ISTANBUL OKAN UNIVERSITY INFORMATION PACKAGE / COURSE CATALOGUE
| Digital Game Design | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
General course introduction information
| Course Code: | STMF151 | ||||||||
| Course Name: | History of Art 1 | ||||||||
| Course Semester: | Fall | ||||||||
| Course Credits: |
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| Language of instruction: | TR | ||||||||
| Course Requisites: | |||||||||
| Does the Course Require Work Experience?: | No | ||||||||
| Type of course: | Compulsory | ||||||||
| Course Level: |
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| Mode of Delivery: | Face to face | ||||||||
| Course Coordinator : | Dr.Öğr.Üyesi CANAN DEMİROK BALCI | ||||||||
| Course Lecturer(s): |
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| Course Assistants: |
Course Objective and Content
| Course Objectives: | The aim of the Art History course is to enable students to comprehend the historical development processes of design varieties such as universal, functional, local and eclectic. In this context, it is aimed for students to understand and interpret different forms and approaches of design in the light of aesthetic, cultural and functional dynamics that have emerged throughout history. This course examines the use of art history as a tool to understand the fundamental elements of design. Fundamental concepts such as aesthetics, form, color, composition and symbolism are examined through in-depth analysis of past art movements, artists and works. The course aims to provide students with depth in their design processes and enrich their creativity by drawing inspiration from art history. While emphasizing the applicability of knowledge and experience gained from art history to modern design problems, students are also encouraged to develop their ability to integrate cultural values into their designs. In this context, the course offers a creative learning experience that combines the aesthetic and conceptual accumulation of the past with today's design approach. |
| Course Content: | This course examines the use of art history as a tool to understand the fundamental elements of design. Fundamental concepts such as aesthetics, form, color, composition and symbolism are examined through in-depth analysis of past art movements, artists and works. The course aims to provide students with depth in their design processes and enrich their creativity by drawing inspiration from art history. While emphasizing the applicability of knowledge and experience gained from art history to modern design problems, students are also encouraged to develop their ability to integrate cultural values into their designs. In this context, the course offers a creative learning experience that combines the aesthetic and conceptual accumulation of the past with today's design approach. |
Learning Outcomes
The students who have succeeded in this course;
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Lesson Plan
| Week | Subject | Related Preparation |
| 1) | 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. The basic concepts and methodological approaches of the discipline of Art History are emphasized; the historical development of the discipline and research methods are discussed. An introduction to Art Terminology is made, and examples are presented for the definition and correct use of basic concepts in this field. Another focus of the course is conveyed as the examination of the relationships between periods and movements in Art History. Important periods in art history, concepts and movements that developed depending on these periods are explained with the support of visual materials on a historical chart. The aim is for students to gain basic knowledge about the discipline of art history and to be able to critically interpret the connections between periods. | - |
| 2) | The Concept and Development of “Composition” in Art History This week, as a continuation of the previous lesson, the concept of “composition” in art history is examined in more depth and different types of composition are explained in detail in this context. The structural elements of composition in works of art are examined and the contribution of these elements to artistic expression is interpreted. How composition is shaped periodically and its reflections in different cultures are analyzed from a historical perspective. Within the scope of the course, examples of composition are examined through 130 different works of art history that are decisive. It is evaluated how these works contribute to the change of the understanding of composition over time and how they represent the unique characteristics of each period. Visual materials and explanations provide students with the opportunity to comprehensively understand the concept of composition in art history. In this process, basic terminological expressions used in composition analysis are emphasized and the place and importance of this terminology in art history are explained. The aim is to provide students with the ability to analyze works using the terminology correctly. At the end of the week, students are expected to be able to relate the concept of composition to the context of art history and to interpret this concept critically. | - |
| 3) | The Concept of “Style/Form” in Art History and Historical Context This week, the concept of “style” or “form”, which is a fundamental concept in art history, is discussed. The definition, function and development of style in art history are examined; how style evolved in different periods of art and how it shaped artistic expression is emphasized. Style is explained with concrete examples through 45 works of art selected from different periods. Gordon Childe’s Theory is discussed. The role of systematic data collection, experience and practical knowledge in urbanization and art production during the transition to settled life is analyzed. The first artistic productions of man are discussed through the Lascaux (France), Altamira (Spain) and Chauvet (France) Caves. The compositional arrangement in these paintings is examined. Asia Minor and Eastern Mediterranean Settlements: Important primitive settlements such as Çayönü, Çatalhöyük and Göbekli Tepe are examined in the context of the functionality of art and architecture. The monumental structures at Göbekli Tepe and the wall paintings at Çatalhöyük are analyzed in terms of social organization and ritualistic functions. Arts of the Eastern Mediterranean and the Caucasus: The effects of propaganda and the state system on the art of the Hittite, Sumerian, Assyrian, Babylonian and Akkadian civilizations in Mesopotamia are discussed. For example, how the military power of the state is reflected as an artistic tool in Assyrian reliefs is analyzed. The relationship between local factors and artistic production in Urartian art is evaluated. In this context, the social function of art in small settlements with large populations is discussed. Pre-Ancient Art and Design of the Aegean Region: Minoan and Mycenaean Art: The aesthetic and functional integrity of art and architecture in pre-ancient Minoan and Mycenaean cultures is examined. | - |
| 4) | “Figure and Character” in Art History The focus of this week is the examination of the concepts of “figure and character” in art history and the visual and symbolic representations of these figures in works. The characteristic features of figures in works of art are analyzed in an iconographic and aesthetic context. The historical, mythological and religious origins of figures are discussed, and the narrative function and visual features in works are discussed. The concepts of figure and character are defined and their functions in art history are analyzed. It focuses on how figures are used not only as aesthetic elements but also for purposes such as storytelling, symbolism and identity creation. The visual features and characteristic details of figures in works are examined. During this examination, the places of figures in compositions and their roles in artistic narrative are evaluated. Flora, Mary Magdalene, Music, Midas, Socrates, Solomon, Pontius Pilate, Esther, John the Baptist, and Peter are visualized names in art history. Iconographic analyses of figures are made and their differences between periods are evaluated. The focus is on how artists shape figures and how these shapes are related to the aesthetic, ideological or religious understandings of the period. At the end of this week, students are expected to recognize important figures and characters in art history, analyze their visual and characteristic features, and interpret their narrative functions in works of art. | - |
| 5) | The Concept of “Space” in Art History, Regional Arts and Monumental Design This week, “space”, an important concept in art history, is comprehensively addressed with its aesthetic, functional and cultural contexts. Space is evaluated not only as a physical environment in works of art, but also as a social, ideological and symbolic tool. Within the scope of the course, how space is shaped as a result of the interaction of creative thought and local factors (such as arts that develop depending on regional factors) is discussed and different understandings of space throughout history are examined with examples. The Meaning and Function of Space: Local Factors and the Evolution of Space: Ancient Egyptian Art: The religious and political functions of space are discussed through pyramids, temples and statues, which are among the first examples of monumental design. How these spaces were used in terms of ritualistic and social organization is discussed. Ancient Greek Art: In ancient Greece, space is examined with a geometric understanding of order shaped by aesthetic ideals. Social and artistic functions are evaluated through spaces such as the agora, temple and theater. Arts of the Roman Empire: The Roman understanding of space is discussed in the context of the interaction of local Italian (Etruscan and Latin) traditions with Eastern Mediterranean and Greek art. The social, political and aesthetic transformations of space are analyzed through Roman forums, monumental structures and urban planning. The Constantinople School, the Syrian-Palestinian School and the Alexandrian School are examined. At the end of the course, the students are expected to have a deep understanding of how space is defined in works of art, how it has evolved throughout history and how it is represented in different schools; and to be able to critically interpret the aesthetic, functional and ideological functions of space. | - |
| 6) | The Concept of “Light” in Art History, Composition Analyses and Turner This week, the concept of “light” in art history is examined, and the critical role of light in compositions and its function in artistic expression are examined through 45 works. The use of light in works of art as not only a visual tool but also an aesthetic, symbolic and emotional element is discussed. In this context, the functions of light in creating volume, strengthening spatial perception, creating dramatic effects and intensifying emotional expression are discussed. The meaning of light in theology is explained. The dynamic relationship between color and light is analyzed, and how light affects the tone, saturation and brightness characteristics of color and how it contributes to composition is evaluated. Special emphasis is placed on Turner’s use of light as an aesthetic and narrative tool. Turner’s approach to light as an element reflecting the visual and emotional effects of the atmosphere is examined; this approach, reflecting the power of nature and its dramatic effects, is evaluated as an innovative style of expression regarding the relationship between light and color. The role of light in landscape art in art history is examined through Asher Brown Durand’s aesthetic and technical approaches in the use of light. By the end of this week, students are expected to grasp the concept of light as both an aesthetic and technical element in art history, analyze the effects of light on composition, and evaluate the relationship between color and light from an analytical perspective. | - |
| 7) | Midterm Exam Week (Content on how to analyze the composition of a work of art) This week, students are given a composition analysis course. Students are informed about how to examine and analyze a work of art with the historical and artistic background they have experienced in six weeks and the terminology they have learned. | - |
| 8) | mid-term | - |
| 9) | Mythology, Iconography and Symbolism in Art (Old Testament, New Testament and Dura Europos Art, Coptic Art and Christian Arts in Eastern Mediterranean Arts, Origins of European Christian Art) This course examines the effects of ancient, Old Testament and New Testament texts on art through the relationship between mythology, iconography and symbolism, which are structured on literary boundaries. The Eastern Mediterranean origins of Dura Europos Art, Coptic Art and European Christian Art are examined. The birth, development and symbolic meanings of Christian arts are analyzed. The aim of the course is for students to understand iconographic elements in Christian arts, relate them to mythological themes and analyze symbolism in works of art. The course examines how stories and symbols in the Old Testament and New Testament are reflected in works of art. Themes such as creation, the Flood and the Laws of Moses in the Old Testament are examined with their iconographic counterparts in works of art. In the New Testament, themes such as the life of Jesus, his miracles, the cross and the resurrection are evaluated. It is discussed how these themes are used in art as an aesthetic and symbolic means of expression. Dura Europos Art and the influence of early Christian art in the Eastern Mediterranean are examined, and the reflections of these works in Eastern and Western art are examined. It is evaluated how themes from the Old and New Testaments take shape in the frescoes of Dura Europos and in Coptic art. The iconographic elements in Coptic art are examined, and the aesthetic and technical features of these works are analyzed. The influences of Eastern Mediterranean art on European Christian art are discussed. During the course, iconographic analysis of the symbols used in works of art are conducted. The meanings of symbols frequently found in early Christian art, such as fish, lamb, and grape vine, are discussed. In addition, the symbolic meanings of colors and composition in works of art are discussed. In this course, students are expected to grasp the role of the Old and New Testaments in art history, understand the Eastern Mediterranean roots of Christian art, and evaluate the iconographic elements in these works from an analytical perspective. At the end of the course, the aim is for students to analyze the relationship between symbolism and iconography in Christian art and to interpret works of art in this context. | - |
| 10) | Art of the Eastern Roman Empire This course covers the historical development, iconography and aesthetics of the art of the Eastern Roman Empire (Byzantine Empire). Starting with the Early Christian period, the contributions of Byzantine art to different areas such as architecture, mosaics, frescoes and stonemasonry are examined. In addition, the cultural and religious impacts of Byzantine art on the Eastern Mediterranean, Europe and the Islamic world are evaluated. The course covers the historical and cultural background of the Eastern Roman Empire, the transition from the Roman Empire to Byzantium and the basic characteristics of early Byzantine art. The birth of art in the Early Christian period, the symbols and iconography in the catacombs and early churches are examined, while the impact of the establishment of Constantinople as the capital on changes in art is evaluated. The basic elements of Byzantine architecture are analyzed, especially through centrally planned structures such as Hagia Sophia and dome architecture. While the materials and techniques of architectural structures are discussed, the development of mosaic and fresco art is addressed in the context of figurative expression in Hagia Sophia mosaics and frescoes. In this course, students are expected to understand the art understanding of the Eastern Roman Empire in a historical context, analyze the iconography and symbolism elements in Byzantine art, evaluate the technical and aesthetic approaches in architecture, mosaics, frescoes and other art fields, and analyze the interactions of Byzantine art with other cultures. During the course, a critical learning process is provided through visual analysis, reading and research, student presentations and discussions. At the end of the course, it is aimed that students will be able to evaluate Byzantine art works analytically and critically. | - |
| 11) | Historical Topography of Constantinople/Istanbul (Comparison of European Romanesque Art) This course covers the historical topography and architectural development of the city extending from Constantinople to Istanbul. The geographical structure, urban planning, monumental structures and religious centers of Constantinople, which was founded as the eastern capital of the Roman Empire, are examined. Monumental structures such as the Early Byzantine walls, the hippodrome, Hagia Sophia and the Great Palace are examined in detail. This course covers the architectural, sculpture, painting and decorative elements of Romanesque art that emerged in Europe in the 11th and 12th centuries. In addition, the influence of Romanesque art on Gothic art and architecture is discussed. During the course, visual materials and written sources are examined and students are expected to interpret Romanesque works of art in historical, religious and aesthetic contexts. | - |
| 12) | Introduction to Medieval Art (Crusader Period Eastern Mediterranean Arts - Formation of Italian Painting Schools) This course examines the basic characteristics and aesthetic understanding of medieval art in a historical context. The East-West interaction and multiculturalism created by the Crusades are examined through form. In a sense, stylistic creations or eclectic tendencies are discussed. The basic dynamics of early Christian, Byzantine, Romanesque and Gothic art are examined in the process extending from the last periods of the Roman Empire to the rise of Gothic art. Religious themes, symbolism, iconography and visual narrative techniques in medieval art are analyzed. This course examines the cultural and artistic interactions that emerged in the Eastern Mediterranean during the Crusades. The effects of the interactions between Europe, Byzantium and the Islamic world on architecture, painting, manuscripts and decorative arts during the Latin Kingdoms are examined. Religious structures and castle architecture built in Crusader centers such as Jerusalem and Antioch are analyzed in detail. Another focus of the course is the examination of hybrid structures and symbolic narratives seen in Crusader art. This course examines the transformation process of Italian painting in the 13th and 14th centuries and the formation of regional schools. Innovations in Italian painting are examined through the works of artists such as Giotto di Bondone, Duccio di Buoninsegna, and Cimabue on the way to the Early Renaissance. The course analyzes the aesthetic, technical, and iconographic characteristics of artistic production in regions such as Tuscany, Siena, and Florence. The development of perspective in Italian painting, the realistic depiction of figures, and innovations in the use of color are discussed in detail. In addition, the relationships between Byzantine art and the Italian early Renaissance schools are discussed. | - |
| 13) | Eclecticism in Art - Giotto - Gothic Art (Italy, France, Germany, United Kingdom) This course examines the definition, historical development and aesthetic understanding of eclecticism in art. Eclecticism is examined as a process of creating a new form of expression by bringing together different art styles, cultural elements and aesthetic approaches. It examines Giotto di Bondone's contributions to Italian art and his role in the early Italian Renaissance. The spatial depth, anatomical accuracy of the figures and dramatic narrative forms in Giotto's frescoes and paintings are examined in detail. The artist's works, in which he departed from Byzantine art and developed a new visual language with realistic figures and emotional expressions, are analyzed. Throughout the course, Giotto's innovations in perspective, composition and use of color in painting are evaluated through important works such as the frescoes of the Scrovegni Chapel in Padua. Giotto's contributions to the development of the Florentine and Sienese schools and his importance in art history are discussed. This course examines the regional diversity and aesthetic characteristics of Gothic art in Europe. Beginning with the emergence of Gothic art in France in the 12th century and its effects on cathedral architecture, the spread of this style to other European countries is examined. The local characteristics of Gothic art in Italy, especially its effects on the Sienese and Florentine schools, are discussed. The effects of Gothic art on sculpture and painting, figurative depictions and changes in their forms are discussed. | - |
| 14) | General Characteristics of Renaissance Art This week, the effects of Renaissance art on later periods and their traces on modern art are discussed. Starting from the 17th century Baroque art, the evolution of technical, aesthetic and intellectual approaches developed in the Renaissance is analyzed within a general framework. The place of basic principles such as humanism, nature depiction, perspective and anatomy in both classical and modern art is discussed. The contributions of the Renaissance to the fields of art, architecture, science and culture are subject to a general evaluation. In this phase of the course, the role of the Renaissance in the combination of scientific methods and art, the transformation of the social status of the artist and the redefinition of artistic production as an individual means of expression are particularly emphasized. | - |
| 15) | Final | - |
Sources
| Course Notes / Textbooks: | Hasol, D. (2016). Ansiklopedik Mimarlık Sözlüğü. İstanbul: YEM Yayınları. Keser, N. (2009). Sanat Sözlüğü. Ankara: Kültür ve Turizm Bakanlığı Yayınları. Turani, A. (2015). Dünya Sanat Tarihi. İstanbul: Remzi Kitabevi. Aslanapa, O. (2019). Türk Sanatı. İstanbul: İş Bankası Kültür Yayınları. Kuban, D. (2005). Osmanlı Mimarisi. İstanbul: Yem Yayınları. Lynton, N. (2015). Modern Sanatın Öyküsü. İstanbul: Hayalperest Yayınevi. Gombrich, E. H. (2006). Sanatın Öyküsü. İstanbul: Remzi Kitabevi. Berger, J. (2016). Görme Biçimleri. İstanbul: Metis Yayınları. Greenhalgh, M. (1992). Essential Art History. Hawksley, L. (2004). History of Art. Stokstad, M. (1995). Art History. Robertson, M. (1975). A History of Greek Art. Janson, H. W. (2009). Janson’s Basic History of Western Art. Adams, L. (2005). A History of Western Art. Honour, H. (2005). A World History of Art. D’Alleva, A. (2004). Methods & Theories of Art History. Roskill, M. W. (1976). What is Art History?. Cormack, R. (2000). Byzantine Art Fossi, G. (2004). Uffizi: Art, History, Collections. Robins, G. (1997). The Art of Ancient Egypt. Fazzini, R. A. (1999). Art for Eternity: Masterworks from Ancient Egypt. Collon, D. (1995). Ancient Near Eastern Art. Allan, T. (2005). Life, Myth, and Art in Ancient Rome. Osborne, R. (1998). Archaic and Classical Greek Art. Richter, G. M. A. (1987). A Handbook of Greek Art. Schuchhardt, W.-H. (1990). Greek Art Andreopoulos, A. (2006). Art as Theology: From the Postmodern to the Medieval. Higgins, R. A. (1981). Minoan and Mycenaean Art. London: Thames & Hudson. Higgins, R. A. (1967). Minoan and Mycenaean Art. Lassieur, A. (2012). Ancient Mesopotamia. Parrot, A. (1970). Sumerian Art. Elspass, M. L. (1987). Illustrated Dictionary of Art Terms. [ Yenawine, P. (1995). Key Art Terms for Beginners. |
| References: | Hasol, D. (2016). Ansiklopedik Mimarlık Sözlüğü. İstanbul: YEM Yayınları. Keser, N. (2009). Sanat Sözlüğü. Ankara: Kültür ve Turizm Bakanlığı Yayınları. Turani, A. (2015). Dünya Sanat Tarihi. İstanbul: Remzi Kitabevi. Aslanapa, O. (2019). Türk Sanatı. İstanbul: İş Bankası Kültür Yayınları. Kuban, D. (2005). Osmanlı Mimarisi. İstanbul: Yem Yayınları. Lynton, N. (2015). Modern Sanatın Öyküsü. İstanbul: Hayalperest Yayınevi. Gombrich, E. H. (2006). Sanatın Öyküsü. İstanbul: Remzi Kitabevi. Berger, J. (2016). Görme Biçimleri. İstanbul: Metis Yayınları. Greenhalgh, M. (1992). Essential Art History. Hawksley, L. (2004). History of Art. Stokstad, M. (1995). Art History. Robertson, M. (1975). A History of Greek Art. Janson, H. W. (2009). Janson’s Basic History of Western Art. Adams, L. (2005). A History of Western Art. Honour, H. (2005). A World History of Art. D’Alleva, A. (2004). Methods & Theories of Art History. Roskill, M. W. (1976). What is Art History?. Cormack, R. (2000). Byzantine Art Fossi, G. (2004). Uffizi: Art, History, Collections. Robins, G. (1997). The Art of Ancient Egypt. Fazzini, R. A. (1999). Art for Eternity: Masterworks from Ancient Egypt. Collon, D. (1995). Ancient Near Eastern Art. Allan, T. (2005). Life, Myth, and Art in Ancient Rome. Osborne, R. (1998). Archaic and Classical Greek Art. Richter, G. M. A. (1987). A Handbook of Greek Art. Schuchhardt, W.-H. (1990). Greek Art Andreopoulos, A. (2006). Art as Theology: From the Postmodern to the Medieval. Higgins, R. A. (1981). Minoan and Mycenaean Art. London: Thames & Hudson. Higgins, R. A. (1967). Minoan and Mycenaean Art. Lassieur, A. (2012). Ancient Mesopotamia. Parrot, A. (1970). Sumerian Art. Elspass, M. L. (1987). Illustrated Dictionary of Art Terms. [ Yenawine, P. (1995). Key Art Terms for Beginners. |
Course-Program Learning Outcome Relationship
| Learning Outcomes | 1 |
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|---|---|---|
| Program Outcomes | ||
| 1) Understands fundamental concepts, theories, and methodologies affecting digital game design processes. Analyzes the history and cultural contexts of game design. Utilizes interdisciplinary approaches and theoretical frameworks related to game design. | ||
| 2) Develops interactive game projects using game engines and software tools. Gains practical skills in areas such as visual design, user experience, and game mechanics. Integrates creative processes like storytelling, character design, and world-building into game design. | ||
| 3) Demonstrates leadership, collaboration, and project management skills in digital game design projects. Creates game design documentation and prototypes in line with industry standards. Develops innovative, ethical, and sustainable design solutions for various platforms and user groups. | ||
Course - Learning Outcome Relationship
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Understands fundamental concepts, theories, and methodologies affecting digital game design processes. Analyzes the history and cultural contexts of game design. Utilizes interdisciplinary approaches and theoretical frameworks related to game design. | 5 |
| 2) | Develops interactive game projects using game engines and software tools. Gains practical skills in areas such as visual design, user experience, and game mechanics. Integrates creative processes like storytelling, character design, and world-building into game design. | 5 |
| 3) | Demonstrates leadership, collaboration, and project management skills in digital game design projects. Creates game design documentation and prototypes in line with industry standards. Develops innovative, ethical, and sustainable design solutions for various platforms and user groups. | 3 |
Learning Activity and Teaching Methods
| Expression | |
| Individual study and homework | |
| Reading |
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 | 15 | 2 | 30 |
| Homework Assignments | 2 | 6 | 12 |
| Midterms | 1 | 2 | 2 |
| Final | 1 | 2 | 2 |
| Total Workload | 46 | ||