| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | UNI187 | ||||
| Course Name: | Visual Thinking | ||||
| Semester: | Spring | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | University Elective | ||||
| Course Level: |
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| Mode of Delivery: | E-Learning | ||||
| Course Coordinator: | Dr. Öğr. Üy. NERGİS ATAÇ | ||||
| Course Lecturer(s): | Assoc. Prof. Dr. Hasan Gurkan | ||||
| Course Assistants: |
| Course Objectives: | The course provides students with a basic understanding of the principles of visual culture. Moreover, the course aims to explore the artistic and theoretical dimensions of visual culture and it allows students to acquire the critical methods necessary to evaluate cinematography and visual expression aesthetically. |
| Course Content: | This course is a course about seeing and about how images are constructed to work with and against the way we see. It is especially designed for people who want to share their personal artistic vision with others through image making (still or moving), but it can benefit anyone with an interest in expanding creativity (especially poets, writers, visual artists, and theater artists). |
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The students who have succeeded in this course;
1) Dissect and interpret works of art and writings on the visual art field 2) Communicate ideas visually through photographs and moving images 3) Discuss and defend their work verbally and give constructive feedback to others in group critiques. |
| Week | Subject | Related Preparation |
| 1) | Course Description: Thinking Visually | |
| 2) | Structure and Feature of Visual Communication | |
| 3) | Structure and Feature of Visual Communication | |
| 4) | Visual language | |
| 5) | What is cinematic? | |
| 6) | Cinema as a language | |
| 7) | Cinematic continuity | |
| 8) | Camera movements | |
| 9) | Color & image | |
| 10) | Visual perception | |
| 11) | Visual storytelling | |
| 12) | Moving images, materiaiıty, and the aesthetics of size | |
| 13) | Moving images, materiaiıty, and the aesthetics of size | |
| 14) | The elements of film form |
| Course Notes / Textbooks: | 1. Blain Brown (2012), Cinematography: theory and practice, imagemaking for cinematographers and directors, Focal Press. 2. Film History: An Introduction – David Bordwell/Kristin Thompson – McGraw Hill 3. Film Art: An Introduction - David Bordwell/Kristin Thompson – McGraw Hill |
| References: | IMDB App or Bookmarked, and articles |
| Course Learning Outcomes | 1 |
2 |
3 |
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| 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. | ||||||||
| 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) | 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. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Quizzes | 2 | % 40 |
| Homework Assignments | 1 | % 20 |
| Final | 1 | % 40 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| total | % 100 | |
| Activities | Number of Activities | Workload |
| Course Hours | 14 | 42 |
| Study Hours Out of Class | 14 | 70 |
| Homework Assignments | 1 | 3 |
| Quizzes | 2 | 6 |
| Final | 1 | 3 |
| Total Workload | 124 | |