15CN23T: VIsual Design and Composition-1 Cinema 2nd Sem Syllabus for Diploma DTE Karnataka C15 Scheme

VIsual Design and Composition-1 detail DTE Kar Diploma syllabus for Cinematography (CN), C15 scheme is extracted from DTE Karnataka official website and presented for diploma students. The course code (15CN23T), and for exam duration, Teaching Hr/week, Practical Hr/week, Total Marks, internal marks, theory marks, duration and credits do visit complete sem subjects post given below. The syllabus PDFs can be downloaded from official website.

For all other cinema 2nd sem syllabus for diploma c15 scheme dte karnataka you can visit Cinema 2nd Sem Syllabus for Diploma C15 Scheme DTE Karnataka Subjects. The detail syllabus for visual design and composition-1 is as follows.

Pre-requisites:

Keen to know about the Compositional quality of Image in Visual medium.

Course Objectives:

1. To Know and Understand the Various format Composing elements.
2. Understand the various Aesthetical factors of Image composing controls.
3. Selecting the Image compositional control techniques and tools.
4. Know the various Aesthetical techniques of the image compositional process .
5. Understanding the qualities of Good picture.
6. Analyze the Compositional Continuity.

Course Outcomes:

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Unit-I

VISUAL ELEMENTS:-

Line and shape, Straight lines, Curved lines, Color, TONE-Color, Colour in visual , The nature of light, the tristimulus theory, functions of the eye, Light and Color-Basic qualities of colour, the colour wheel-and models ,controlling colour, colour temperature, colour balance with gels and filter-Light balancing gels, colour correction gels

CORRECTING OFF COLOR LIGHTS-stylistic choices in colour control, COLOUR PSYCHOLOGY- perception influence, blue lighting for public, colour dominance and mood, specific colour meaning, colour perceptivity, colour combination and gaining the attention gradation, light and shade, Notan, Chiaroscuro, Light-MIDDLE TINT-DARK, fundamental forms, management of tone, dominating idea unit scheme, TONE EFFECT-distribution,
interchange, area arrangement, gradation, handling of tone/emotional aspect-unity, vitality, action and movement, repose-quietness-restfulness, mystery. Spotting, tone-arrangements, tone values. Line —Shape —Colour -Texture —Tone.FORM—3D length, width, or depth, Space —the space taken up by (positive) or in between (negative) objects,DEPTH—.Line, Defining platform-fundamental form of construction/perspective, Line and beauty, quadrilateral. Nature of line -curved line, straight. Direction of line-vertical ,horizontal ,diagonal angle of diagonal line ,transitional line,continuity,postulates and psychological aspects.

UNIT-II

Principles of organisation-

Shape and proportion, Positioning/Orientation/Balance/Harmony among the elements , Negative space, Colour, Contrast: the value, or degree of lightness and darkness, used within the picture.

Geometry: the golden mean, Lines, Rhythm, Illumination or lighting, Repetition , Perspective, Viewpoint

Unit-III

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Unit-IV

APPLICATIONAL PRINCIPLES:-

A working formula , principality, variety, order, balance. Construction or selection-working guide applied.application, practice.

Unit-v

Qualities of good picture:

Defining platform, unity-vitality-infinity-repose. Mute adoration, conversation piece, head, and broken slumbers.

UNIT-VI

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Reference Books:

1. The Five C’s of Cinematography —
2. Film Directing Shot by Shot —
3. Continuity in Film & Video —
4. Principles of Cinematography London
5. The Focal Encyclopedia of Film &
6. Television techniques Joseph v Mascelli ,Cine/Graphic publication. Steven D Katz, Michaod Wiese production Auril Row lends, Media manual focal press Leslie J Wheeler FRPS FBKS Fountain press— Focal press
7. Dunstan, Bernard. (1979). Composing Your Paintings. London, Studio Vista.
8. Further reading[edit]
9. Arnheim, Rudolf (1974). Art and Visual Perception: A Psychology of the Creative Eye. University of California Press.
10. Downer, Marion (1947). Discovering Design. Lothrop Lee & Shepard.
11. Graham, Peter (2004). An Introduction to Painting Still Life. Chartwell Books IncGrill, Tom; Scanlon, Mark (1990). Photographic Composition. Watson-Guptill Publications.
12. Peterson, Bryan (1988). Learning to See Creatively. Watson-Guptill Publications.
13. Langford, Michael (1982). The Master Guide to Photography. New York: Dorling Kindersley Limited.

External links

Percy Principles of Art and Composition, Goshen College Art Department

Categories: Artistic techniques Photographic techniques Composition in visual art

Course Delivery:

The course will be delivered through lectures and presentations, suitable Videos and demo screening and panel discussion

SUGGESTED LIST OF STUDENT ACTIVITES

Note: the following activities or similar activities for assessing CIE (IA) for 5 marks (Any one)
Each student should do any one of the following type activity or any other similar activity related to the course and before conduction, get it approved from concerned Teacher and HOD.
Each student should conduct different activity and no repeating should occur

1. To take research on Visual elements available in nature for composition and submit the report
2. Collect the different filming techniques from the world of cinema preferably from Oscars in cinematography special and submit a report
3. Collect and submit pictures in n numbers with the best image quality maintained

Model Question Paper:

(CIE)

1. Define the term visual element and its necessary
2. Explain Line —Shape —Colour -Texture —Tone Or Write a note on FORM — 3D length, width or depth, and Space
3. Define Negative space,
4. Describe the Contrast as a value, or degree of lightness and darkness or Write a note on , Perspective, Viewpoint

Model Question Paper:

Section A

1. Describe the formal elements: colour, line, shape, texture, space.
2. Describe the use of colour by exploring how it is present or absent in the image.
3. Derive the colours .
4. Narrate the uses of colour
5. Explain the uses of line and shape in the image .
6. List the shapes present in the image.
7. Name the shapes most frequently employed or repeated.
8. Analyse the methods used to create Line & their shapes.
9. List the utility of the lines / shapes used in dynamic ways to suggest movement.

SECTION B

1. Derive the static ways that do not imply active motion. with proper reasons
2. Does the use of line contribute to an illusory three dimensional space in the image? Does line exist in two dimensional relationships?
3. Mention the relationship between line and the sensations of texture in the image. How do line and shape create textural impressions?
4. Define the line/shape combine to create patterns in the image.
5. Illustrate the perceived patterns (including color patterns) owe their design effectiveness to the use of line and shape.
6. Is the use of line and shape in the image a more or less powerful visual experience than the use of color in the image?
7. Does the use of line or shape evoke any emotion response to the image.
8. Mention the methods employed using the space in the image.
9. Does the space seem cluttered, busy, open, white, empty, colourful.
10. Derive the Compositional designs are incorporated into the use of space.

For detail syllabus of all other subjects of BE Cinema, C15 scheme do visit Cinema 2nd Sem syllabus for C15 scheme.

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