.	3
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.	2
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.	3
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.	2
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.	2
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.	3

Assessment & Grading

Semester Requirements	Number of Activities	Level of Contribution
Attendance	1	% 10
Project	4	% 60
Final	1	% 30
total		% 100
PERCENTAGE OF SEMESTER WORK		% 70
PERCENTAGE OF FINAL WORK		% 30
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
Project	11	5			55
Midterms	1	10			10
Final	1	10			10
Total Workload					131