ID 400 | Course Introduction and Application Information - Department of Industrial Design

Course Name

Fantastic Design Illustration

Code	Semester	Theory (hour/week)	Application/Lab (hour/week)	Local Credits	ECTS
ID 400	Fall/Spring	2	2	3	4

Prerequisites	None
Course Language	English
Course Type	Elective
Course Level	First Cycle
Mode of Delivery	-
Teaching Methods and Techniques of the Course	Discussion Problem Solving Critical feedback Field trip / Observation Application: Experiment / Laboratory / Workshop Lecture / Presentation
National Occupation Classification	-
Course Coordinator	Öğr.Gör.Dr. KARDELEN AYSEL
Course Lecturer(s)	Öğr.Gör.Dr. KARDELEN AYSEL
Assistant(s)	-

Course Objectives	This course aims to teach the student’s traditional fine art and design skills in computer environment to create fantastic illustrations
Learning Outcomes	The students who succeeded in this course; Student will be able to apply drawing techniques. Student will be able to apply concept drawing and painting techniques. Student will be able to create concept illustrations in computer environment. Student will be able to translate the ready to use visuals into the illustrations. Student will be able to add texture, light and environments in to the illustrations.
Course Description	This course aims to teach the student’s traditional fine art and design skills in computer environment to create fantastic illustrations. In the course, the students will learn to use their fine art and design skills in digital environment and then creating fantastic illustrations with them.
Related Sustainable Development Goals

Course Category	Core Courses
	Major Area Courses
	Supportive Courses	X
	Media and Management Skills Courses
	Transferable Skill Courses

Week	Subjects	Related Preparation
1	Course Overview and Character Sheet Warm-up. Module 00: Visual Metaphors - Identity Mapping Exercise. Materials: Character Sheet and Mindmapping Guide (Handouts), Basic Pens. Homework: Sketchbook Design (The Personal Grimoire).	Character Sheet and Mindmapping Guide (Handouts).
2	Module 00 continued. Sketchbook Design Presentations and Peer Review (Gallery Walk). Introduction to Project 01: The Codenames Adaptation (Style Heist). Materials: Homework: The Codenames Pictures Adaptation (3 illustrations in assigned style).	Sketchbook, Style Checklist A3, Doodling Exercise Sheets.
3	Submission of Codenames Project. Mini-presentations of assigned styles. In-class Doodling Sprint (Muscle Memory and Textures). Introduction to Module 01: The Mythmaker’s Toolkit (Legends and Lines).	Completed Codenames project, Doodling Sheets.
4	Module 01: Storytelling and Narrative Composition. In-class Exercise: One-page Silent Comic (Using Emotion Cards). Introduction to Project 02: The Personal Oracle (Custom Dixit Card).	Emotion Cards, A4 paper, Sketchbook, Inks.
5	Module 01 continued. Dixit Project Studio Session 01. Focus on Symbolic Composition, Atmospheric Depth, and Visual Hooks.	Dixit Card Template, Sketchbook, Mixed Media.
6	Submission of Project 02 (Dixit Card). Testing the visual metaphors through a Dixit tournament.	Finalized Dixit Cards, Peer evaluation forms.
7	Module 02: Speculative Design and Imaginary Taxonomy. Lecture based on Codex Seraphinianus and Alien Worlds. Introduction to Project 02: The Speculative Archive (Organisms and Artifacts).	Sketchbook, Speculative Design Brief.
8	Midterm Week	None
9	Module 02 continued. Studio Session 01. Focus on Speculative Anatomy (Alien Worlds logic) and Impossible Functionalism (Codex style). Designing the "Companion" and the "Tool".	Sketchbook, Drafting tools, Pens.
10	Submission of Project 02. Presentation of the Speculative Organism and its corresponding Industrial Interface. Midterm progress review.	Completed Codex-style illustrations.
11	Module 03: Environmental Design and Cinematic Framing. Integration of Character, Organism, and Artifact into a world. Lecture on Love, Death and Robots aesthetics. Introduction to Final Project: The Ultimate Scene.	Large scale sketchbook pages, announced drawing tools.
12	Module 03 continued. Discussion: AI in Illustration (Based on Cyberpunk Momotaro). Refining the composition and cinematic lighting of the ultimate scene.	Final illustration tools (Analog/Digital).
13	Final Project Studio Session 02. Finalizing rendering, textures, and the narrative integration of all semester elements.	Final illustration tools (Analog/Digital).
14	Submission of the Final Project (The Ultimate Scene). Collecting all previous exercises and projects into the Sketchbook (The Grimoire). Final desk crits.	Completed Final Piece, Physical Sketchbook.
15	One-on-one portfolio refinement. Designing the visual narrative of the "Personal Grimoire." Exhibition layout and mounting.	All semester work, Portfolio folder.
16	Final Jury and Presentation.	Final Portfolio, Exhibition setup.

Course Notes/Textbooks

Gurney, J. (2009). Imaginative realism: How to paint what doesn’t exist. Andrews McMeel Publishing.

Note: This is the "bible" for fantastic illustration. It teaches students how to use real-world physics, lighting, and anatomy to make impossible worlds look believable—a crucial skill for both ID and VCD students.

Kowalski, J. (Ed.). (2020). Enchanted: A history of fantasy illustration. Abbeville Press.

Note: This book is an essential historical survey that traces fantasy art from the Old Masters to contemporary icons like Frank Frazetta and Victo Ngai. It is particularly important for the "Basics" and "History" modules of the course, as it provides students with a vast visual library of how mythology, fables, and modern epics have been visualized across different eras and styles.

Mead, S. (2017). The movie art of Syd Mead: Visual futurist. Titan Books.

Note: As a legendary industrial designer turned concept artist (Blade Runner, Tron), Mead’s work shows ID students how professional product design principles can be used to create iconic sci-fi environments and vehicles.

Serafini, L. (1981). Codex Seraphinianus. Franco Maria Ricci.

Note: This encyclopedia of an imaginary world challenges students to think beyond known taxonomy and functional logic. It’s a masterclass in surrealism and "impossible" industrial design.

Rootport. (2023). Cyberpunk Momotaro. Shinchosha.

Note: Being the first manga fully illustrated using AI (Midjourney), it serves as a critical case study for modern VCD students to discuss the intersection of human creativity, prompt engineering, and the future of digital art.

Suggested Readings/Materials

Visual Narratives & Graphic Novels

Stålenhag, S. (2014). Tales from the loop. Free League Publishing.

Note: Stålenhag excels at "Retro-futurism," blending everyday industrial machines with fantastic technology. It’s a perfect reference for integrating fantastic elements into realistic settings.

Moebius (Giraud, J.). (1987). The world of Edena. Marvel Entertainment Group.

Note: Moebius’s use of "clear line" style and surrealist compositions is essential for ID and VCD students focusing on visual economy and world-building through line-work.

Interactive Media & Games (Visual Semiotics)

Roubira, J. L. (2008). Dixit [Board Game]. Libellud.

Note: Used as a workshop tool to enhance associative thinking. It teaches students how a single illustration can convey multiple, abstract meanings.

Chvátil, V. (2016). Codenames: Pictures [Board Game]. Czech Games Edition.

Note: Trains students in visual decoding and semiotics—understanding how simple icons or illustrations can represent complex concepts.

Video Material (Documentary & Series)

Miller, T., & Fincher, D. (Executive Producers). (2019–present). Love, death & robots [TV series]. Netflix.**

Note: An anthology of various animation styles (from photorealism to stylized 2D). It serves as a visual catalog of modern fantastic storytelling techniques. Specifically, the episodes “The Witness” and “Zima Blue” will be used as a discussion material within class.

Wallbank, S. (Director). (2020). Alien worlds [TV series]. Netflix.

Note: A brilliant resource for "Speculative Biology." It teaches ID and VCD students how to design creatures and environments based on scientific constraints (gravity, atmosphere, light).

Semester Activities	Number	Weigthing
Participation	1	10
Laboratory / Application	1	20
Field Work
Quizzes / Studio Critiques
Portfolio
Homework / Assignments
Presentation / Jury
Project	5	70
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade	7	100
Weighting of End-of-Semester Activities on the Final Grade	-	-
Total

Semester Activities	Number	Duration (Hours)	Workload
Theoretical Course Hours (Including exam week: 16 x total hours)	16	4	64
Laboratory / Application Hours (Including exam week: '.16.' x total hours)	16	1	16
Study Hours Out of Class			0
Field Work			0
Quizzes / Studio Critiques			0
Portfolio			0
Homework / Assignments			0
Presentation / Jury			0
Project	5	4	20
Seminar / Workshop			0
Oral Exam			0
Midterms			0
Final Exam			0
		Total	100

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Program Competencies/Outcomes

* Contribution Level

1

2

3

4

5

1

To be able to equipped with theoretical and practical knowledge of industrial design, and to apply it to a variety of products, services and systems from conventional industries to urban scale with innovative and sustainable approaches

X

-

2

To be able to communicate design concepts and proposals for solutions, which are supported with quantitative and qualitative data, to specialists and non-specialists through visual, written, and oral means

-

X

-

3

To be able to equipped with the related theoretical and methodological knowledge of engineering, management, and visual communication that is required for interdisciplinary characteristic of industrial design; and to collaborate with other disciplines, organizations, or companies

-

X

-

4

To be able to equipped with the knowledge of history and theory of design, arts and crafts; and culture of industrial design

X

-

5

To be able to equipped with social, cultural, economic, environmental, legal, scientific and ethical values in the accumulation, interpretation and/or application of disciplinary information and to employ these values regarding different needs

-

X

-

6

To be able to develop contemporary approaches individually and as a team member to solve today’s problems in the practice of industrial design

-

X

-

7

To be able to define design problems within their contexts and circumstances, and to propose solutions for them within the discipline of industrial design considering materials, production technologies and ergonomics

X

-

8

To be able to use digital information and communication technologies, physical model making techniques and machinery, at an adequate level to the discipline of industrial design

-

X

-

9

To be able to employ design research and methods within the theory and practice of industrial design

X

-

10

To be able to recognize the need and importance of a personal lifelong learning attitude towards their chosen specialization area within the industrial design field

-

X

11

To be able to collect data in the areas of industrial design and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1)

-

X

-

12

To be able to speak a second foreign language at a medium level of fluency efficiently

-

X

13

To be able to relate the knowledge accumulated throughout the human history to their field of expertise

-

X