Textile and Fashion Design
Bachelor	TR-NQF-HE: Level 6	QF-EHEA: First Cycle	EQF-LLL: Level 6

General course introduction information

Course Code:

STMF152

Course Name:

History of Art 2

Course Semester:

Spring

Course Credits:

Theoretical	Practical	Credit	ECTS
2	0	2	2

Language of instruction:

Course Requisites:

Does the Course Require Work Experience?:

Type of course:

Compulsory

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 :

Dr.Öğr.Üyesi CANAN DEMİROK BALCI

Course Lecturer(s):

Course Assistants:

Course Objective and Content

Course Objectives:

This course emphasizes to students the importance of using art history to understand the cornerstones of design: aesthetics, form, color, composition, and symbolism. Detailed examination of past art movements, artists and works provides students with sources of inspiration to add depth to their design processes as well as to further enrich their creativity. This course aims to provide students with the ability to integrate art history into design projects, developing the ability to learn from the experiences of the past and apply them to modern design problems. Students gain knowledge on how to enrich creative design processes and incorporate cultural values into their designs by using art history as a resource.

Course Content:

Learning Outcomes

The students who have succeeded in this course;

Learning Outcomes

1 - Knowledge
Theoretical - Conceptual
1) Learning the development of art history and understanding periods, movements, artists and works within the framework of the main concepts of art history.
2 - Skills
Cognitive - Practical
3 - Competences
Communication and Social Competence
Learning Competence
Field Specific Competence
Competence to Work Independently and Take Responsibility

Lesson Plan

Week	Subject	Related Preparation
1)	Introduction Course (Introduction to European Art, Museum Studies in Europe) The first week will begin with the introduction of the education method and the general framework of the course. In this context, the objectives, scope, evaluation criteria and knowledge measurement methods of the course are explained in detail. In addition, basic reading materials and source works to be used during the course will be presented to the students, and how these works will contribute to the course will be discussed. This week, the historical development processes of European art, style and thematic transformations are discussed. The artistic accumulation of Europe from ancient to modern times is examined together with the social, political and cultural contexts of the period. Major art movements such as the Middle Ages, Renaissance, Baroque, Rococo, Neoclassicism, Romanticism, Realism and Modernism are evaluated. The historical development of museum studies in Europe and contemporary museum approaches are examined. The emergence of the first public museums and the social functions of these museums are evaluated in the process that began with the opening of royal collections to the public in the 17th and 18th centuries. The founding stories, exhibition methods and collection policies of iconic museums such as the Louvre, British Museum, Prado and Uffizi are analyzed. The 19th and 20th century museums’ functions in preserving and promoting cultural heritage, as well as their contributions to academic research, are discussed. Contemporary approaches to museums today, such as digitalization, inclusivity, and sustainability, are discussed. In addition, the impact of museums in Europe on art historiography and the importance of artworks in these museums in terms of identity and belonging are discussed. Throughout this course, the relationship between the historical dynamics of European art and museum practice is discussed in detail. The role of museums as spaces where works produced in European art are exhibited and preserved is evaluated in the context of their functions in the transmission of artistic knowledge.	-
2)	Painting and Sculpture in France (15th and 16th centuries) This week, important representatives and works of French painting and sculpture in the 15th and 16th centuries are evaluated. The artistic approaches of artists such as Jean Fouquet, Enguerrand Quarton, Simon Marmion, Jean Colombe, Jacques Daret and Michel Colombe in the 15th century, extending from the Gothic tradition to the Renaissance, are discussed. In this process, the influence of Jean Bourdichon on miniature art and the detailing in François Clouet's portrait works are examined. The transformations that French art underwent under the influence of the Italian Renaissance in the 16th century are analyzed. While Jean Clouet and François Clouet's search for individual expression and realism in portrait art are discussed, the Renaissance idealism and understanding of composition seen in the works of Jean Cousin the Elder and Jean Cousin the Younger are evaluated. The dramatic and figurative approaches of Pierre Puget and Germain Pilon in sculpture are discussed. François Dubois' paintings depicting historical events and Toussaint Dubreuil's figurative compositions are examined within the political and cultural context of the period. The course discusses the social, cultural and artistic effects of stylistic changes in French art in the 15th and 16th centuries and evaluates the place of this period's art in European art.	-
3)	Painting and Sculpture in Germany (15th and 16th centuries) This week, important representatives and works of German painting and sculpture in the 15th and 16th centuries are evaluated. The works of artists such as Hans Memling, Martin Schongauer, Albrecht Dürer, Hans Holbein the Elder, Lucas Cranach the Elder, Matthias Grünewald, Hans Baldung Grien and Veit Stoss in the 15th century are examined. In this period, religious themes and symbolic narratives were at the forefront, and how detail and a sense of depth were expressed in the works is examined. Matthias Grünewald's dramatic compositions and Albrecht Dürer's detailed engravings reveal the artistic richness of the period. In the 16th century, the Renaissance influences in German art and the diversity of individual styles are analyzed. The aesthetic and technical details in portraits and religious-themed works of artists such as Albrecht Dürer, Hans Holbein the Younger, and Lucas Cranach the Younger are examined. Hans Baldung Grien's tendency towards fantastical and allegorical subjects is discussed, while the engravings of Georg Pencz and Jost Amman are detailed. The architectural and perspective-oriented works of artists such as Friedrich Sustris and Hans Vredeman de Vries are evaluated. During this week, the stylistic transformations that German painting and sculpture underwent in the 15th and 16th centuries are examined, and the works of these artists are discussed in the context of social, cultural, and religious influences. In addition, the interactions between the art of the period and other regions in Europe are discussed, and the place of German art in the international art scene is evaluated.	-
4)	Painting and Sculpture in England (15th and 16th centuries) This week, important representatives and works of painting and sculpture in England in the 15th and 16th centuries will be discussed. While the contributions of artists such as Hans Holbein the Younger, Simon Hemenway, Robert Peake the Elder and Nicholas Hilliard to the field of painting in the 15th century are examined, portraiture, religious themes and miniature works in particular are discussed during this period. Hans Holbein the Younger's detailed portraits and the works he produced for the English court are evaluated. In the field of sculpture, the reflection of Gothic traditions in English art is analyzed through limited examples of the period. The transformations in painting and sculpture in English art in the 16th century are evaluated. The influence of Hans Holbein the Younger on portraiture and Nicholas Hilliard's miniature works are discussed. The Baroque influences on portraiture by artists such as Anthony van Dyck, Peter Lely and William Dobson and the importance of these works in the context of the court and aristocracy are discussed. In sculpture, the sculptural forms of expression of this period are examined through architectural ornaments and monumental building details. Works by painters such as Robert Walker, Allan Ramsay and William Hogarth that deal with social and cultural themes are analyzed, and the development of figurative and decorative styles in sculpture is evaluated. During this week, thematic and stylistic changes in 15th and 16th century English painting and sculpture will be examined in a social and cultural context, and the place of England in European art during this period will be discussed.	-
5)	Painting and Sculpture in Spain (15th and 16th centuries) This week, prominent names and works of Spanish painting and sculpture in the 15th and 16th centuries will be discussed. The works of artists such as Bartolomé Bermejo, Fernando Gallego, Pedro Berruguete and Juan de Borgoña in the 15th century will be examined. The combination of Gothic and Renaissance influences will be evaluated during this period, and especially the rich symbolism of religious themes will be analyzed. Pedro Berruguete's paintings reflecting both local and Italian influences and Bartolomé Bermejo's use of light and detail will be discussed. In sculpture, how the influence of the Gothic style continued and the figurative expressions that emerged during this period will be examined. In the 16th century, Spanish art gained a different dimension with the influences of the Renaissance and Mannerism. The dramatic use of light and shadow and religious mysticism seen in the paintings of artists such as El Greco, Diego Velázquez, Francisco de Zurbarán and José de Ribera will be discussed. The versatility of Alonso Cano's works as both a painter and sculptor will be evaluated. The figurative and emotional compositions of Juan de Valdés Leal and Bartolomé Esteban Murillo will be discussed, while the simplicity and order seen in the still life works of Juan Sánchez Cotán will be examined. In sculpture, how religiously themed monumental works and architectural ornaments reflect the aesthetic understanding of the period will be discussed. During this week, thematic and technical transformations in Spanish painting and sculpture of the 15th and 16th centuries will be evaluated within the social, religious and cultural context of the period. In addition, the interactions of these artists' works with other art movements in Europe will be discussed.	-
6)	Painting and Sculpture in Italy (15th and 16th centuries) This week, the most important representatives and works of Italian art in the 15th and 16th centuries are discussed. In the 15th century, with the birth of the Renaissance, the use of perspective, approaches to the human figure and the search for ideal beauty of artists such as Masaccio, Filippo Lippi and Sandro Botticelli are evaluated. Leonardo da Vinci's art combined with scientific observations and Michelangelo's impressive anatomical realism in both his sculptures and frescoes are examined in detail. Raffaello Sanzio's balanced and harmonious compositions, Titian Vecellio's use of color and Donatello's style focusing on realistic details in sculpture are discussed. In the 16th century, the transformation that Italian art went through from Mannerism to the Baroque period is analyzed. Tintoretto's dramatic use of light and shadow and dynamic compositions and Paolo Veronese's magnificent and large-scale scenes are discussed. Annibale Carracci's works that reinterpret classical forms are analyzed through Caravaggio's powerful naturalism and chiaroscuro (light and shadow) technique. In sculpture, Gian Lorenzo Bernini's emotional and theatrical expressions, Pietro da Cortona's fresco art and Guido Reni's elegant narrative are evaluated in the context of new trends emerging in 16th-century Italian art.	-
7)	Midterm Exam Week (How to analyze the artist, style and period characteristics in works of art is taught) This week, students are given a composition analysis lesson. With a content themed on Sea Painting, students are examined with real physical values and how artists began to use color, light and form values. Students are taught how to examine and analyze a work of art comparatively in the context of the artist's style and period characteristics with the historical and artistic background they have experienced and the terminology they have learned. Terminology is reviewed. Willem van de Velde the Younger, Ships in a Gale, 1660;Willem van de Velde the Younger,Three Ships in a Gale,1673;William Clarkson Stanfield, The Battle of Trafalgar, 1836;Ivan Aivazovsky, Russian-Turkish Sea Battle of Sinop on 18th November,1853;Adriaen van Diest, The Four Days' Battle, 17th century;Thomas Buttersworth , Nelson's Inshore Blockading Squadron at Cadiz,, 1797;Philip James de Loutherbourg, The Battle of Nile, 1800;Turner, The Battle of Trafalgar, 1806–8;Eugène Boudin , Ships and Sailing Boats Leaving Le Havre,1887;;Eugène Boudin,Yacht Basin at Trouville-Deauville,1895;Geoff Shaw, Antelope Mail Ship, 20th century; Nicholas Pacock, The Battle of Copenhagen, 1801	-
8)	Mid-term exam	-
9)	Painting and Sculpture in France (17th and 18th centuries) This week, prominent artists and works in French painting and sculpture in the 17th and 18th centuries will be discussed. In the 17th century, works by artists such as Nicolas Poussin, Claude Lorrain, Charles Le Brun and Philippe de Champaigne will be examined within the framework of Baroque and Classicism influences. Poussin's handling of mythological and religious themes, and Lorrain's depictions of light and nature in landscape painting are evaluated in detail. Charles Le Brun's influence on court art in France and the Baroque style of Simon Vouet and Eustache Le Sueur are discussed in the context of the aesthetic understanding of the period. While the figurative compositions and thematic diversity of Sébastien Bourdon and Jacques Stella are examined, developments in sculpture are discussed together with the architectural projects of the period. In the 18th century, the emergence of the Rococo style and the Neoclassical period shaped by the Enlightenment are analyzed. Elegance, lightness and pastoral themes are discussed in the works of artists such as Jean-Antoine Watteau, François Boucher and Jean-Honoré Fragonard from the Rococo period. The paintings of Jean-Baptiste Greuze and Jean-Baptiste Chardin, which focus on daily life and emotional narratives, are evaluated in the context of the impact of social changes on art. Élisabeth Vigée Le Brun's mastery in portraiture and her style of depicting the aristocracy are discussed, while Jacques-Louis David's monumental compositions produced with the Neoclassical approach are examined in detail. In sculpture, Neoclassical forms and the influence of Enlightenment thought on art are discussed. During this week, stylistic changes in 17th and 18th century French art will be evaluated together with their social, political and cultural contexts, and the role of France as the leading art center in Europe at the time will be discussed.	-
10)	Painting and Sculpture in Germany (17th and 18th centuries) This week, prominent artists and works in Northern European painting and sculpture in the 17th and 18th centuries will be discussed. In the 17th century, works by artists such as Adam Elsheimer, Bartholomeus Strobel, Johann Liss and Jusepe de Ribera will be examined within the framework of Baroque and Dutch Golden Age influences. Peter Paul Rubens' dynamic compositions and dramatic narrative, and Anthony van Dyck's elegant and idealized style in portraiture are discussed. Rembrandt van Rijn's use of light and shadow, deep human figures and emotional narrative are analyzed in detail, while the realism in Gerard ter Borch's daily life scenes and portraits are discussed. In sculpture, Baroque influences and the figurative styles used in the decoration of monumental structures during this period are discussed. The changes in Northern European art in the 18th century under the influence of Enlightenment thought and Neoclassicism are evaluated. The pioneering works of Anton Raphael Mengs in Neoclassical painting and the works of Angelica Kauffman focusing on mythological and historical themes are discussed. The graphic works, social criticisms and fine details in portraits of Daniel Nikolaus Chodowiecki are examined. The individual expressions brought to portraiture by Johann Heinrich Wilhelm Tischbein and Anton Graff, and the figurative balance and Neoclassical aesthetics in the sculptures of Johann Gottfried Schadow will be evaluated. The dramatic and imaginative compositions of Johann Heinrich Füssli will be discussed as early examples of the romantic tendencies of the 18th century. During this week, thematic and technical changes in painting and sculpture in Northern Europe during the 17th and 18th centuries will be evaluated within the framework of the roles these artists played in the social, cultural and intellectual context. At the same time, the place and influence of these artists on the European art scene will be discussed.	-
11)	Painting and Sculpture in England (17th and 18th centuries) This week, prominent names and works of painting and sculpture in England in the 17th and 18th centuries will be examined. Developments in painting and sculpture in the 17th century, where Baroque influences and classical themes come together, will be examined. William Hogarth's socially critical and satirical works, Allan Ramsay's and George Romney's innovative approaches to portraiture are evaluated. Thomas Gainsborough's landscape paintings and elegant portraits are analyzed in detail, while idealization and historical references in Joshua Reynolds' portraits are discussed. John Singleton Copley's historical narrative and portrait works, Richard Wilson's pastoral landscape paintings and James Barry's historical themes are discussed in the context of the artistic trends of the period. In the field of sculpture, the few figurative works that stood out in England during this period are examined in the context of their relationship with architecture. The transformations in the understanding of art in England in the 18th century under the influences of Neoclassicism and Romanticism will be discussed. The elegant sense of composition in the portraits and landscapes of Thomas Gainsborough and Joshua Reynolds is detailed. The works of artists such as John Constable and J.M.W. Turner, which focus on nature and light, are considered to be the forerunners of Romanticism and modern landscape art. Benjamin West's historical narratives and Henry Fuseli's imaginative dramatic compositions are discussed. Thomas Lawrence's elegance in portraiture and William Blake's paintings and engravings with mystical and symbolic themes are related to the intellectual and artistic accumulation of the period. Throughout this week, thematic and technical changes in 17th and 18th century English painting and sculpture will be examined together with their social, cultural and intellectual contexts; and the influence of these artists on the European art scene will be discussed.	-
12)	Painting and Sculpture in Spain (17th and 18th centuries) This week, prominent artists and works in Spanish painting and sculpture in the 17th and 18th centuries will be discussed. In the 17th century, Spanish art, which was strongly influenced by the Baroque period, will examine the works of artists such as Diego Velázquez, Bartolomé Esteban Murillo, Francisco de Zurbarán and Juan de Valdés Leal. Velázquez's pioneering role in palace painting with his realism and use of light, Murillo's soft and emotional narrative of religious themes, Zurbarán's mystical compositions and Valdés Leal's dramatic and powerful use of chiaroscuro will be evaluated in detail. The contributions of Alonso Cano and Antonio del Castillo to both painting and sculpture will be discussed in the context of Baroque aesthetics and the forms of expression in Spanish art. In addition, Jusepe de Ribera's dramatic style in dark tones combined with naturalism will be analyzed. The 18th century will be a period in which the influence of Baroque in Spanish art began to wane and the influences of Neoclassicism and Romanticism were felt. Francisco de Goya's groundbreaking approach to both religious and social issues, Anton Raphael Mengs' innovations in Spanish art with the Neoclassical approach, Mariano Fortuny's interest in historical scenes and Francisco Bayeu's fresco works will be detailed. Joaquín Sorolla's mastery in the use of light and color, Antonio de la Vega's portrait works and the elegant and decorative works of Tiburcio de Redín and Luis Paret y Alcázar will be evaluated within the framework of the artistic atmosphere of the period. In the field of sculpture, Baroque influences and the emergence of Neoclassical forms in religious sculptures will be discussed. During this week, thematic and technical transformations in Spanish painting and sculpture during the 17th and 18th centuries will be discussed together with the works of the artists and the socio-cultural context of the period. In addition, the international influences of Spanish art and its artistic interactions with other European countries will be discussed.	-
13)	Painting and Sculpture in Italy (17th and 18th centuries) This week, prominent names and works in Italian painting and sculpture in the 17th and 18th centuries will be discussed. Caravaggio's groundbreaking chiaroscuro (light and shadow) technique and dramatic naturalism, during the 17th century when Baroque art reached its peak, will be examined. Guido Reni's idealized religious scenes and Guercino's emotionally charged compositions will be examined in detail. Carlo Saraceni's contributions to the early Baroque and Pietro da Cortona's rich expressive power in fresco art will be evaluated. Andrea Pozzo's illusionist fresco techniques, Alessandro Algardi's elegant sculptures and Gian Lorenzo Bernini's dynamic and theatrical style that defined the Baroque period in both sculpture and architecture will be analyzed. The changes in Italian art in the 18th century, when Baroque influences gave way to Rococo, Neoclassicism and early Romanticism, will be discussed. Antonio Canova's works, which combine Neoclassical aesthetics with flawless anatomical details in sculpture, will be discussed. Giambattista Tiepolo's elegant compositions in frescoes and Canaletto's delicate vedutas depicting Venetian landscapes will be examined in detail. The dramatic atmosphere in Giovanni Battista Piranesi's architectural engravings, Angelica Kauffman's mythological and historical scenes and Anton Raphael Mengs' leadership in Neoclassical painting will be evaluated. The realistic approaches in Vincenzo Gemito's sculptures and Francesco Hayez's historical and romantic themed paintings will be discussed in the context of the artistic and cultural trends of the period. During this week, thematic, technical and stylistic changes in painting and sculpture in Italy in the 17th and 18th centuries will be examined through the artists and their works, and the leading position of this period in the European art scene will be discussed.	-
14)	19th Century European Painting and Sculpture (Pre-Modernism) This week, important movements, artists and works in 19th century European painting and sculpture are discussed. The impact of aesthetic transformations such as the Industrial Revolution, Romanticism, Realism, Impressionism, Symbolism and the first traces of modernism are examined. Despite regional diversity, 19th century European art is shaped by common artistic concerns and styles. France: The works of Jacques-Louis David and Jean-Auguste-Dominique Ingres loaded with Neoclassical themes are discussed. Eugène Delacroix's romantic narrative and Gustave Courbet's understanding of realism are discussed. The works of Édouard Manet, Claude Monet and Pierre-Auguste Renoir are analyzed in the context of Impressionism and modernism. Paul Cézanne's technical approaches that laid the foundations of modern art are evaluated. Italy: The aesthetic values of the period are discussed through Francesco Hayez's romantic historical paintings and Antonio Canova's Neoclassical sculptures. The works of Giuseppe Pellizza da Volpedo and Giovanni Segantini that merge with symbolism are discussed. The technical innovations of pioneering artists of Impressionism such as the Macchiaioli Group are examined. The Futurist approaches of Umberto Boccioni and Filippo Tommaso Marinetti and the modernist style of Amedeo Modigliani in portraiture are evaluated as reflections of the innovative movements that emerged in Italy. Germany: The romantic nature depictions of Caspar David Friedrich and the melancholic landscapes of Carl Gustav Carus are examined. The ways in which artists such as Moritz von Schwind and Anselm Feuerbach handled historical and mythological themes are analyzed. The symbolic narratives of Arnold Böcklin and the interactions of Max Liebermann, Franz von Lenbach and Wilhelm Trübner with realism and impressionism are evaluated. England: The approaches of J.M.W. Turner and John Constable in landscape painting are examined. The symbolic works of William Blake are discussed. The ways in which Pre-Raphaelite Brotherhood members William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, and Edward Burne-Jones handled historical and romantic themes are discussed. The aesthetic sensitivity of James Abbott McNeill Whistler’s portraits and nature-themed works is evaluated. Spain: The first traces of romanticism and modernism in the works of Francisco de Goya are analyzed. Light, color, and social themes in Spanish art are discussed through the works of Joaquín Sorolla, Mariano Fortuny, Eduardo Rosales, and Ignacio Zuloaga. The modernist tendencies of Ramón Casas, Santiago Rusiñol, and Isidre Nonell are discussed. Throughout this week, different movements, themes, and techniques in 19th-century European art are evaluated within their social and cultural contexts. The artistic identities of each country and the interactions of these identities are analyzed through the works of the artists and the movements they represent.	-
15)	final exam	-

Sources

Course Notes / Textbooks:

Glasgow Museums and Art Galleries. (1985). French paintings and drawings: Illustrated summary catalogue. Art Gallery & Museum, Glasgow.
Wrigley, R. (1995). The origins of French art criticism.
Norton Simon Inc. Museum of Art, Graham, F. L., Fine Arts Museums of San Francisco, & California Palace of the Legion of Honor. (1973). Three centuries of French art: Selections from the Norton Simon, Inc. Museum of Art and the Norton Simon Foundation.
Kostenevich, A. (1999, October). French Art at the Hermitage.
The Metropolitan Museum of Art. (1966). French paintings: A catalogue of the collection of The Metropolitan Museum of Art (Vol. 2).
Ingamels,J. (1967).The Davies Collection of French Art.
Kelly, D. (1992). The art of medieval French romance.
Gathercole, P. M. (2006). The depiction of architecture and furniture in medieval French manuscript illumination.
Christiansen, Keith. Early Renaissance Narrative Painting in Italy. The Metropolitan Museum of Art Bulletin, New Series, Vol. 41, No. 2, Autumn 1983, pp. 1+3–48.
Summers, D. (1977). Contrapposto: Style and meaning in Renaissance art. The Art Bulletin, 59(3), 336–361.
Manca, J. (2001). Moral stance in Italian Renaissance art: Image, text, and meaning. Artibus et Historiae, 22(44), 51–76.
Vaughan, W. (1980). German romantic painting.
Benesch, O. (1966). German painting, from Dürer to Holbein
Finke, U. (1975). German painting from romanticism to expressionism.
Bugler, C. (2014). Strange beauty: German painting at the National Gallery.
Broadley, H. T. (1960). German painting in the national gallery of art.
Art Institute of Chicago. (1948). Masterpieces of painting saved from the German salt mines; property of the Berlin museums.
National Gallery (Great Britain). (1985). Early Netherlandish and German paintings.
National Gallery of Art (U.S.). (1993). German paintings of the fifteenth through seventeenth centuries.
Düchting, H. (1996). Wassily Kandinsky, 1866-1944: A revolution in painting.
Cincinnati Art Museum. (1987). Dutch, Flemish, and German paintings in the Cincinnati Art Museum: Fifteenth through eighteenth centuries.
Denver Art Museum. (2011). Companion to Spanish colonial art at the Denver Art Museum.
Enggass, R. (1992). Italian and Spanish art, 1600-1750: Sources and documents.

References:

Course-Program Learning Outcome Relationship

Learning Outcomes	1
Program Outcomes
1) 1) Having knowledge about the evolution of fashion discipline and current fashion system.
2) 2) Having knowledge about textile technology and production methods.
3) Developing advanced speaking skills and presentation skills in front of the community.
4) Being able to take responsibility in the working environment and application processes, to be able to produce solutions to the problems encountered and to be able to work in teams.
5) To work properly with team members who are working together and with employees under their responsibility; Having the ability to direct and manage the team.
6) Ability to work on time management and action plans

Course - Learning Outcome Relationship

No Effect	1 Lowest	2 Low	3 Average	4 High	5 Highest

	Program Outcomes	Level of Contribution
1)	1) Having knowledge about the evolution of fashion discipline and current fashion system.	3
2)	2) Having knowledge about textile technology and production methods.	4
3)	Developing advanced speaking skills and presentation skills in front of the community.	5
4)	Being able to take responsibility in the working environment and application processes, to be able to produce solutions to the problems encountered and to be able to work in teams.	5
5)	To work properly with team members who are working together and with employees under their responsibility; Having the ability to direct and manage the team.	4
6)	Ability to work on time management and action plans	5

Learning Activity and Teaching Methods

Individual study and homework
Lesson
Reading
Homework

Assessment & Grading Methods and Criteria

Written Exam (Open-ended questions, multiple choice, true-false, matching, fill in the blanks, sequencing)
Homework

Assessment & Grading

Semester Requirements	Number of Activities	Level of Contribution
Midterms	1	% 40
Final	1	% 60
total		% 100
PERCENTAGE OF SEMESTER WORK		% 40
PERCENTAGE OF FINAL WORK		% 60
total		% 100

Workload and ECTS Credit Grading

Activities	Number of Activities	Duration (Hours)	Workload
Course Hours	16	2	32
Homework Assignments	1	10	10
Midterms	1	2	2
Final	1	2	2
Total Workload			46