GRAFIST 10 by basak urkmez

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Yay›na Haz›rlayan Edited By Mimar Sinan Güzel Sanatlar Üniversitesi, Güzel Sanatlar Fakültesi, Grafik Tasar›m Bölümü Mimar Sinan Fine Arts University, Faculty of Fine Arts, Graphic Design Department Konsept Concept Selen Baﬂer Grafik Tasar›m Graphic Design Selen Baﬂer Uygulama Artwork Didem Uraler, R›dvan Y›ld›zça ‹ngilizce - Türkçe Çeviri English - Turkish Translation ‹nci Uysal, Banu Onrat, Can Gündüz Türkçe - ‹ngilizce Çeviri Turkish - English Translation Yurdanur Salman Renk Ayr›m›, Bask› ve Cilt Colour Separation, Printing and Binding Stil Matbaac›l›k ‹brahim Karao¤lano¤lu Caddesi Yay›nc›lar Sokak No: 5 Stil Binas› Seyrantepe ‹stanbul

‹stanbul 2006 ISBN 975-00762-1-4 Bu kitap 1 - 6 May›s 2006 tarihlerinde düzenlenen “Grafist 10” 10. Uluslararas› ‹stanbul Grafik Tasar›m Günleri kapsam›nda gerçekleﬂen sergiler nedeniyle 1000 adet bas›lm›ﬂt›r. This book is published 1000 copies on the occasion of the exhibitions, realised within the programme of Grafist 10, International Istanbul Graphic Design Week hold on 1 - 6 May 2006.

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Yay›nlayan Published by Korpus Kültür Sanat Yay›nc›l›k Korpus Publishing House

10. Uluslararas› ‹stanbul Grafik Tasar›m Günleri 1 - 6 May›s 2006 10th International Istanbul Graphic Design Week 1 - 6 May 2006

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GRAF‹ST 10

GRAFIST 10

‹letiflim medyalar›n›n büyük bir h›zla geliflmesi, grafik tasar›m›n görsel dilinin her gün yeniden sorgulanmas›na ve farkl› anlat›mlar yarat›lmas›na yol açmaktad›r. Grafik Tasar›m Bölümü'nde bu koflullar do¤rultusunda flekillenen e¤itimin amac›, ça¤dafl ve etkin bir görsel dil yaratabilecek, toplumsal ve kültürel yap›daki de¤iflimleri izleyen, kavrayan ve sorgulayan bilinçli tasar›mc›lar yetifltirmektir.

The high speed development of communication media paves the way for re-inquiry of visual language of graphic design and for creation of different expressions every day. The primary goal of education shaped in the Graphic Design Department in line with and in the light of these developments is to educate and graduate learned and conscious designers who are able to create a modern and effective visual language and who follow up, understand and inquire the changes in the social and cultural structure.

1926 y›l›nda kurulan ve bu y›l sekseninci kurulufl y›ldönümünü kutlayacak olan Grafik Tasar›m Bölümümüzün e¤itim program›nda GRAF‹ST etkin bir yere sahiptir. Grafik ve ‹stanbul sözcüklerinden türetilmifl olan, “GRAF‹ST” k›sa ad›yla an›lan “Uluslararas› ‹stanbul Grafik Tasar›m Günleri”, bu y›l onuncu kez gerçeklefliyor. “Uluslararas› ‹stanbul Grafik Tasar›m Günleri”, Mimar Sinan Güzel Sanatlar Üniversitesi, Güzel Sanatlar Fakültesi, Grafik Tasar›m Bölümü'nün 1997 y›l›ndan beri düzenledi¤i, e¤itim amaçl› bir etkinliktir. Bu etkinlik Uluslararas› Grafik Konseyi ICOGRADA'n›n tan›d›¤› ve destekledi¤i bir organizasyondur. Grafist, 1997'de, ICOGRADA'n›n Tasar›m ‹flbirli¤i Program›'n›n, pilot projesi olarak bafllad›. Amaç, dünyan›n farkl› yerlerinde, ayn› co¤rafyay› paylaflan ülkelerin tasar›mc›lar›n›, tasar›m e¤itimcilerini ve ö¤rencilerini her y›l düzenlenen etkinliklerde bir araya getirmek, bir iletiflim disiplini olan grafik tasar›m›n çevresinde, komflu kültürlerin buluflmas›n› ve etkileflmesini sa¤lamakt›. ‹lk iflbirli¤i projesi, MSGSÜ ile ‹srail Tel Aviv'de faaliyet gösteren Vital Tasar›m Okulu aras›nda gerçekleflti. Sergi, seminer ve atölye çal›flmalar›ndan oluflan GRAF‹ST, grafik tasar›m ö¤rencilerinin yan› s›ra, yerli ve yabanc› profesyonellerin, genç tasar›mc›lar›n ve e¤itimcilerin de, dünya grafik

GRAFIST plays an effective role in the curriculum of our Graphic Design Department, founded in 1926, that is getting prepared to celebrate its 80th anniversary this year. The "International Istanbul Graphic Design Days" abbreviated as "GRAFIST", derived out of Graphics and Istanbul words, is organized and will be held the tenth time this year. The "International Istanbul Graphic Design Days" is an educational activity organized annually since 1997 by Mimar Sinan Fine Arts University, Fine Arts Faculty, Graphic Design Department. This activity is an organization recognized and supported also by ICOGRADA, the International Council of Graphic Design Associations. GRAFIST was started in 1997 as a pilot project for the Design Cooperation Program of ICOGRADA. The goal was to bring together in such annual activities the designers and design educators and students from the countries sharing the same geography in different parts of the world, thereby ensuring the meeting and interaction of neighboring cultures on graphic design, being a communication discipline. The first cooperation project of this kind has been realized between MSGSU (Mimar Sinan Fine

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tasar›m›n›n yöneliflleri konusunda bilgi edindi¤i bir referans olarak, 10 y›ll›k sürecinde üstlendi¤i misyona ulaflt›. Almanya, Avusturya, Fransa, ‹ngiltere, Belçika, Hollanda, ‹sviçre, Polonya, Çek Cumhuriyeti, ABD, Rusya, ‹ran, Japonya, Kore, Avustralya, Kanada, ‹srail ve Yunanistan'dan uluslararas› arenada tan›nm›fl pek çok tasar›mc›y›, Türkiye'deki akademisyenler, profesyoneller ve tasar›m ö¤rencileriyle buluflturdu. GRAF‹ST, 2003 y›l›nda gerçeklefltirdi¤i yedinci etkinli¤i ile birlikte bünyesine eklemledi¤i “Grafist Gelecek Kuflak” sergileriyle, grafik tasar›m›n usta-ç›rak iliflkisine genç profesyonel tasar›mc›lar› da ekleyerek, tasar›m alan›nda her konumdaki üreticinin etkinli¤ine dönüfltü. GRAF‹ST'in amac›, bir hafta boyunca yurtd›fl›ndan gelen dünyaca tan›nm›fl yabanc› grafik tasar›mc›lar ve Türk grafik tasar›mc›lar› ile yine yurtd›fl›ndan gelen yabanc› ö¤renciler ve Türk ö¤rencilerin; seminer, workshop ve sergi gibi etkinlikler arac›l›¤›yla birbirlerini tan›malar›, tasar›m kriterleri ve vizyonlar›n› de¤erlendirmeleri için uygun buluflma ortam›n› haz›rlayarak tüm çal›flmalar›n ve sonuçlar›n›n paylafl›ld›¤› zengin bir paylafl›m alan› oluflturmakt›r. Grafik tasar›m›n ele ald›¤› sosyal, siyasal, ekonomik ve ekolojik iliflkiler bütününü, sergilerindeki ifller, seminerlerinde paylafl›lan düflünceler ve atölye çal›flmalar›nda üretilen projeler üzerinden analiz etme f›rsat› sunan GRAF‹ST, görsel iletiflimin yerel üretimlerini ve uluslararas› normlardaki güncel yönelifllerini yans›tmaktad›r. Her y›l May›s ay›n›n ilk haftas› düzenlenen GRAF‹ST 'Uluslararas› ‹stanbul Grafik Tasar›m Günleri', bu y›l da 1 - 6 May›s 2006 tarihleri aras›nda dünyan›n çeflitli ülkelerinden profesyonel tasar›mc›lar, ö¤renciler, ülkemizin çeflitli üniversitelerinden Mimar Sinan Güzel

Arts University) and Vital Design School, Tel Aviv, Israel. Comprised of exhibition, seminar and workshop activities, GRAFIST has performed its mission in the process of past 10 years, as a reference point where not only graphic design students, but also local and foreign professionals and young designers and educators obtain information about the trends in the global graphic design world. It has been a platform where a great many of internationally known designers from Germany, Austria, France, England, Belgium, Netherlands, Switzerland, Poland, Czech Republic, USA, Russia, Iran, Japan, Korea, Australia, Canada, Israel and Greece met with academicians, professionals and design students in Turkey. By adding the young professional designers to the master apprentice relationship in graphic design with the help of "Grafist Future Generation" exhibitions incorporated in its organization by its 7th activity realized in 2003, GRAFIST has come out to be an activity of producers at each level and position in the design field. The purpose of GRAFIST is to create a rich arena for the interactive sharing of all works and their results during one week by preparing a well-designed meeting place where the worldwide known foreign graphic designers and Turkish graphic designers and the foreign students and the Turkish students come together through activities such as seminars, workshops and exhibitions and evaluate and discuss their design criteria and visions. Offering to its participants the opportunity to analyze the social, political, economic and ecologic relations dealt with by graphic design through the projects produced in the workshops and the ideas shared during the exhibitions and seminars, GRAFIST is a reflection of local products of the visual

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Sanatlar Üniversitesi'ne gelen genç tasar›mc› adaylar›n› buluflturuyor. Bu y›l konuklar›m›z aras›nda : Türkiye'den U¤urcan Atao¤lu ve Savafl Çekiç, Hollanda'dan Mevis & van Deursen ve Jan van Toorn, ‹ngiltere'den, Japon as›ll› tasar›mc› Eiichi Kono, ‹srail'den Yossi Lemel, ABD'den Filipin as›ll› tasar›mc› Lucille Tenazas, ve Almanya'dan Henning Wagenbreth, bulunmaktad›r. Uluslararas› ‹stanbul Grafik Tasar›m Günleri GRAF‹ST 10'un, hedeflenen bilgi ak›fl›, etkileflim ve ileriye dönük bir potansiyel oluflturaca¤› inanc›yla baflar›l› geçmesini dilerken, baflta GRAF‹ST 10'un gerçekleflmesini özveriyle sa¤layan MSGSÜ - GSF Grafik Tasar›m Bölümü Ö¤retim Kadrosuna, katk›lar›n› bizlerden esirgemeyen Grafist Dostlar›'na, BGV 'Bikem Özsunay Grafik Tasar›m Vakf›'na, de¤erli reklam kurulufllar› ve tüm dostlar›m›za en içten teflekkürlerimi sunar›m.

Prof. Dr. Ayﬂegül ‹zer Mimar Sinan Güzel Sanatlar Üniversitesi Güzel Sanatlar Fakültesi Grafik Tasar›m Bölüm Baﬂkan›

communication and of contemporary trends in the international norms. Organized in the first week of May every year, GRAFIST "International Istanbul Graphic Design Days" will be a meeting place of professional designers and students from various different countries of the world and young designer candidates coming from different universities of our country to Mimar Sinan Fine Arts University between 1 - 6 May 2006 this year as well. Included among our guests this year are U¤urcan Atao¤lu and Savaﬂ Çekiç from Turkey, Mevis & van Deursen and Jan van Toorn from Netherlands, Eiichi Kono of Japan stock from England, Yossi Lemel from Israel, Lucille Tenazas of Philippines stock from U.S.A., and Henning Wagenbreth from Germany. Believing that the International Istanbul Graphic Design Days GRAFIST 10 will create a potential for the intended flow of information and interaction and for the future, and wishing success to it, I would like to sincerely thank particularly to all academic staff of Mimar Sinan Fine Arts University, Fine Arts Faculty, Graphic Design Department for their self-sacrificing efforts in organization of GRAFIST 10, and also to Grafist Friends, BGV ‘Bikem Özsunay Graphic Design Foundation’ and valuable advertising agencies and all our friends for their great contributions.

Ayﬂegül ‹zer, Prof. Dr. Head of Graphic Design Department Fine Arts Faculty Mimar Sinan Fine Arts University

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1958 Ordu do¤umlu. UESYO Grafik Bölümü mezunu. MSGSÜ Grafik Tasar›m Bölümü’nde ö¤retim görevlisi. Alametifarika’n›n kurucu orta¤› ve yarat›c› yönetmeni. Kurumsal kimlik, afifl, ambalaj, kitap tasar›m›, ilüstrasyon, çizgi film, bas›n ilan›, reklam filmi yönetmenli¤i gibi farkl› alanlardaki çal›flmalar› devam ediyor. De-sign Projesi ‘‘Pemra Ataç, Burcu Tokatl›, Elif Yalç›nkaya, Zeynep Oray, Ceylan fiahin, Burçak Befllio¤lu ve Elif Özüdo¤ru ile geçmiflte birlikte tasarlad›¤›m›z baz› ifllere, üzerinden bir zaman geçtikten sonra geriye dönüp tekrar bakmak istedim. Bu serginin amac›, bugün görevini tamamlam›fl bu iflleri, art›k ihtiyac› olmayan bilgilerden, flekillerden, renklerden ar›nd›r›p zamans›zlaflt›rarak, gelecek için geçmifle do¤ru yeniden tasarlamak.’’ U.A.

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Born in 1958 in Ordu. Graduate of (UESYO) Graphic Design Department, Mimar Sinan Fine Arts University. Currently teaches at the Graphic Design Department of MSGSU. Founding partner and creative director of Alametifarika. Currently engaged in corporate design, poster, book design, packaging, illustration, animation, print ads, and directing TV commercials. De-sign Project ‘‘I wanted to have a retrospective look at the work we designed done with Pemra Ataç, Burcu Tokatl›, Elif Yalç›nkaya, Zeynep Oray, Ceylan ﬁahin, Burçak Beﬂlio¤lu and Elif Özüdo¤ru. The purpose of this exhibition is to re-design these works, which have completed their mission, by making them timeless, ridding them of the information, the color and shape elements they no longer need; to re-design them for the future, towards the past.’’ U.A.

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RÖPORTAJ INTERVIEW: AYﬁEGÜL ‹ZER

Sizi tasar›mc› olmaya yönelten ne oldu?

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Çocukken resim defterinin bofl sayfas›na pamukla gazya¤› sürerdim. Sayfa tamamen fleffaflafl›rd›. Sonra bu fleffaf sayfay› be¤endi¤im çizgi roman sayfalar›n›n üzerine koyard›m. Alttaki çizgileri tamamen gördü¤üm için, üzerinden rahatl›kla geçerek yeniden çizerdim. Çizim uzun sürerse gazya¤› uçar, fleffafl›k kaybolurdu; yeniden gazya¤› sürmek gerekirdi. Ayn› tekni¤i kullan›p dergilerdeki foto¤raflar›n da üzerlerinden geçerek yeniden çizerdim. Zamanla kendime güvenim artm›fl olmal› ki art›k gazya¤›n› kullanmadan çizmeye bafllad›m. Bu sefer be¤endi¤im karikatürleri bakarak yeniden çiziyordum. Turhan Selçuk, Yalç›n Çetin, Altan Erbulak ve Tan Oral en çok be¤endi¤im imzalard›. Onlar gibi çizmek, çizdikleri gibi fleyler düflünmek istedim; çizdim, biriktirdim. Orta okuldaki resim ö¤retmenim, ev ödevi olarak verdi¤i resim yar›flmas› afiflini benim yapt›¤›ma inanmay›p, s›n›fta ayn›s›n› tekrar çizmemi istemiflti. Çizmifltim ama evde ablam biraz yard›m etmiflti galiba. Lisede seçmeli ders olarak resmi de¤il, müzi¤i seçtim. Ama k›zlar bana ödevlerinin kapaklar›n› yapt›r›rd›. Mahalledeki arkadafllara rol da¤›t›p fotoroman çekerdim. Uygun kareleri seçip bast›r›rd›k. Kesip biçer, konuflma balonlar›n› yazar, büyük bir kartona

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What was it that led you to become a designer? When I was a kid, I used to wipe kerosene on the empty pages of my drawing book. The page became transparent. Then I placed this paper on my favorite comic books. Seeing the lines easily, I could re-draw them. Sometimes when my drawing took too long, the kerosene would evaporate and the paper would lose its transparency. I had to wipe kerosene onto it once again. I applied the same technique on the photos in magazines. In time, I must have gained some self-confidence, so I started drawing without kerosene. This time I re-drew caricatures that I liked. Turhan Selçuk, Yalç›n Çetin, Altan Erbulak and Tan Oral were my favorite artists. I tried to draw like them, to come up with jokes like theirs. I kept all the caricatures I drew. My teacher at junior high once did not believe that I drew the painting contest poster she had given as homework, myself. She asked me to do it again in class. I had indeed drawn it myself - I think with a little help from my sister. Then I chose music instead of art as an elective course in high school. All the girls had me do covers for their homework papers. I used to shoot photostories casting my friends to act in them. We used to pick the good shots and have them printed. We cut them out, wrote dialogues in speech bubbles, stuck them on large

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yap›flt›r›p duvara asard›k. Babam›n “Super8” denilen bir kameras› vard›. Onunla hat›ra filmleri çekiyordum. Lise bitince “grafik okumak” diye bir fley oldu¤unu ö¤rendim. Haz›rl›k kurslar›, girifl s›navlar› derken UESYO Grafik Bölümü'nü kazand›m. Beni her zaman karikatürlerdeki gibi espriler bulmak mutlu ediyordu. Ö¤rencilik devam ederken o güne kadar ne çizdiysem G›rg›r dergisine götürdüm. O¤uz Aral'›n elinden ald›¤›m para, kazand›¤›m ilk parayd›. Çeflitli say›larda on civar›nda karikatürüm yay›nland›. Okul süresince üç k›sa çizgi film yapt›m. Film, müzik, mizah, karikatür daha sonra grafik tasar›m, illüstrasyon, yaz› ve tipografi. Bunlar hayatta kendimi ifade etmek için ilgi duydu¤um konular. Hem bütün bu malzemelerle ayn› anda çal›flabilmenin, hem de iyi kazanman›n yeri reklam dünyas›. Sadece önceli¤in her zaman baflkalar›n›n siparifllerinde oldu¤unu kabul etmek gerekiyor.

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cardboards, and hung them on walls. My father had a camera called the “Super8”. I shot documentaries with it. After graduating from high school, I found out I could “study graphic design”. After prep courses and aptitude exams I entered the UESYO Graphics Department. While I was still a student, I took everything I had drawn until then to G›rg›r magazine. I got paid for the first time in my life by O¤uz Aral. Around 10 of my caricatures were published in various issues. I also made three animation films during school. Film, music, humour, caricatures were followed by grapic design, illustration, typography and writing. These became areas I was interested in to express myself. The medium of working with all of these at once, and also making a living was the world of advertising. Although one has to always keep in mind that the priority is always the requirements of the commissioned job.

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Tasar›m e¤itimi ald›¤›n›z günlerin e¤itim sistemiyle, günümüzü k›yaslarsak bir e¤itimci olarak nas›l farkl›l›klar gözlemliyorsunuz? Gelecek kuflaklar hakk›ndaki görüfllerinizi anlat›r m›s›n›z? Bence en önemli fark bilgisayar kullan›m›. Kalem, kâ¤›t ve boyayla grafik tasar›m e¤itimi ald›k biz. Desen çal›flan, perspektif çizimler yapan, guaj boyaya su kat›p renk kartelas› boyamaya çal›flan bir ö¤renci olmak istemedim hiç. Bildi¤imden de¤il; ihtiyac›m olmad›¤›n›, belki de ilerde ihtiyac›m olmayaca¤›n› düflündü¤ümden. Ama en az›ndan haberdar olacak ve s›n›f› geçecek kadar ö¤renmem gerekiyordu. F›rça izi kalmadan boya yapman›n ya da degrade boyaman›n tekniklerini ö¤renmenin bana büyük bir katk›s› oldu¤unu düflünmüyorum. Çünkü el ifllerinde istekli ve becerikli de¤ilim. Galiba bu yüzden okuldaki ilk üç y›l›m vasat, mutsuz ve aray›fl içinde bir ö¤renci olarak geçti. Son s›n›fta proje hocam Bülent Erkmen'di. Onun söylediklerini hayat›mda ilk kez duyuyordum. Bir tür mesleki ayd›nlanma yaflad›m. Kendimi ifade etmek için sadece çizmem ve boyamam gerekmiyordu. Baflka malzemeler de vard›. Yaz› vard›. Bafll›k vard›. Yaz›n›n içeri¤ine uygun yaz› karakterini seçmek vard›. Yaz›n›n sat›r aras› vard›, sütunlar› vard›. Tipografi diye bir fley vard›. Görüntü düflünme vard›. O iflin sipariflini veren vard›. Yap›lan iflin sunumu vard›. Daha ö¤renmem ve tekrar

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What kind of differences do you observe as an educator if we compare the educational system in the days you got your education and the system used today? Will you tell us about your views on the future generations? In my opinion, the most important difference is the use of the computers. We received our education in design made using pencils, pens, paper, and paints. I never wanted to be a student who works on patterns, drawing in perspective and trying to paint colour ranges by adding water into gouache paints. This was not because I knew how to do these things; it was because I believed that I didn't need to know them in the future. But I had at least to be aware of them and to learn them in order to pass my exams. I didn't believe that painting without leaving traces or brushstrokes of learning the techniques of degraded painting would make any contributions to me. For I was not enthusiastic and skillful enough in doing these things by hand. I think it was because of this that my first three years in school were spent as an ordinary student, feeling unhappy and searching for things. In the last year, my project advisor was Bülent Erkmen. I was hearing for the first time in my life the things he said to me. I experienced a kind of professional enlightenment. I did not have to do drawings and paintings in order to express myself. There were other materials to be used. There was text. There were titles. There

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etmem gereken bir sürü fley var derken okul bitti. Çeflitli reklam flirketlerindeki çal›flma hayat› bafllad›. Çok büyük ifllerin bir ucundan tutup kald›rmaya çal›flan onlarca kifliden biri olmay› kabul etmek, bugün birço¤u için peflinen piyasada kaybolmak demek. Hocalar›mla okul sonras› hayatta da birlikte çal›flma f›rsat›m oldu. Ö¤retmen-ö¤renci iliflkisi, ustaç›rak iliflkisine döndü. Bugün meslektafl olarak ayn› okulday›z, birlikte ifller yap›yoruz. Asl›nda onlar›n ›srar› hatta emriyle okula geri döndüm. Kendini gerçeklefltirmeye aday olanlara, kendi tecrübelerimi aktarmada yard›mc› olmak ve bu durumu izlemek. Bir fleyler ö¤retmeye çal›flmak, fark›nda olmadan çok fley ö¤retiyor; okula gelme nedenim bu. Do¤ru insanlarla, do¤ru yerlerde birlikte olabilmek her zaman çok önemli. Gelecek kuflaklar, geçmifl kuflaktan farkl› olarak kendi zamanlar›n›n teknolojilerini kullanacaklar. Bilen bilmeyene her zaman ö¤retmeye çal›flacak. Usta-ç›rak iliflkisi her zaman olacak, olmal› zaten. Biz, bizden önceki zaman›n flartlar›na göre e¤itim ald›k ve kendi gelece¤imizin flartlar›n› biraz ›skalad›k. Mesela baz› s›n›f arkadafllar›m gibi ben de bilgisayar trenini kaç›ranlardan›m. Kullanam›yorum. Mezun olduktan on y›l sonra geldi bilgisayar. Hem o geç geldi,

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was that thing called choosing the typefaces to fit the content of that piece of the text. There were leadings; there were columns. There was something called typography. There was the idea of thinking up images. There was someone who comissioned the project. There was the presentation of the work done. When I was saying to myself that there were so many more things I had to learn and repeat, the school finished. Then my life working at various advertising companies began. To accept being one of those dozens of people who give large-scale projects their support by handling one little part of the work means for many people getting lost in the market from the very start. I had the opportunity of working with my teachers after I finished school. The teacherstudent relationship turned into a master-apprentice relationship. Today we are colleagues and we work side by side. In fact, I went back to school to teach because of their insistence, even of their commands to do so. To help those who are yet candidates for realising themselves, by transferring my own experineces to them and to watch this process. To try to teach some things actually teaches you a lot without you realise it; this is the reason why I have come to this school. It is always very important to be with the correct people in the correct places.

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hem de ben geç kald›m. O zamandan beri, bir iflin tasar›m fikrini bulmak ve tasar›m›n› yönlendirmek, o tasar›m› gerçeklefltiren kifli veya ekibin karfl› ve art› enerjisi, benim çal›flma yöntemimi oluflturdu. fiu anda tasar›mc›lar laptop'lar›nda bir ifli bafltan sona tek bafl›na bitirip, matbaaya e-mail ile gönderiyorlar. Hatta müzi¤iyle, montaj›yla tek bafl›na film üretiyorlar. Geçen zamana karfl› kendimi iyi hissetmek için söylemiyorum; ama, asl›nda her zaman büyük fikirler kazan›r. Bu yüzden okulda en çok do¤ru ve dürüst düflünmeye çal›flmam›z gerekiyor.

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The coming generations, as different from the past generations, will be using the technology of their own times. Those who know, will always be trying to teach those who do not know. Master-apprentice relationship will always be there and anyway it should always be there. I received my education in the conditions of the times that came before us and missed the conditions of my own future a little. For instance, like some of my classmates, I am also one of those who have missed the computer-train. I cannot use it. The computer came too late for me and I was also delayed myself. Since that time, the method I use when working has been to find the design idea of a project, to direct the design process, and the negative and positive energy of the person or the team realising that design project. At the moment, designers complete their work from the very beginning to the very end at their lap-tops and send it to the press by e-mail. We can even say that they produce films, complete with all the music and editing. I am not saying this to make myself feel better against the time that has been lost in between, but it is always the grand ideas that will win. For this reason, we have to try to think of things very correctly and very honestly at school.

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Reklam ve grafik tasar›m alanlar›n›n temel benzeflme ve ayr›flma noktalar› sizce neler? ‹kisi de bir bilginin, bir mesaj›n aktar›lmas› görevini amaçl›yor. Mutlaka bir siparifl veren var, birilerine iletilmek istenen bir bilgi var. Bu bir tiyatro oyunu olabilir, sosyal bir kampanya ya da bir kredi kart› tan›t›m› olabilir. Reklamdan farkl› olarak grafik tasar›mc›, hayat›nda sorumluluk duydu¤u ticari olmayan bir alanda, kendi kendinin iflvereni olup ifller üretebiliyor. Siparifli verenler, kullan›lmas› gerekli bilgiler farkl› da olsa, herhangi bir iletiflim problemini ortaya koymak ve çözmeye çal›flmak, bu ister logo olsun, ister bas›n kampanyas›, ayn› do¤ru ak›l yürütmeyi, ayn› sosyal zekây›, ayn› grafik tasar›m becerisini talep eder sizden. Bu yüzden ifl yapma süreci tamamen ayn›d›r.

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What do you think are the basic points of similarity and seperation between the field of advertising and of graphic design? Both of them aim at transferring information, a message. There is definitely someone who comissions the and there is a certain information to be sent to some people. This may be a play for the theatre, a social campaign or the introduction of a credit card. As different from the case in advertising, a graphic designer can be his own employer and produce his own works in a non-commercial field. Those who assign the comission expect from you the same correct way of reasoning, the same social intelligence, and the same graphic design skills in trying to define and solve any communications problem, be this a logo or a press campaign, although the information to be used is quite different. For this reason, the process of realising the project is completely the same.

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Roland Barthes “Bir gerçek anlat›ld›¤› anda art›k gerçek üzerine geçiflli bir bak›fl/eylem ifllemeye bafllar” der. Yani, kendi fonksiyonunun d›fl›nda bir ba¤lant› kopuflunun oluflumuna de¤inir. Bu ba¤lamdan bak›ld›¤›nda “de-design… de-sign” yani geriye do¤ru tasar›m süreci nedir? Tasar›m›n parçalan›fl›n›, menfleini kaybediflini ya da belki kendi sonuna gidiflini bize anlat›r m›s›n›z?

Roland Barthes says, “The moment a fact is recounted, a transitive view starts to be active on that fact.” In other words, he is speaking of the formation of disruption outside its own function. Seen in this context, what is “dedesign... de-sign”, that is the design process going backwards? Will you explain to us the disruption of the design, its loosing its origin or maye its heading towards its own end?

-Bana verilen bu sergi görevi için çal›fl›rken içimdeki bir problem ortaya ç›kt›. Yapt›¤›m veya yap›lmas›na ön ayak oldu¤um baz› ifllerde akl›m ve gönlüm kalm›fl. O ifllerin içindeki baz› parçalar, asl›nda benim de hayat›n içine söylemek istedi¤im kendi konular›m› iflaret ediyor. O parçalar› o iflin gerektirdi¤i flartlardan ve zamandan çekip ç›karmak istiyorum. ‹ngilizce'de “re” ön eki sözcüklere yenileme, tekrarlama anlamlar› kat›yor. Örne¤in, “redesign” yeniden tasarlamak demek. Bir de “de” ön eki var. O ise sözcüklere tersine çevirme, geriye sarma, ar›nd›rma anlam› kat›yor. Detoks, deflarj, dekonstrüksiyon gibi. fiimdiye kadar dedesign diye bir kelime kullan›lmam›fl. Bu kuraldan esinlenip biraz daha ileri gidersek, design sözcü¤ünün içindeki “de” hecesine de ön ek gibi davran›rsak bu kelimenin art›k yeni bir yaz›l›fl› ve yeni bir anlam› var. ‹htiyac›m›z› karfl›layan bu yeni kelime ''design''. Ar›nd›rmak amac›n› tafl›yan, geriye do¤ru bir tasar›m sürecini, tasar›m›n parçalan›fl›n›, yok ediliflini ifade ediyor.

When I started working on this exhibition, a problem came up from inside me. I still had my mind - and my heart - on some of my previous work. Some elements in these were in fact addressing life's issues I wanted to talk about. I want to pull these out of their time and the conditions that surrounded them. The “re” prefix adds the meaning of repetition to a word. Re-design means to design again. The “de” prefix reverses the word's meaning, winds time backwards, purifies the word. Like detox, decharge, de-construction... There is no such word as “de-design”. If you bend this prefix rule a little, and treat the “de” syllable in design as a prefix, you have a word with a new meaning and spelling. “Design” is the word that fulfills our need. It represents the backward design process, the disintegration and destruction of design. I wanted to have a retrospective look at the work we have done with Pemra Ataç, Burcu Tokatl›, Elif Yalç›nkaya, Zeynep Oray, Ceylan ﬁahin, Burçak Beﬂlio¤lu and

26 / GRAF‹ST 10

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Pemra Ataç, Burcu Tokatl›, Elif Yalç›nkaya, Zeynep Oray, Ceylan fiahin, Burçak Befllio¤lu ve Elif Özüdo¤ru ile geçmiflte birlikte tasarlad›¤›m›z baz› ifllere bu ihtiyaçla geriye do¤ru dönüp tekrar bakt›k. Design kelimesine yapt›¤›m›z müdahalenin benzerini, ihtiyac› oldu¤u kadar farkl› dozlarda, seçti¤imiz ifllere uygulad›k. Sonuç olarak sergimizin amac›, dünkü görevlerini tamamlam›fl baz› iflleri, art›k ihtiyac› olmayacak bilgilerden, flekillerden, renklerden, ticari sorumluluklardan ar›nd›rarak zamans›zlaflt›r›p, yeni bilgi ve görevler tafl›yacak flekilde yeniden tasarlamaya çal›flmak ve bunu grafistseverler ile paylaflmakt›r. Yapt›¤›m›z ifller gibi akl›mda ve gönlümde yeri olan, kimisi ö¤rencim de olmufl çal›flma arkadafllar›mla beraber düflündük ve haz›rlad›k. Kiflisel bir sergi de¤il, fikirsel bir sergidir.

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Elif Özüdo¤ru. We did the same thing we did to the word “design”, to some of our work; in different doses as needed. The purpose of this exhibition is to take some of our previous work which have completed their mission, strip them of the information, colors, shapes, and the commercial objectives they no longer need; to make them timeless. Then to design them one more time in light of new information and objectives, to share with grafist-lovers. We gave a lot of thought and effort in this with my collegues some of which have also been my students - that left a mark on my mind and my heart, just like the works themselves. This is not a personal exhibition. It's an exhibition of ideas.

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ÇE

K‹

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ﬁ

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1960 Dörtyol do¤umlu. MSÜ Güzel Sanatlar Fakültesi Grafik Tasar›m Bölümü'nden 1984'de mezun oldu. 1992 y›l›ndan itibaren kendi tasar›m atölyesinde çal›flmalar›na devam etmektedir. Çal›flmalar› dünya çap›nda birçok yay›nda yer alan ve sergilenen tasar›mc›, çeflitli ulusal ve uluslararas› ödüller ald›. 1995 - 1997 tiyatro sezonunda ‹stanbul Büyükflehir Belediyesi fiehir Tiyatrolar›'nda tasar›m dan›flmanl›¤› görevini üstlendi ve tiyatronun gereksinimi olan görsel tasar›mlar› (afifl, broflür vs.) tasarlad›. Grafikerler Meslek Kuruluflu'nun yönetim kurulunda yer ald›. Halen Marmara Üniversitesi Güzel Sanatlar Fakültesi Grafik Bölümü ö¤retim üyeli¤i görevini sürdürmektedir.

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He was born in 1960 in Dörtyol. He was graduated from MSU Fine Art Faculty Grafic Design Department in 1984. He has worked in his own studio since 1992. His works have found place on several publications. He won many national and international awards. In the 1995-1977 season, he undertook the task of acting as the design advisor at the Istanbul Metropolis Municipality City Theatres and produced the visual designs (posters, brochures etc.) which these theatres needed. He is presently continuing to teach at Marmara University, Faculty of Fine Arts, Graphics Department.

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RÖPORTAJ INTERVIEW: BAﬁAK ÜRKMEZ

Sizin grafik tasar›mc› geçmiﬂinizin izini sürecek olursak, nereye vard›n›z, nas›l bir yolculuk bekliyor bizi?

34 / GRAF‹ST 10

K›sacas› 1980'lerden günümüze 25 y›ll›k bir tasar›m serüveni. Okuldan tasar›m›n elle uyguland›¤› dönemde mezun oldum. O günden bu güne üç kere bu mesle¤in ad› de¤iflti. Bilgisayar, uygulama alan›nda büyük kolayl›klar sa¤lad›. ‹nternet'in devreye girmesiyle bütün dünyay› izleme ve haberleflme büyük f›rsatlar yaratt›. fiu k›sac›k zaman diliminde, çok h›zl› de¤iflen dünyada, tasar›mc› olarak ben de nasibimi ald›m. Bu devingenlik üretimime de yans›d› tabii ki. Üretimimin zorland›¤› durumlar siyasi ve ekonomik krizlerdi. Anlam üzerinden de¤erlendirecek olursak, acemilik dönemimde aray›fl izleri belirgin (1980'ler), sonras› amac›na hizmet eden, süsten ar›nd›r›lm›fl tasar›mlar (1990'dan günümüze).

If we are to trace your past as a graphic designer, in your opinion what kind of a journey do you think is expecting you, from where to where? Briefly, this has been a design adventure of 25 years since the 1980s to the present day. I graduated from school in a period when design was made by hand. Since that day, the name of this profession has changed three times. Computers have brought great facilities to the field of application. The coming of the Internet has created great opportunities in following the whole world and communicating with it. In this very short slice of time I have also taken my share of the good improvements as a designer in this rapidly changing world. Naturally, this dynamism has also been reflected onto my production. The difficult periods in terms of my production were the times of political and economic crises. If we are to evaluate them by considering their significance, they were designs which had clear traces of searchings in novice (the 1980s); later came designs serving their purposes and purified of ornamentation (from 1990 to the present day).

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Bir Orman Gibi, Afiﬂ Poster for a play

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Siz hem bir grafik tasar›mc›, hem de e¤itmensiniz. Türkiye'de sanat ve grafik tasar›m e¤itiminin dengesi nas›l sizce? ‹flaret etti¤iniz konum genel anlamda s›kça kar›flt›r›lan bir durum. Böyle sorular› sordu¤umuzda ald›¤›m›z yan›tla, ortaya ç›kan fiili durum bizi oldukça flafl›rt›yor. Ö¤rencilerimizin seçtikleri derslere bakarsak, ilk üç y›l sanat a¤›rl›kl› sonraki bir y›l ise tasar›m a¤›rl›kl› derslere yöneldiklerini söyleyebiliriz. Son dakikada panikleyerek tasar›mc› olmaya karar verip, h›zla kendilerini gelifltirmek için çaba harc›yorlar. Bunun alt›nda yatan ise tabii ki ifl bulma kayg›s›. E¤itmenler aç›s›ndan bakarsak onlar genel anlamda sanat ve tasar›m› birbirine kar›flt›rmad›klar›n› söylüyorlar ama bence öyle de¤il. Sonuç olarak ö¤rencilerin kafas› hayli kar›fl›k. Ne olmak istediklerine bir türlü karar veremiyorlar. ‹stikrarl› bir e¤itim ortam› bir türlü sa¤lanam›yor. Denge gelgitlerle bozuluyor. Kiflisel olarak benim bu konudaki tavr›m oldukça net, tasar›mc›y›m ve sadece bu konuda ders veriyorum.

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You are both a graphic designer and an educator. In your opinion what is the balance between art education and graphic design education in Turkey? The situation you have just pointed at is generally the case frequently seen. With the answers we get when we ask such questions, the actual situation that becomes obvious surprises us greatly. If we look at the courses our students choose, we will see that they prefer subjects mostly on art in the first three years; and in the last year they choose courses on design. Panicking at the last moment they decide to become designers and they put great efforts to improve themselves. What lies behind this attitude is naturally the anxiety they feel for finding a job. If we look at it from the educators' point of view, they say that they do not confuse art and design in the general sense, but if you ask me, I would say that this is not the case. As a result, students are quite confused about this matter. They can never decide what they want to be. A stable environment of education can never be achieved. The balance is continually upset with tidal waves. Personally, I have quite a clear attitude in this matter; I am a designer and I teach courses in design.

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Don’t Give Up!, Afiﬂ serisi Poster series for an environment campaign

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Tasar›m sürecinizi anlatabilir misiniz? Muhalif kimli¤inizin bunun üzerinde etkisi var m›? Tasar›m sürecim genellikle sipariflle bafllar. ‹fli talep eden kifli ya da kurumdan iletiflim probleminin brifini al›r›m. Müflterimin beklentilerini hedef kitle üzerinden anlamaya çal›fl›r›m. Anlayabildi¤im ölçüde tasar›mlar öncelikle zihnimde yer almaya bafllar. Bazen müflterim ifli tarif ederken bile zihnimde çözümler olufluverir. Bu noktadan sonra as›l sanc›l› dönem bafllar. Zihnimde oluflan tasar›m› görsel olarak etkili k›lmak için ilüstrasyon mu, foto¤raf m› ya da tipografi mi kulland›¤›mda etkili bir sonuç al›r›m›n araflt›rmas›d›r bu. Bu kararlardan birini seçti¤imde tipografik istif, renk ve tasar›m› etkileyecek malzemeye karar veririm. H›zla bunlar› gerçeklefltirip müflterime sunar›m. Muhalif olma noktas›na bak›fl iki flekilde de¤erlendirilebilir: Birincisi, muhalif kimli¤im benim kiflili¤im diyebilirim. ‹letiflim tasar›m› konusunda muhalif bir ifl üretmek benim için zor de¤il. Belki avantaj› bu diyebiliriz. E¤er kiflili¤iniz muhalif ise zaten her zaman zordas›n›z demektir. Genellikle iflverenler, uyumlu ve uzlaflma e¤ilimi gösteren kiflilerle çal›flmak ister. Bu kiflilerin iletiflim tasar›m› hakk›nda mutlaka kendilerince çözümleri vard›r ve tasar›mc›dan bu çözümleri uygulamas› istenir. Böyle bir iflveren ile çal›flmak isterseniz muhalif kimli¤iniz

38 / GRAF‹ST 10

Can you tell us about your design process? Does your opposing personality have any effects on this? My design process generally starts with getting a comission. I get a brief on the communications problem from the person or institution that demands the job. I try to understand the expectations of my customer from the target audience. As far as I can understand it, the designs first begin to take form in my mind. Sometimes, solutions suddenly appear in my mind while my customer is describing the assignment. The really painful period begins after this point. This is the research on whether I can make the design appearing in my mind by using illustrations, photographs or typography to be able to render the design really effective. When I have chosen one of these alternatives, I decide on the typographic arrangement, the colours, and the materials that will affect the design. I rapidly realise all these things and present it to my customer. The outlook on my having an opposing personality can be evaluated in two ways. I can say that the first of these is that my opposing personality is actually my own personality. It is not difficult for me to produce an opposing piece of work in the field of communications design. Maybe we can say that this is the advantage of it. If you have an opposing personality, this

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ciddi bir problem haline gelebilir. Bu noktada ne sizin kimli¤iniz, ne de müflterinizin çözümleri önemlidir, iflin hakk› neyse onun yap›lmas› gerekir. Genellikle benim muhalif kimli¤im bu noktada devreye girer. Bu muhaliflik bir ego de¤ildir. Genellikle müflterimi bu konuda ikna ederim. ‹kincisi bu kimlik, üretim noktas›nda iletiflim çözümlemelerime yans›r. ‹natla al›fl›lm›fl›n d›fl›nda yeniyi, farkl›y›, baflka türlü görme biçimini, baflka türlü alg›lama biçimini yaratmaya çal›fl›r›m. Deneysel ve devrimci tavr›m vard›r ve risk al›r›m. Bu anlamda ise bu kimlik avantaja dönüflür.

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means that you are always in a different attitude. Generally, employers want to work with harmonious persons, displaying an agreeable tendency. These people definitely have their own solutions for the communications design they want and they expect the designer to apply them. If you want to work with such an employer, your opposing personality may turn into a serious problem. At this point, what is important is neither your personality nor the solutions in your customer's mind; whatever the job in hand requires must be done. Generally, my opposing personality comes in at this point. This opposition is not an ego problem. I generally manage to convince my customer in this matter. The second view is that this personality is reflected onto the solutions for communications problems at the point of production. I obstinately try to create the different, outside the usual, a different way of seeing things, another way of perceiving things. I have this experimental and revolutionary attitude and I take risks. In this sense, this personality turns into an advantage.

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Tasar›mda özgürlük sizin için ne kadar önemli? Tasar›m projelerinin mutlak hedef kitlesi olmak zorunda. Böyle bir durumda özgürlükten bahsetmek san›r›m anlams›z. Bizim özgürlü¤ümüzü onlar›n alg›lama potansiyelleri belirler. Özgürlü¤ü hedefleyen bir tasar›mc›n›n mutlaka iletiflim tasar›m› mesle¤ini bir an önce b›rakmas› hem hedef kitlesi, hem de kendisi için kaç›n›lmazd›r. Küreselleflme nedeniyle dünya tasar›m alan›nda tek bir dile do¤ru yöneliyor, bu yönelifl hakk›nda ne düflünüyorsunuz? Henüz bu iddiaya kat›lmam için biraz erken. Küreselleflme dünyan›n her yerinde tek tip insan yaratacak boyuta ulaflamadan böyle bir iddiadan bahsetmek do¤ru de¤il. Ama internet ve iletiflim araçlar›n›n yayg›nlaflmas›yla birlikte tasar›mc›lar dünyadaki tasar›m›n ulaflabilece¤i ufuklara kolay eriflebiliyorlar ve ayn› zamanda kolay da etkileniyorlar. ‹letiflim tasar›m›n›n yarat›c› anlam›ndan çok biçimsel çözümlemelerinden yararlan›yorlar. Bu durum ise sanki dünyan›n her yerinde ayn› tasar›mlar üretiliyormufl izlenimini veriyor. Bu kolayc›l›k ve ayn› zamanda da sahte. Buradan bakarak belki de yukar›daki iddiay› do¤rulayabilirsiniz. Her ülkenin insan›n›n kültürel farkl›l›klar›n›n bence tasar›mc›n›n ürünlerine anlam ve biçim olarak yans›mas›

42 / GRAF‹ST 10

How important is it for you to be free when designing? Design projects must definitely have target audiences. Under these circumstances, I think it would be meaningless to speak of freedom. Our freedom is defined by the perceiving potential of the target audiences. A designer whose aim is to be free must inevitably give up the profession of being a communications designer in the shortest time possible, both for the good of his target audiences and for his own good. Because of globalisation, the field of design in the world is heading towards one single direction; what is your opinion on this one single direction? It is yet too early for me to accept this claim. It would not be correct to make such a claim before globalisation reaches the dimensions of creating one single type of human being everywhere in the world. However, with the Internet and the means of communication being so widespread, designers can easily reach the horizons design can reach in the world, and they are also influenced very easily. They are benefiting not so much from the creative meaning of communications design but from its formal solutions. And this situation gives the impression that the same type of designs are being produced all over the world. This is nothing but choosing the

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Dialoglar, Afiﬂ serisi Poster series for a panel discussion

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gerekir. Elbette ki dünyada olan bitenden haberimiz olmal›, etkilenmelerimizi içsellefltirerek kendi kültürümüzle ve akl›m›zla özlefltirerek farkl› dil yaratabilmeyi becermektir as›l olan. Bu dil mutlaka bizden olmal›d›r. Yerel noktadan evrenselli¤i yakalamak hedefimiz olmal›d›r. Japon, Çinli, Koreli, ‹ranl› tasar›mc›lar gibi. “Grafik tasar›m›na bafllarken flunu bilseydim, her fley daha kolay olurdu” dedi¤iniz bir fley var m›? Tasar›m okumaya bafllamadan önce biri bana tasar›m mesle¤inin “sistem”in çok önemli bir yap›tafl› oldu¤unu gösterebilmifl olsa idi, bu mesle¤i belki de seçmeyebilirdim.

easy way out, and at the same time it is artificial. Looking at the matter from this point, you may perhaps confirm the above mentioned claim. In my opinion, the cultural differences of the people living in each country should be reflected onto the products of the designer in terms of meaning and form. Certainly, we must be informed of what is happening in the world; what is crucial here is to be able to create a different language by internalising the influences on us and by identifying them in our own culture and intelligence. This language must definitely be specific to us. Our aim should be to start from the local point and to attain universality. As the Japanese, Chinese, Korean and Iranian designers are now doing.

Is there anything for which you would like to say, “If I had known this when I started graphic design, everything would have been easier”? Before I started studying graphics, if someone had been able to show me that the profession of designing was a very essential corner-stone in the “system”, I would probably have not chosen to become a graphic designer.

44 / GRAF‹ST 10

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Dikkat, Sistem!, Afiﬂ serisi Poster series for a political campaign

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Baﬂl›ks›z, Afiﬂ serisi Poster series for an environment campaign

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Savafl Çekiç Afifl Sergisi Afifli Poster for an exhibition

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Armand Mevis 1963, Oirsbeek, Hollanda; Linda van Deursen 1961, Aardenburg, Hollanda do¤umlu.

Armand Mevis was born in 1963 in Oirsbeek, the Netherlands. Linda van Deursen was born in 1961 in Aardenburg, the Netherlands.

Amsterdam'daki Gerrit Rietveld Akademisi'nde e¤itim gördüler. Mevis, Arnhem'deki Werkplaats Typographie'de ö¤retim üyesi; Van Deursen Gerrit Rietveld Akademisi'nde bölüm baflkan›d›r. 1986'dan beri birlikte çal›flarak, ödül kazanan dergi, afifl, ça¤dafl sanatç›lar›n say›s›z koleksiyon kitab› ve bunlar›n yan› s›ra sergi kataloglar› tasarlad›lar.

They studied at the Gerrit Rietveld Academy in Amsterdam. Mevis teaches at the Werkplaats Typographie in Arnhem while van Deursen is head of the graphic design department at the Gerrit Rietveld Academy. They have been working together since 1986, designing awardwinning magazines, posters, numerous books for collections by contemporary artists as well as exhibition catalogs.

‹kisi de tasar›mc› ve ö¤retmen olan Armand Mevis ile Linda van Deursen, Hollanda'n›n dinamik grafik tasar›m› sahnesindeki etkili figürlerdir. 1980'lerde Amsterdam'daki Gerrit Rietveld Akademisi'nde ö¤renciyken tan›flt›ktan sonra, Amsterdam'da kendi stüdyolar›n› açmadan önce Total Design'da stajyer olarak çal›flm›fllard›r. ‹fllerini küçük bir stüdyodan yaln›zca iki asistanla yürütmekte olan Mevis ve van Deursen, Stedelijk Modern Sanat Müzesi ile Hollanda Mimarl›k Enstitüsü'nün kültürel iflleri yan›nda moda tasar›mc›lar› Viktor&Rolf için projeler yapm›fllard›r. Mechac Gaba, Carlos Amorales ve Gabriel Orozco gibi sanatç›lar için yaratm›fl olduklar› kataloglar, salt tasar›mlar olmaktan öte kendilerine has projelerdir.

52 / GRAF‹ST 10

Both as designers and as teachers Armand Mevis and Linda van Deursen are influential figures in the dynamic Dutch graphic design scene. After meeting as students at the Gerrit Rietveld Academy in Amsterdam during the 1980s, they worked as interns at Total Design before opening their own studio in Amsterdam. Operating from a small studio with just two assistants Mevis and van Deursen have combined cultural commissions from the Stedelijk Museum of Modern Art and the Netherlands Architecture Institute with projects for the fashion designers Viktor & Rolf. The catalogues they have created for artists such as Mechac Gaba, Carlos Amorales and Gabriel Orozco are projects in their own right rather than simply representations of the work.

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RÖPORTAJ INTERVIEW: UMUT SÜDÜAK

“Recollected Work” adl› kitab›n›zda, “Tasar›m, ald›¤›n›z bir risktir” demifltiniz. Bunca y›ll›k yaflam›n›zda alm›fl oldu¤unuz en büyük risk nedir? Yani, genel olarak?

54 / GRAF‹ST 10

Sürekli olarak ald›¤›m›z risk, ortaya ç›kan bir standard›, ya da genel bir zevk anlay›fl›n› sorgulamakt›r. Kan›m›zca, hiçbir zaman tek bir çözüm yoktur ve grafik tasar›m› alan›n› canl› ve aç›k tutmak için, her zaman yeni, daha iyi ve spesifik çözümler ar›yoruz. Bir müflterinin bizden ne istedi¤ini her zaman anl›yoruz, ve bu, s›kl›kla sizin gerçekten yapmak istedi¤iniz fley olmuyor. Ço¤u zaman ald›¤›m›z risk fludur; önerimizin iflleyece¤inden, müflterimizin ve izleyicilerin önerimizi kabul ya da takdir edece¤inden hiçbir zaman emin olmamak. Ço¤u kez iflin içinde çok para vard›r ve örne¤in genç bir sanatç› için çal›flt›¤›n›zda, kariyerinin geliflimi büyük ölçüde bizim yapt›¤›m›z projeye ba¤l›d›r. Çok büyük bir sorumluluk hissediyoruz ama ayn› zamanda kendi alan›m›za karfl› duydu¤umuz sorumlulu¤u da görmezden gelemeyiz.

“Design is a risk you take" you had said in your book "Recollected Work". What is the biggest risk you have taken through all these years in your life time? I mean in general? The risk that we constantly take is to question an emerging standard, or a general understanding of taste. In our opinion there is never one solution and in order to keep the field of graphic design lively and open, we are always looking for new, better and specific solutions. We always understand what a client wants from us and often it is not what you really want to make. The risk we often take is that we are never sure whether our proposal will work, whether our client and the audience will accept it or appreciate it. There is often a lot of money involved and if you, for example work for an young artist the development of their career depends heavily on the project we do. We feel a huge responsibility but at the same time we don't want to ignore the responsibility we feel towards our own field.

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Tasar›m kimli¤iniz için verdi¤iniz en büyük mücadele nedir? Tasar›m kimli¤i bizim çal›flma bünyemiz ve onu bir arada tutan fley anlam›na geliyorsa, sorunuzun cevab› kendimizi tekrar etmemektir. Her zaman projenin do¤as›n› yans›tan spesifik bir çözüm aramak. Tercihen do¤rudan ve basit bir yolla iletiflim kurabilecek, güçlü ve ça¤dafl bir grafik dili gelifltirmek. Yenilikçi olmak. Grafik tasar›m›n gerçek taleplerin bir görünüflü oldu¤unu düflünüyor musunuz? Yoksa? Tasar›m yaln›zca gerçek taleplerin bir görünüflü olsayd›, bugün bu ifli yapmay› b›rak›rd›k. Ça¤dafl tasar›m ço¤u zaman bir görünüflten ibarettir ve bizim kaç›nd›¤›m›z fley de tam olarak budur. Çal›flmam›z›n izleyiciyi zeki ve dürüst bir flekilde cezbetti¤ini umuyoruz. Bunun ço¤u zaman beklenen bir fley oldu¤unu bilmemize ra¤men, güzel tasar›m olarak kabul gören bir çal›flmadan genelde rahats›zl›k duyuyoruz.

58 / GRAF‹ST 10

What is the biggest challenge in your design identification? If design identification means our body of work and what holds it together, it is for one thing to not repeat ourselves. Always to look for a specific solution that reflects the nature of the project. To develop a strong contemporary graphic language that is able to communicate preferable in a direct and simple way. To be innovative. Do you think that graphic design is a facade of the real demands? Or? If design would only be a facade of the real demands we would stop doing it today. Contemporary design is often a facade and this is exactly what we try to avoid. We hope our work is able to engage the audience in a smart and honest way. We often feel uncomfortable with work that is recognized as beautiful design only although we know that is often expected.

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Bu kadar parlak ve baflar›l› ifller yapm›fl olman›za ra¤men, hiç reddedilen ifliniz oldu mu? Olduysa, bize bundan bahseder misiniz lütfen? Bir öneri sundu¤umuzda, bizim çal›flmam›z nadiren reddedilir. Kimi zaman hafif düzeltmeler yapmak gerekebilir ama oldu¤u haliyle reddedildi¤i hiç olmam›flt›r. Ortaya koydu¤umuz çal›flman›n temelinde her zaman sorunun analizi vard›r. Buna karfl›l›k vermeye ve fikirlerimizi mümkün oldu¤unca kesin bir flekilde görsellefltirmeye çal›fl›r›z. Ço¤u müflteri bizimle çal›flmak istiyor çünkü çal›flma fleklimiz hofllar›na gidiyor. Çal›flmam›z› yanl›fl anlayaca¤›n› ya da bizim sunamayaca¤›m›z bir fleyi isteyece¤ini düflündü¤ümüz insanlarla çal›flmamaya özen gösteriyoruz. Ne kadar uzun süre çal›fl›rsan›z, bu tür sorunlar› önceden sezmek o kadar kolaylafl›r.

Çal›flmalar›n›z›n ço¤u kültürel projeler üzerine, ve poster, dergi, kitap tasar›mlar› yap›yorsunuz. Ayn› zamanda tasar›mlar›n›z›n dili, tasar›m› sanatsal bir ba¤lama oturtuyor gibi görünüyor. Siz de bu olguyu bu flekilde mi tan›ml›yorsunuz? Çal›flmam›z›n belli bir ba¤lamda daha iyi iflleyen özel bir dili oldu¤u gerçe¤inin fark›nday›z. Bunu kötü bir fley olarak görmüyoruz. Bu ald›¤›m›z ifllerin do¤as›nda olan bir fley. Di¤er yandan, imkânlar›m›z›n yaln›zca bu tip bir çal›flmayla s›n›rl› olmad›¤›na inan›yoruz. Sadece bu alan›n d›fl›nda çal›flma f›rsat›n› s›k yakalayamad›k.

60 / GRAF‹ST 10

Even though you have done so much brilliant and successful works, are there any rejected ones? If so, could you please tell us about it? It is rare that our work is rejected when we present a proposal. Sometimes it needs to be adjusted slightly but it is never rejected as such. The work we do is always based on an analysis of the problem. We try to respond to that and visualize our ideas as precise as possible. Most clients want to work with us because they are attracted to the way we work. We try to avoid working for people that we think misunderstand our work or want something that we can't deliver. The longer you work, the easier is becomes to recognize such problems in advance. Most of your works are on cultural projects, and you design posters, magazines, books. In the meantime the language of your designs seems to take the design to an artistic context. Do you also define that process in this manner? We are aware of the fact that our work has a specific language that works best in a certain context. We don't see this as a bad thing. It is inherent to the jobs we get. On the other hand we also like to believe that our possibilities are not limited to this type of work only. We just haven't had the chance to work outside this area very often.

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“Hollanda” gibi tasar›ma odakl› bir ülkede yaflay›p çal›flman›n iyi yönleri nelerdir? Ve Hollanda tasar›m›n›n bu kadar iyi olmas› hakk›nda ne söyleyebilirsiniz? Hayat›m›z boyunca Hollanda'da yaflay›p çal›flt›k ve buna farkl› bir aç›dan bakmak gerçekten zor. ‹flimizi burada gelifltirebilmifl ve Hollanda d›fl›nda da itibar gören ve ödüllendirilen ifller yapma f›rsat›n› yakalam›fl olmaktan çok memnunuz. Ayn› zamanda kendi alan›m›za ve geldi¤imiz gelene¤e karfl› da büyük bir sorumluluk duyuyoruz. Bu her zaman kolay olmuyor. Hollanda tasar›m›n›n iyi olmas›n›n nedeni muhtemelen yetenekli genç tasar›mc›larla çal›flma iste¤inin hâlâ olmas›d›r. Bu üretim, kültür müflterileri ve devlet taraf›ndan destekleniyor. fiu anda karfl› karfl›ya oldu¤umuz risk, ça¤dafl ve yenilikçi olarak görülen tasar›m›n ancak kültürel alan içinde mümkün olmas› ve bu nedenle marjinalleflmesidir. Genç ve ilgili tasar›mc›lar için bu alan›n d›fl›nda pek ifl yok.

64 / GRAF‹ST 10

Is it any good to live and work in a design oriented country "Holland"? And what can you say about why Dutch design is so good? We have lived and worked in Holland all our lives and it is hard to look at it differently. We are grateful that we have been able to develop our work here and to have had the opportunities to make work that is at the same time valued and rewarded outside The Netherlands. We also feel a huge responsibility towards our field and to the tradition that we come from. This is not always easy. Dutch design is probably good because there is still a willingness to work with young, talented designers. It is supported by cultural clients and by the government. The risk we face at the moment is that design that is regarded as contemporary and innovative is only possible within the cultural field and therefore becomes marginalized. There is hardly work for young or interesting designers outside of this area.

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‹stanbul'un 2010 y›l› için Avrupa Kültür Baflkenti aday› oldu¤unu belki duymuflsunuzdur. Ve biliyoruz ki, Rotterdam 2001 için kurumsal kimlik tasar›m›n› siz yapt›n›z. Bu konuda ne düflünüyorsunuz ve bu yar›flmaya davet edilseydiniz yaklafl›m›n›z ne olurdu? ‹stanbul'un Avrupa Kültür Baflkenti olmak için kat›ld›¤› yar›flmay› m› kasdediyorsunuz yoksa ‹stanbul Avrupa Kültür Baflkenti seçilirse, ‹stanbul için bir kimlik yaratmak üzere bir tasar›mc›n›n girece¤i yar›flmay› m›? Bizim as›l etkinlik alan›m›z olmamas›na ra¤men kimlikler üzerinde çal›flmay› seviyoruz. Kimlik sorununun do¤as›nda bulunan karmafl›kl›k ve birçok farkl› duruma uyarlanabilecek bir fley meydana getirme mücadelesi bizi cezbediyor. ‹kimiz de flehirleri gerçekten seviyoruz. ‹stanbul'un Avrupa Kültür Baflkenti olmas›n›n siyasal, toplumsal ve ekonomik konular aras›ndaki karmafl›k bir iliflkiyle alakal› olmas›n› anl›yoruz. Yaln›zca flunu söyleyebiliriz ki, Avrupa'daki herhangi bir flehri düflünmekten çok daha büyük ve çok daha ilginç bir sorun olacakt›r. Bu, bizim son derece ciddiye alaca¤›m›z, büyük bir sorumlulu¤u olan çok güzel bir ifl olur.

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May be you have heard that Istanbul is a candidate city to be European Cultural Capital of the year 2010. And we all know that you had designed the corporate identity for Rotterdam 2001. So what do you think about this situation and how would you react if you would be invited to that competition? Do you mean the competition that Istanbul is in to become Cultural Capital of Europe or for a designer to enter a competition to create an identity for Istanbul when it becomes Cultural Capital of Europe? We like to work on identities although it is not our main activity. We are attracted to the complexity that is inherent to the question of identity and the challenge to make something that can be applied in many different situations. We both really love cities. We understand that for Istanbul to become Cultural Capital of Europe touches on a complex relation of political, social and economic issues. We can only say that it would be a bigger and far more interesting problem to think of than any other city in Europe. It is a wonderful job with a huge responsibility that we would take it absolutely serious.

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Japonya do¤umlu. London College of Printing ve Royal College of Art'da e¤itim gördü. Middlesex ve Brighton Üniversiteleri'nde ö¤retim üyeli¤i yapt›. Grafik tasar›m, kurumsal kimlik, ve yay›n tasar›m› ile ilgilendi. Halen, Microsoft için Japon ekran fontlar›n›n (Clear Type) okunakl›l›¤›n› geliﬂtiren bir ekibi yönetmektedir.

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He was born in Japan. He studied at the London College of Printing and at the Royal College of Art. He has taught typography at Middlesex and Brighton Universities, and been engaged in graphic design work, corporate identity and publishing design. Currently he is directing a team developing optimal legibility for Japanese onscreen fonts, known as Clear Type, for the Microsoft Corporation.

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Making Words Work, Tipografik tasar›m rehberi Manual for typography-design

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London Transport, Yaz› karakteri tasar›m› Typeface design

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Bize ilham kaynaklar›n›zdan bahsedebilir misiniz? Tasar›mc› kimli¤inize katk›da bulunan kaynak, tarz ya da tasar›mc›lar hangileri?

RÖPORTAJ INTERVIEW: CANAN SUNER

‹yi yap›lm›fl ifllerden ilham al›yorum; tip tasar›m›, dizgi, sayfa düzenlemesi, bir çizim, bir karikatür, tafl kesme, kaligrafi, hangisi olursa olsun... Pek çok ortak projede yer ald›¤›m için, fikir ve yeteneklerin paylafl›l›p de¤ifl tokufl edilmesinden epeyce faydaland›m. Kendimi ço¤u zaman, birfleylerin daha iyi çal›flmas›n› sa¤layan bir tamirci ya da mümkün olan fleyleri gerçek k›lan bir katalizör olarak görüyorum.

76 / GRAF‹ST 10

Can you tell us about where your inspiration comes from? Which resources, styles or designers contribute to your identity as a designer? I am inspired by work done well, whether it is type design, typesetting, layout, an illustration, a cartoon, stone cutting, calligraphy... I have been involved in many collaborative projects, so I have benefitted from sharing and exchange of ideas and skills. I see myself very often as a fixer, making something work better, or as a catalyst, realising potential.

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Monotype, Tan›t›m malzemesi Publicity material for Monotype

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Japon tasar›m sahnesinde kendinizi nereye yerlefltiriyorsunuz? fiu an itibariyle, hayat›m›n yar›s›ndan ço¤u ‹ngiltere'de geçmifl oldu¤undan kendimi yerlisi ve yabanc›s› gibi görüyorum. Tipografik geliflmeler hakk›nda genifl bir görüfle sahip olman›n pek çok avantajlar› oldu¤u gibi, Japonya'daki dostluklar›m› ve yak›n iliflkilerimi korumufl olmam, Japon yay›nc›l›¤›n›n yüzyüze geldi¤i belirli sorun ve ç›kmazlar› kavrayabilmemi sa¤l›yor. Her iki tarafa da, Do¤u’ya da, Bat›’ya da, fikir verip birfleyler gelifltirebilirim. Bu biraz, “sahne arkas›”nda çal›flan bir set tasar›mc›s›n›n ya da yönetmeninki gibi, yapt›¤›n ifl icra edilirken görünür oluyor. Tipografi'yle ilgileniyorsunuz. Bunun özel bir sebebi var m›? Latin tipografisiyle (ABC) ilgilenmeye, Japonya'dan ayr›lmadan önce Carl Zeiss, ve ard›ndan Amerikan Göz Kuruluflu (American Optical Corporation) için çal›fl›rken bafllad›m. Tipo bask› üstad› Juzo Takaoka'n›n yan›nda da biraz zaman geçirdim ve harfbiçim ifliyle yak›ndan ilgilenmem konusunda beni teflvik eden o oldu. Bu vesileyle, Londra Matbaac›l›k Koleji’ne (London College of Printing) gitmeye karar verdim. Kendi yaz› sistemimden farkl› bir sistemle en bafltan bafllarsam tüm tasar›m sürecini daha iyi kavrayaca¤›m› düflündüm.

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Where do you see yourself in the Japanese design scene? Since I have now lived over half my life in the UK, I regard myself as an outsider/insider. There is a lot of advantage in having a wider view of typographic developments, whilst retaining the friendships and close contacts in Japan that enable me to have an understanding of the particular problems and dilemmas facing Japanese publishing. I can advise and develop on both sides, East and West, and fulfill the great need, working 'behind the scenes', something like a set-builder or director, whose work is only visible through the performance. You are interested in typography. Is there a special reason for this? I became interested in latin typography (ABC) before I left Japan, while I was working for Carl Zeiss and then the American Optical Corporation. I also spent time with a master letterpress printer, Juzo Takaoka, who encouraged me to look closely at letterform. This inspired me to enroll at the London College of Printing. I thought that by starting afresh with a different writing system than my own, I would understand the whole process of design better. During my Masters course in Graphic Communication at the Royal College of Art, I studied under Dr. Herbert Spencer and

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Tipografi tasar›m kitab› Book for typo-design

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Kraliyet Sanat Okulu’nda (Royal College of Art), Yüksek Lisans dersi Grafik ‹letiflimi Eric Gill ile çal›flm›fl, dünyaca ünlü harfbiçimci Dr. Herbert Spencer ve David Kindersley'den ald›m. Analitik bir tav›r gelifltirmem için beni teflvik etmeleri sayesinde anlad›m ki, tipografi ve tip tasar›m›, moda ve 'tarz' addetti¤imiz fleylerin yan› s›ra; alg›, ba¤lam ve teknolojiyle; tarih ve emsallerle s›k› s›k›ya iliflkili. Çözüme yönelik ifller bana daha uygun gözüktü, belki de resmi e¤itimden geçmifl bir Japon oldu¤um için! Bilgisayar öncesi günlerde, esas faaliyet tabii ki 'kes yap›flt›r'd› ve onca zahmetli ifle ve meflakkate dayand›¤›m için kendimi flansl› addediyorum.

David Kindersley, the worldrenowned letterer who had worked with Eric Gill. I was encouraged by them to pursue an analytical approach, and I realised that typography and type design are inextricably linked with perception, context, and technology, history and precedent; alongside fashion and what we think of as 'style'. Solution-oriented work seemed to suit me, perhaps because I am a formally educated Japanese! In those precomputer days, of course, 'cut and paste' were real activities, and I was lucky to have had the chance to endure endless hours of meticulous, painstaking work. What responsibilities should a designer have?

Bir tasar›mc› ne gibi sorumluluklara sahip olmal›? Tüm profesyoneller gibi, tasar›mc›lar da yapt›klar› iﬂte iyi olmal›lar. Bu, belli bir göreve odaklan›rken 'bütün resim'i de kavrayabilmek, araçlara ve prensiplere sahip olabilmek, gereksinimleri hakk›yla takdir edebilmek, k›s›tlamalar dahilinde esnek olabilmek, ba¤lama duyarl› olabilmek demektir.

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Just like all professionals, designers should be good at what they do. This means being able to perceive the 'whole picture' as well as the specific task; having mastery of tools and mastery of principles; having a full appreciation of requirements; being flexible within a full awareness of constraints; being responsive to context.

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Jamaican Cocoa, Broﬂür Booklet for Jamaican Cocoa

ITN, Logo Logo for ITN

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Sizce, bu yüzy›lda tasar›mc›lar› bekleyen sorunlar nelerdir? Bana göre; bu, h›zla büyüyen ve geliflen medya teknolojileri dünyas›nda as›l mesele, kökenlere dair görüyü kaybetmeden, tipografik tasar›m›n temel prensiplerini de¤erlendirmeye devam edebilmektir. Uygulama ve hayata geçirmedeki geliflmelerin fark›nda olmak ve tedarikli bulunmak zorunday›z. Tasar›mc›lar›n popüler kültür ile flört etmesi hakk›nda ne düflünüyorsunuz? Bir toplumdaki bütün fertlerin yaflamlar›n› etkileyen meselelere ilgi duymalar› önemlidir. Günümüz h›zl› bilgi al›flverifli koflullar›nda, bu hemen herfley olabiliyor. ‹nsanlar arabuluculardan medet umuyorlar ve flu aralar o rolü oynamaya en çok flöhretler hevesli gözüküyor. San›yorum, tasar›mc›lar her zaman için tercüman ve arac› olmufllard›r ve zannediyorum bu günlerde tercüme edilmesi gerekenler eskisine k›yasla oldukça fazla. fiöhretler, tabii, hayran kulübü olmadan varolamayacaklar› gibi sahne arkas›nda onlara tahsis edilmifl bir ekip olmadan da iflleyemezler. Bu ancak, afl›r› teflhir sonucu, tasar›m›n tart›fl›lmas›n›, fark›nda olunmas›n› ve takdir edilmesini sa¤layabildi¤i ölçüde iyi say›labilir; çünkü, ayr›mc›l›¤a da sebep olabilir.

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What do you feel are the problems facing designers in this century? For me, the challenge is to continue to evaluate the basic principles of typographic design in this world of rapidly expanding and evolving media technologies, without losing sight of the foundations. We need to be aware of and anticipate developments in applications and in implementation. What is your opinion of the flirtation between designers and popular culture? It is important for all people in a society to become engaged with the issues that impact on their lives, and in these days of rapid information exchange, that could be almost anything. People look for mediators, and celebrities seem to be stepping up for that job at the moment. Probably designers have always been interpreters and gobetweens, and I think these days there is a lot more to interpret than there used to be. As always with celebrities, though, they can't exist without a fan club and they can't operate without a dedicated team behind the scenes. It can only be a good thing for debate, awareness and appreciation of design to grow through exaggerated exposure, because discrimination can develop as well.

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Microsoft için Japon ekran fontlar› tasar›m› Typeface design for Microsoft screen fonts

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V‹ DE O HA VU ZU VI DE O PO OL

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“Video Havuzu” Grafik Tasar›ma Dokunmak

“Video Pool” “Touching Graphic Design”

Proje Tasar›m : T. Melih Görgün, Dilek Bektaﬂ

Project Design: T. Melih Görgün, Dilek Bektaﬂ

Bu y›l ilk defa geçekleﬂtirilecek olan “Video Havuzu”, Grafist etkinli¤i kapsam›nda grafik tasar›mlar ya da tasar›mc›lar üzerine yap›lm›ﬂ filmlerin gösterilece¤i bir bölümdür.

“Video Pool” is a new section of the Grafist actvities in which graphic films made on designs or graphic designers will be shown.

Her y›l bir ülke ya da tasar›mc›n›n konuk olaca¤› video havuzuna bu y›l Hollanda kat›l›yor. Werkplaats Typografie'in deste¤iyle Janna Meeus taraf›ndan haz›rlanan 12 k›sa filmde Hollanda Grafik Tasar›mc›lar›ndan bir seçki yer almakta. 'Grafik Tasar›ma Dokunmak' ana baﬂl›¤›nda haz›rlanan 15'er dakikal›k sessiz filmlerde tasar›mc› ürününe dokunarak çal›ﬂmas›n› tan›t›yor. Bu seçkide Experimental Jetset, Maureen Mooren and Daniel van der Velden, LUST, Irma Boom, Stuart Bailey, Joop van Bennekom, Felix Janssens, Mevis & Van Deursen, Julia Born, Roma Publications, Will Holder ve Karel Martens yer al›yor.

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In “Video Pool”, which will be hosting a country or a designer as a guest each year, Holland is the guest of this year. In the 12 short films prepared by Janna Meeus with the support of Workplaats Typographie, a selection of Dutch Graphic Designers is taking place. In the silent films of 15 minutes each prepared with the main title of “Touching Graphic Design”, the designer introduces his or her work process by touching the products. In this selection, Experimental Jetset, Maureen Mooren and Daniel van der Velden, LUST, Irma Boom, Stuart Bailey, Joop van Bennekom, Felix Janssens, Mevis & Van Deursen, Julia Born, Roma Publications, Will Holder and Karel Martens take place.

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Experimental Jetset

1997'de Amsterdam'da kurulan Experimental Jetset, üç parçal› bir tasar›m birimidir. Sistematik ba¤lamc›l›k, standartlaflt›r›lm›fl estetik ve diyalektik materyalizmden esinlenen Experimental Jetset, punk, sitüasyonizm, De Stijl, Godard, Kubrick, Hollandal› Provo hareketi, erken modernizm hareketleri ve komplo teorilerinden etkilenmifltir. Geçmiflteki ve mevcut müflterileri aras›nda Paris Centre Pompidou, Paradiso, Empire Magazine, Royal Dutch Mail (PTT/TPG), Stedelijk Museum Amsterdam (Amsterdam Modern Sanat Müzesi) ve Purple Institute say›labilir. Geçmiflteki yerlefltirmeleri flunlard›r: Bureau Amsterdam'daki “Black Metal Machine” (1998), Stedelijk Museum Amsterdam'daki “Modular Meaning” (1999) ve Casco Projects'teki “Kelly 1:1” (2002).

Founded in 1997, Experimental Jetset is a threepiece graphic design unit based in Amsterdam. Inspired by systematic contextualism, standardised aesthetics and dialectical materialism, their influences include punk, situationism, De Stijl, Godard, Kubrick, the Dutch Provo movement, early modernist movements and conspiracy theories. Past and present clients include Centre Pompidou Paris, Paradiso, Emigre Magazine, Royal Dutch Mail (PTT/TPG), Stedelijk Museum Amsterdam (Amsterdam Museum of Modern Art) and Purple Institute. Past installations include “Black Metal Machine” at Bureau Amsterdam (1998), “Modular Meaning” at Stedelijk Museum Amsterdam (1999), and “Kelly 1:1” at Casco Projects (2002).

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Maureen Mooren ve Daniel van der Velden

Maureen Mooren and Daniel van der Velden

Maureen Mooren ile Daniel van der Velden grafik tasar›mc› ve metin yazar›d›r. 1998'den bu yana (di¤er birçoklar›n›n yan›nda) ROOM, Marres, Galerie Jan Mot, De Appel, Stedelijk Museum Amsterdam ve Droog Design için birlikte çal›flmaktad›rlar. Daniel ve Maureen, sanatç› Manon de Moer ile birlikte, Ocak 2001'de La lettre volée (Belçika) taraf›ndan yay›nlanan “Oscillations” ad›nda bir “özneler-aras› roman” yazd›lar. 2001 Lowlands Pop Festivali için, Fanclub ile Demmelsch'in siparifl etti¤i “Infocups” ad›nda bir dizi interaktif bira barda¤› yaratt›lar. Daniel ve Maureen, 2001'den bu yana, editoryal ve görsel olarak bütünüyle yeniledikleri Hollandal› mimarl›k dergisi Archis'in tasar›mc›lar›d›r. Çal›flmalar›, yeni bilgi koflullar›na yenilikçi ve araflt›rmac› bir yaklafl›m ve bir metin, imaj ve deneyim yazar› olarak tasar›mc›n›n rolünün incelenmesine iliflkindir. Rotterdam 2003 Tasar›m Ödülleri'nde Archis ile bir Mansiyon ald›lar.

Maureen Mooren and Daniel van der Velden are graphic designers and textwriters. Collaborating since 1998 on assignments for (among others) ROOM, Marres, Galerie Jan Mot, De Appel, Stedelijk Museum Amsterdam and Droog Design. Daniel and Maureen co-authored together with artist Manon de Boer an “inter-subjective novel” named “Oscillations”, published in january 2001 by La lettre volée (Belgium). For the Lowlands pop festival 2001, they created a series of interactive beer cups called 'Infocups', commissioned by Fanclub and Dommelsch. Since 2001 Daniel and Maureen are the designers of the Dutch architecture magazine Archis, for which they introduced a total editorial and visual overhaul. Their work is concerned with an innovative and explorative approach to new information conditions and an investigation of the role of the designer as an author of text, image and experience. For Archis they received an Honorable Mention at the Designprize Rotterdam edition 2003.

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LUST

Thomas Castro ile Jeroen Barendse LUST'› 1996'da, Hollanda Görsel Sanatlar ve Tasar›m Vakf›'ndan ald›klar› bir sanat ödene¤inin deste¤iyle Lahey, Hollanda'da kurdular. Bugün LUST, 5 tasar›mc›s› olan küçük bir stüdyodur, bunun yan›nda her y›l de¤iflen 4 kiflilik bir grubu vard›r. LUST mimarlar ve flehir planlamac›lar›, yay›nevleri, müzik gruplar›, galeriler, güzel sanatlar kurumlar› ve çeflitli küçük kültür iflletmeleri için oldu¤u kadar Hollanda Bakanl›klar› ve Belediyeleri ile ulusal müzeler gibi daha büyük kurumlar için çal›flmaktad›r. LUST, dünyan›n birçok yerinde dersler vermekte ve atölye çal›flmalar› düzenlemektedir. Son befl y›ld›r, LUST, Amerikal› tasar›m ö¤rencileri ve profesyonelleri için Lahey'de y›ll›k olarak düzenlenen yaz atölye çal›flmas› “De Program”›n sponsorlar›ndan biridir. 1998'den beri LUST ayn› zamanda, Lahey'deki Theater Zeebelt'te gerçeklefltirilen ayl›k tasar›m dersleri dizisi ZEFIR7'yi düzenleyenlerdendir. LUST çal›flmalar›n›n % 40'› interaktif ve zaman esasl› medya, % 40'› geleneksel ve yaz›l› medya ve %

Thomas Castro and Jeroen Barendse founded LUST in 1996 in The Hague, the Netherlands, with the support of an Art Grant from the Netherlands Foundation for the Visual Arts and Design. Today LUST is a small studio numbering 5 designers including a revolving group of 4 per year. LUST works for architects and city planners, publishers, music groups, galleries, fine art institutions and various other small cultural entities, as well some larger institutions as Dutch Ministries and Municipalities and national museums. LUST gives lectures and workshops throughout the world. For the last five years, LUST has co-sponsored “De Program”, the yearly summer workshop of American design students and professionals in The Hague. Since 1998, LUST has also coorganised the monthly design lecture series ZEFIR7 held at Theater Zeebelt in The Hague. LUST work consists of 40 % interactive & timebased media, 40 % traditional & printed media and 20 % self-initiated projects.

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Stuart Bailey

Stuart Bailey flu anda New York ve Amsterdam'da yaflamakta ve çal›flmaktad›r. Peter Bilak ile birlikte, flu an 5. y›l›nda ve 9. say›s›nda olan iki y›ll›k Dot Dot Dot dergi/gazetesinin editörlü¤ünü/tasar›mc›l›¤›n› yapmaktad›r. Bu y›l Tallin, Estonya'da DDD ile ilgili bir dizi salon gösterisinin ilkini düzenleyeceklerdir. Bailey son olarak, Will Holder ile birlikte, Will Stuart karma ad› alt›nda, Amsterdam'daki De Appel Galeri'de, flu anda filme aktar›lmakta olan (J.D. Salinger'in kitab›ndan esinle) “Franny ve Zooey” ad›nda bir tiyatro oyunu/yerlefltirme prodüksiyonunda çal›flm›flt›r. Yine Will Stuart olarak iki ayl›k Hollandal› sanat dergisi Metropolis M.'in tasar›mc›l›¤›n›/editörlü¤ünü yapmaktad›r. Son ba¤›ms›z projesi, Londra'daki Book Works sanat yay›nevi için bir y›ldönümü kitab›n›n tasar›m›d›r. Di¤er yak›n tarihli veya gelecek projeleri, çeflitli galerilerde müzik ve performanslar› kapsamaktad›r. Amsterdam'daki Rietveld Akademisi, Lozan'daki ECAL, University of Reading ve Los Angeles'taki CalArts gibi baz› okullarda ö¤retmenlik yapm›fl ve dersler vermifltir.

Stuart Bailey currently lives and works in New York and Amsterdam. Together with Peter Bilak he edits/designs the biannual magazine/journal Dot Dot Dot, now in its 5th year and 9th issue. Later this year they are organising the first of a series of salon shows related to DDD in Tallin, Estonia. Together with Will Holder under the composite name Will Stuart, Bailey recently worked on the production of a theatre play/installation “Franny and Zooey” (after J.D. Salinger) at De Appel gallery Amsterdam, currently being translated to a film piece. Also as Will Stuart he designs/edits the bi-monthly Dutch art magazine Metropolis M. His most recent independent project was the design of an anniversary book for the art publishers Book Works in London. Other recent or upcoming projects include music and performance at various galleries. He has taught and lectured at a number of schools including the Rietveld Academie, Amsterdam, the University of Reading, ECAL, Lausanne, and CalArts, Los Angeles.

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Jop van Bennekom

Tasar›mc›/editör Jop van Bennekom (1970), Maastricht'teki Jan van Eyck Akademisi'nden 1997 y›l›nda mezun olduktan sonra, dergi alan›nda uzmanlaflmay› seçmifltir. Kiflisel bir platform olarak Re-Magazine'i kurmufltur, bir y›l boyunca Blvd.'da sanat direktörü olarak çal›flm›flt›r, (2001'de Rotterdam Tasar›m Ödülü'nü kazanan) mimarl›k dergisi Forum'un tasar›m›n› yapm›flt›r ve 2001'de uluslararas› alanda çok be¤enilen “fagazine” BUTT'› ç›karm›flt›r. fiu anda Fantastic Man ad›nda yeni bir erkek giyim dergisinin ç›kar›lmas›nda çal›flmaktad›r. Van Bennekom ayn› anda editör, tasar›mc›, sanat direktörü, yazar, stratejist ve yay›nc›d›r. Tüm bu rollerin karmafl›k birlefliminin sonucu, da¤›t›m› uluslararas› yap›lan Re-Magazine'in en iyi örne¤ini teflkil etti¤i, mükemmel bir sinerjidir. En genifl anlam›nda kavramdan en küçük bas›m detay›na kadar bu dergideki her fley, tek bir hikâye ak›fl›n›n

Designer/editor Jop van Bennekom (1970) chose to specialize in magazines after graduating from the Jan van Eyck Academy in Maastricht in 1997. He established Re-Magazine as a personal platform, worked for a year as the art director for Blvd., designed the architecture magazine Forum (which won the Rotterdam Design Prize in 2001), and launched the internationally acclaimed 'fagazine' BUTT in 2001. Currently he's working on the launch of new men's wear magazine called Fantastic Man. Van Bennekom is editor, designer, art director, author, strategist and publisher in one. The complex combination of all these roles results in splendid synergy of which the internationally distributed Re-Magazine is the best example. Everything in this magazine is part of a single story line, from the concept in the broadest sense to the smallest typographic detail.

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Irma Boom

Irma Boom, Amsterdam merkezli grafik tasar›mc›d›r. Kitap yap›m›nda uzmanlaflm›flt›r. Befl y›l boyunca, Utrecht'teki SHV Holdings'in siparifl etti¤i, 2136 sayfal›k “SHV Think Book 1996-1986” kitab› üzerinde çal›flm›flt›r (editörlük ve konsept/tasar›m). “Think Book” ‹ngilizce (4000 adet) ve Çince (500 adet) bas›lm›flt›r. Irma Boom, Enschede'deki AKI Sanat Akademisi'nde grafik tasar›m› ö¤renimi görmüfltür. Mezun olduktan sonra, befl y›l boyunca Lahey'de Hollanda Devleti Bas›m Yay›m Dairesi için çal›flm›flt›r. 1991'de, yurtiçinde ve yurtd›fl›nda, kültürel ve ticari müflteriler için çal›flan Irma Boom Office'i kurmufltur. Rijksmuseum Amsterdam, De Appel Amsterdam, Zumtober GMBH, Ferrari, Vitra International, NAi Publishers, Birleflmifl Milletler, OMA/Rem Koolhaas çal›flt›¤› kurulufllardan baz›lar›d›r. Irma Boom 1992'den beri A.B.D.'deki Yale Üniversitesi'nde ö¤retim görevlisidir. Boom, En ‹yi Kitap Tasar›m› yar›flmalar›nda en çok ödül sahibi olan tasar›mc›lardan biridir. Çal›flmalar› için ona verilen sayg›n Gutenberg Ödülü'nü alan en genç kiflidir.

Irma Boom is graphic designer based in Amsterdam. She is specialised in making books. For five years she worked (editing and concept/design) on the 2136 pages book “SHV Think Book 1996-1986” commissioned by SHV Holdings in Utrecht. The “Think Book” was published in English (4000 copies) and Chinese (500 copies). Irma Boom studied graphic design at the AKI Art academy in Enschede. After her graduation she worked for five years for the Dutch Government Publishing and Printing Office in The Hague. In 1991 she founded Irma Boom Office that works national and internationally for both cultural and commercial commissioners. She works for the Rijksmuseum Amsterdam, De Appel Amsterdam, Zumtober GMBH, Ferrari, Vitra International, NAi Publishers, United Nations, OMA/Rem Koolhaas, a.o. Since 1992 Irma Boom is a critic at Yale University USA. Boom is one of the designers with the most awards in the Best-book design competitions. For her work she was given the prestigious Gutenberg prize, as the youngest laureate ever.

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Felix Janssens

1990'da Sober Düflünce Derne¤i'ni [Sober Denken genootschap] kurdu. Ve 2000'den bu yana Office for Tele(communication), Historicity & Mobility [Bureau voor Tele(communicatie), Historiciteit & Mobiliteit], T(C), H&M görsel kültür için bir tasar›m ofisidir. Tasar›mc›lar, sanatç›lar, yazarlar ve filozoflar aras›ndaki bir iflbirli¤idir. T(C), H&M iletiflim stratejileri; ba¤›ms›z araflt›rma projeleri; kimlik programlar›, kitap, vs. tasar›m› gelifltirmektedir; makaleler yay›nlamaktad›r ve aktif olarak kültür tart›flmalar› içinde yer almaktad›r. Önceki projelerinden baz›lar› flunlard›r: Avrupa Kültür Baflkenti Rotterdam 2001 kimlik program› önerisi, Archis 1997-2000, Manifestation 6,5 millions Houses/At home in Rotterdam, Rotterdam Kimlik Program› Centre for the Arts, Beyond Leidsche Rijn, Interakta, InkijkUitruil, Wayfinding Windmee, UNDO it yourself, Meditational Essays [Beschouwelijk Werk] for Historische Uitgeverij, A Report of one Year Stedelijk Museum Amsterdam.

He was founder of the Sober Thinking Society [Sober denken genootschap] in 1990. And since 2000, the Office for Tele(communication), Historicity & Mobility [Bureau voor Tele(communicatie), Historiciteit & Mobiliteit]T(C), H&M is a design office for visual culture. A collaboration between designers, artist, writers and philosophers. T(C), H&M develops communication strategies; independent research Projects; the design of identity programs, books etc.; publishes articles and is actively involved in the cultural debate. Previous projects were a.o. proposal identity program Rotterdam 2001, Cultural Capital of Europe, Archis 1997-2000, Manifestation 6,5 millions Houses/At home in Rotterdam, Identity programme Rotterdam Centre for the Arts, Beyond Leidsche Rijn, Interakta, Inkijk-Uitruil, Wayfinding Windmee, UNDO it yourself, Meditational Essays [Beschouwelijk Werk] for Historische Uitgeverij, A Report of one Year Stedelijk Museum Amsterdam.

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Mevis & van Deursen

Linda van Deursen (Aerdenburg, 1961) ile Armand Mevis (Oirsbeek, 1963) 1987 y›l›ndan beri birlikte çal›flmaktad›rlar. Mevis & Van Deursen'in Amsterdam'daki stüdyolar›nda yapt›klar› çal›flmalar›n baz›lar› flunlard›r: 'Rotterdam 2001, Avrupa Kültür Baflkenti' için bir kimlik; 'Museum Boijmans Van Beuningen' Rotterdam için yeni bir kimlik; Hollanda Postas› için pullar (PTT Post); 'Stedelijk Museum Amsterdam' için kataloglar; 'Bureau Amsterdam' için kimlik, davetiyeler ve bültenler; küratör Moritz Küng ile iflbirli¤i içinde “The Larsen Effect” (Casino Luxembourg, O.K Centrum für Gegenwartskunst ÖO, Linz) ve “Orbis Terrarum” (Museum Plantin Moretus, Antwerp) gibi kataloglar; ve Aglaia Konrad; Meschac Gaba; Carlos Amorales; Emmanuell Antille; Gabriel Orozco; Richard Venlet; Klaas Kloosterboer; Yael Davids; Gerald Van Der Kaap ve Sigurdur Gudmundsson gibi sanatç›lar için kataloglar. Çal›flmalar› “Idea”, “IdN”, “Eye”, “I-D”, “Typography Now”, “HD” ve “Graphic Design for the 21st Century” gibi dergilerde ve kitaplarda yay›nlanm›flt›r. Belçika, Japonya, Fransa, Almanya, ‹ngiltere ve ABD'de sergilenmifllerdir.

Linda van Deursen (Aerdenburg, 1961) and Armand Mevis (Oirsbeek, 1963) collaborate since 1987. Mevis & Van Deursen have made: an identity for 'Rotterdam 2001, Cultural Capital of Europe'; a new identity for 'Museum Boijmans Van Beuningen', Rotterdam; stamps for the Dutch Post (PTT Post); catalogues for the 'Stedelijk Museum Amsterdam'; the identity, invitation cards and newsletters for 'Bureau Amsterdam'; catalogues in collaboration with curator Moritz Küng such as “The Larsen Effect” (Casino Luxembourg, O.K Centrum für Gegenwartskunst ÖO, Linz) and ”Orbis Terrarum” (Museum Plantin Moretus, Antwerp); and catalogues for artists such as Aglaia Konrad; Meschac Gaba; Carlos Amorales; Emmanuell Antille; Gabriel Orozco; Richard Venlet; Klaas Kloosterboer; Yael Davids; Gerald Van Der Kaap; and Sigurdur Gudmundsson. Their work has been published in magazines and books such as “Idea”, “IdN”, “Eye”, “I-D”, “Typography Now”, “HD”, and “Graphic Design for the 21st Century”. They have been exhibited in Belgium, Japan, France, Germany, England and the USA.

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Julia Born

Julia Born (Zürih, 1975) Amsterdam'da yaflayan ve serbest çal›flan bir tasar›mc›d›r. Çal›flt›¤› projelerin ve yay›nlar›n baz›lar› flunlard›r: 'Beauty and the Book', 60 y›l›n 'En Güzel ‹sviçre Kitaplar›'n›n yay›nlanmas›, Bern/CH (2004), 'What Leuven is (not)', 'Micropolis' araflt›rma projesi, Jan van Eyck Academie, Maastricht (2003 / 2004), 'Link', Municipal Art Acquisitions katalogu, Stedelijk Museum, Amsterdam (2003), 'Kunstszene', grafik konseptli belediye Noel sergisi, Zürich/CH (2003), 'SWISS DESIGN 2002', ‹sviçre Federal Kültür Dairesi için yay›n, Bern/CH (2002). Çal›flmalar› çeflitli sergilerde yer alm›flt›r: 'Mark', Municipal Art Acquisitions, Stedelijk Museum, Amsterdam (2004), 'Work from Switzerland', Moravian Gallery, Brno/CZ (2004), 'Désir Design', mudac, Lozan/CH (2003), 'Invitation Nº75', Stedelijk Museum Bureau, Amsterdam (2003), 'SUPER', Posterfestival Chaumont/F (2003) ve 2003'te ‹sviçre Tasar›m Ödülü'nü kazanm›flt›r. 2002'de Ecole cantonale d'art de Lausanne'da grafik tasar›m› ö¤retmenli¤i yapm›flt›r. 2003'den bu yana, Amsterdam'daki Gerrit Rietveld Academie'nin grafik tasar›m› bölümünde ö¤retmenlik yapmaktad›r. ‹sviçre'de dört y›ldan beri “En Güzel ‹sviçre Kitaplar›”n›n

Julia Born (Zürich, 1975) is a freelance designer who lives in Amsterdam. She worked on the following projects and publications (a selection): 'Beauty and the Book', publication on 60 years of 'The most beautiful Swiss books', Bern/CH (2004), 'What Leuven is (not)', researchproject 'Micropolis', Jan van Eyck Academie, Maastricht (2003 / 2004), 'Link', catalogue Municipal Art Acquisitions, Stedelijk Museum, Amsterdam (2003), 'Kunstszene', graphic concept municipal christmas exhibition, Zürich/CH (2003), 'SWISS DESIGN 2002', publication for Swiss Federal Office of Culture, Bern/CH (2002). Work of her was shown in several exhibitions: 'Mark', Municipal Art Acquisitions, Stedelijk Museum, Amsterdam (2004), 'Work from Switzerland', Moravian Gallery, Brno/CZ (2004), 'Désir Design', mudac, Lausanne/CH (2003), 'Invitation Nº75', Stedelijk Museum Bureau, Amsterdam (2003), 'SUPER', Posterfestival Chaumont/F (2003, and in 2003 she won the Swiss Design Prize. In 2002 she was a tutor graphic design at the Ecole Cantonale d'Art de Lausanne. From 2003 she teaches at the graphic design department at the Gerrit Rietveld Academie in Amsterdam. In Switzerland she is a 4 years jury member for 'The most beatiful Swiss

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Roma Publications

1998'de kurulan Roma Publications, Amsterdam merkezli, ba¤›ms›z bir yay›nc›l›k projesidir. Grafik tasar›mc›s› Roger Willems ve sanatç› Mark Manders ile birlikte çal›flan Roma, sanatç›lar ve yazarlar aras›ndaki iflbirli¤ine dayal› uygulamalar olan yay›nlar›n üretimi için bir vas›ta teflkil etmektedir. Her yay›n özerktir ve spesifik bir projenin biricik do¤as›n› yans›tmak üzere kendi koflullar bütününden geliflmektedir. Kimi yay›nlar kitabevlerinde sat›l›rken, baz›lar› ücretsiz da¤›t›labilir ya da bir müze veya galeri ortam›nda sergilenebilir. Her sanat projesinin bas›l› materyale dönüfltürülme süreci, temsil edilen çal›flma(lar) hakk›nda yeni anlamlar ve tart›flmalar do¤urman›n bir yolu olarak görülmektedir. Roma, flu ana kadar bask›lar› 2 ile 150.000 aras›nda de¤iflen 70 yay›n gerçeklefltirmifltir. Roma yay›nlar›, stilistik olarak “eksik tasar›mlanm›fl” gibi görünerek bir bütünlük sergilemektedir, bofl kapaklar hepsinin ortak özelli¤idir, imajlar›n bafll›klar› ya da aç›klay›c› yaz›lar asgari düzeyde tutulmufl ya da kitab›n ekindeki ayr› bir bölüm olarak sunulmufltur.

Founded in 1998, Roma Publications is an independent publishing project based in Amsterdam. Coordinated by graphic designer Roger Willems and artist Mark Manders, Roma aims to provide a vehicle for the production of publications that are collaborative exercises between designers, artists and writers. Each publication is autonomous, and evolves from its own set of circumstances to reflect the unique nature of a specific project. Some publications are sold in bookshops, others may be given away, or presented in a museum or gallery context. The translation process, of each art project into printed matter, is seen as a way to generate new meanings and discussion about the work(s) represented. To date, Roma has produced 70 publications with editions ranging from 2 to 150,000. Stylistically, Roma publications have a consistency in seeming 'under-designed', blank covers are common, captions or explanatory texts of images are kept to a minimum, or presented as a separate section accompanying a book.

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Will Holder

Will Holder (1969) Amsterdam'da yaflayan ve çal›flan ba¤›ms›z bir grafik tasar›mc›s›d›r. Çeflitli kültür kurumlar› için olan çal›flmalar›n›n yön verici ilkesi, bir sunum tarz› olarak dil biçimleri gelifltirmektir. Will Holder flu anda, William Morris'in “News from Nowhere (An Epoch of Rest)” (1876) adl› yap›t›n›, tasar›m e¤itimi ve uygulamas› için bir e¤itim program›na dönüfltürmektedir: Bu yap›t da, (2003 y›l›nda geçen) özgün versiyonu gibi 130 y›l sonras›nda yaz›lmaktad›r (2135'te geçmektedir). Will Stuart (Stuart Bailey ile olan birleflik ad›) Hollandal› ça¤dafl sanat dergisi Metropolis M'in editör

Will Holder (1969) is an independent graphic designer living and working from Amsterdam. A guiding principle in his work for various cultural institutions (publications and publicity) is evolving forms of language as a means of presentation. Will Holder is currently translating William Morris' “News from Nowhere (An Epoch of Rest)” (1876) into a curriculum for design education and practice: the original version is written 130 years into the future (set in 2003), as is this one (set in 2135). Will Stuart (compound name with Stuart Bailey) is editing designer of Metropolis M, Dutch contemporary Art magazine.

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Karel Martens

Karel Martens (1939) 1961'de Arnhem Sanat Okulu'ndan mezun oldu. O zamandan beri, serbest grafik tasar›mc›s› olarak çal›flmaktad›r, tipografide uzmanlaflm›flt›r. Bunun yan›nda her zaman sipariflsiz grafik çal›flmalar› ve üç boyutlu çal›flmalar yapm›flt›r. Müflterileri aras›nda 1960'larda Van Loghum Slaterus (Arnhem) ve 1975-81 y›llar› aras›nda the SUN (Nijmegen) yay›nevleri bulunmaktad›r. Kitap ve di¤er bas›l› materyallerin tasar›m› d›fl›nda, pul ve telefon kart› tasar›m› yapm›flt›r. Ayn› zamanda baz› binalar için iflaretler ve tipografik cepheler tasarlam›flt›r. 1993'te Martens mimarl›k dergisi Oase'nin tasar›m› için H.N. Werkman ödülünü alm›flt›r. 1996'da, Dr A.H. Heineken Sanat Ödülü'nü kazanm›flt›r; ödülün bir parças› olarak çal›flmalar›n›n bir monografisi olan “Karel Martens: Printed Matter” yay›nlanm›flt›r. Çal›flmalar› birçok kez Rotterdam Tasar›m Ödülü'ne aday gösterilmifltir. 1998'deki Leipzig Kitap Fuar›'nda, “Karel Martens: Printed Matter”, “bütün dünyan›n” en iyi tasar›ma sahip kitab›

Karel Martens (1939) graduated from the Arnhem School of Art in 1961. Since then he has worked as a freelance graphic designer, specialized in typography. Alongside this, he has always made free (non-commissioned) graphic and threedimensional work. Among his clients have been the publishers Van Loghum Slaterus (Arnhem) in the 1960s, and the SUN (Nijmegen) in the years 1975-81. As well as designing books and other printed items, he has designed stamps and telephone cards. He has also designed signs and typographic façades for a number of buildings. In 1993 Martens was awarded the H.N. Werkman Prize for the design of the architectural magazine Oase. In 1996 he received the Dr A.H. Heineken Prize for Art; as part of this prize, a monograph on his work was published: “Karel Martens: Printed Matter”. His work has been nominated several times at the Design Prize Rotterdam. In 1998 at the Leipzig Book Fair, “Karel Martens: Printed Matter” was awarded the gold medal, as the best-designed book “in the whole world”.

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olarak alt›n madalyayla ödüllendirilmifltir. Y›llar içinde, kitaplar› her y›l düzenlenen En ‹yi Tasar›ma Sahip Hollanda Kitaplar› yar›flmas›nda düzenli olarak yer alm›flt›r. Martens 1977'den beri grafik tasar›m› dersleri vermektedir. Önce Arnhem Sanat Okulu'nda, daha sonra Maastricht'teki Jan van Eyck Akademisi’nde ö¤retmenlik yapm›flt›r. 1997'den bu yana A.B.D. New Haven Yale Üniversitesi’nde grafik tasar›m› bölümünde ö¤retim görevlisidir. 1998'de Wigger Bierma ile birlikte kurduklar› Typography Workshop'un denetimi halen Armand Mevis ile birlikte kendisindedir.

Over the years his books have featured regularly in the annual Best-Designed Dutch Books competition. Martens has taught graphic design since 1977. He started teaching at he Arnhem School of Art, followed by a teaching position at the Jan van Eyck Academie in Maastricht. From 1997 onward he has been a critic in the graphic design department at Yale University, New Haven USA. In 1998 he and Wigger Bierma founded the Typography Workshop, where he still has the supervision together with Armand Mevis.

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1953 Manila, Filipinler do¤umlu. California College of Arts and Crafts'ta grafik tasar›m e¤itimi gördü. Cranbrook Academy of Arts'tan lisansüstü derecesi ald›. Halen CCAC'ye ba¤l› bir profesör olup ayn› zamanda lisansüstü tasar›m program› baflkan›d›r. Filipinler ve New York'ta grafik tasar›mc› olarak çal›flt›ktan sonra San Francisco'da kendi iflini kurdu. ABD, Fransa, Yeni Zelanda, H›rvatistan, Güney Afrika, Londra, Seul, Lizbon, Amsterdam, Sydney ve Stokholm'de dersler vermifltir. Tenazas, 2002 y›l›nda, Smithsonian CooperHewitt National Design Museum'un sponsor oldu¤u Ulusal Tasar›m Ödülü'nün ‹letiflim Tasar›m› kategorisindeki sahibi olmufltur. Amerikan Grafik Sanatlar Enstitüsü'nün (AIGA) ulusal baflkanl›¤› görevini yürütmüfltür ve ABD'yi temsilen AGI üyesidir.

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Lucille Tenazas was born in 1953 in Manila, Philippines. She studied graphic design at California College of Arts and Crafts, received her MFA from the Cranbrook Academy of Arts. Currently she is a professor affiliate at the CCAC and chairperson of the MFA programme in design. After working as a designer in New York, she established her own firm in San Francisco. She gave lectures all over USA, France, New Zealand, Croatia, South Africa, London, Seoul, Lisbon, Amsterdam, Sydney and Stockholm. In 2002 Tenazas was the recipient of the National Design Award in the Communications Design category sponsored by the Smithsonian Cooper-Hewitt National Design Museum. From 1996-98 , she was the national president of the American Institute of Graphic Arts (AIGA) and she is a member of Alliance Graphique Internationale (AGI) representing the United States.

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Mezuniyet Günü için ‹ﬂaret Sign for Graduate Show

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RÖPORTAJ INTERVIEW: EBRU ÜSTÜNER AYTO⁄

Filipinli olman›z›n tasar›m›n›za olan etkisi nedir?

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Bu bana s›k sorulan bir soru çünkü kültürel geçmiflimin tasar›m çal›flmama nas›l yans›d›¤›n› anlama gere¤i duyuluyor. Manila, Filipinler'de do¤up büyüdüm ve Birleflik Devletler'e yirmili yafllar›mda, Güzel Sanatlar diplomam› ald›ktan ve üç y›l boyunca çokuluslu bir ilaç firmas›nda çal›flt›ktan sonra geldim. Tasar›m ö¤renimime Birleflik Devletler'de devam ettim, Cranbrook Sanat Akademisi'nde tasar›m konusunda MFA (Güzel Sanatlar Yüksek Lisans›) derecesi elde ettim. New York'ta ve de son yirmi y›ld›r yaflad›¤›m San Francisco'da çal›flmalar›m› sürdürüyorum. Çal›flmalar›ma bak›ld›¤›nda, bir Filipinli olarak kültürel geçmiflime gönderme yapan aç›k görsel ipuçlar› yok. Öncelikle, 1899'da bafllay›p 1945'te son bulan Amerikan sömürgelefltirmesinden kalan bir etkiyle, kullan›lan metin ‹ngilizce. ‹ki dilli olarak büyüdük – evde anadilimiz Tagalog'u konuflurken okulda ‹ngilizceyi ö¤rendik. Biri gayriresmî bir flekilde ve konuflma dili olarak kullan›l›rken, di¤eri daha resmî ve akademikti, e¤itim arac›yd›. Bununla birlikte, Birleflik Devletler'e geldikten sonra ‹ngilizceyi insanilefltirmenin ve kiflisellefltirmenin bir yolu olarak kendimi kelime oyununa vererek bu “di¤er” dili “ehlilefltirmeye” çal›flt›m. Bu,

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What's the effect of having Filipino background to your design? This is a question often asked of me because there is a need to understand how my cultural background is reflected in my design work. I was born and raised in Manila, the Philippines and came to the United States in my 20s, after finishing my Fine Arts degree and working for 3 years in a multinational pharmaceutical company. I continued my design studies in the United States, pursuing an MFA Design degree at Cranbrook Academy of Art and working in both New York and San Francisco, where I have lived for the last 20 years. In looking at my work, there are no obvious visual clues that reference my cultural background as a Filipino. First of all, the text is in English, a residual effect of American colonization in 1899, which ended in 1945. We grew up being bi-lingual – speaking our native language, Tagalog at home and learning English at school. Whereas one was used informally and conversationally, the other was more formal and academic, the medium of instruction. Since arriving in the United States, however, I have sought to “tame” this “other” language by indulging in word play as a way to humanize and personalize English. It is a process that is transparent and readily apparent in my work, specially since I have used typography as

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özellikle görsel araç olarak tipografiyi kulland›¤›m için, çal›flmamda kolayl›kla görülebilen ve fleffaf bir yöntemdir. Kelimeleri, elde tutulabilen ve dokunulabilen bir fizikselli¤i olan nesneler olarak görmeye bafllad›m ve anlamlar›na güç vermeye çal›fl›yorum. Tasar›m yöntemim ayn› zamanda anlat› ve hikâyecilikle ilgilendi¤im Asyal›/Filipinli geçmiflimin bir yans›mas›d›r. Anlat› yap›s›n›n – bir bafllang›ç, bir orta ve bir son – bir tasar›m parças›nda nas›l görsellefltirildi¤inin bilincindeyim, bu bir poster (tek yüzey) de olabilir bir kitap (çok sayfa) da.

“‹yi tasar›m›” ve “iyi tasar›mc›y›” nas›l tan›ml›yorsunuz? ‹yi tasar›m k›flk›rt›r ve uzlafl›msal tutumlar›n›z› sorgulaman›z› sa¤lar. ‹yi tasar›m dünyay› kavray›fl›m›z› ayd›nlat›r ve güçlendirir. ‹yi tasar›m icat eder. ‹yi tasar›m fleyleri bafltan yarat›r. ‹yi tasar›m daha önce hiç görmedi¤iniz fleyleri görmenizi sa¤lar. ‹yi tasar›m ola¤an› ola¤anüstü yapar. ‹yi bir tasar›mc› tüm bunlar›n olmas›n› sa¤lar ve baflkalar›na da ayn›s›n› yapmay› esinlemeye muktedirdir, iyi bir tasar›mc› bir katalizördür. ‹yi bir tasar›mc› yaln›zca fleyleri yapmaz, fleylerin olmas›n› sa¤lar.

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a visual device. I started to see words as objects with a physicality that can be held and touched and I seek to empower their meaning. My design process is also a reflection of my Asian/Philippine background in that I am interested in narrative and story-telling. I am conscious of how narrative structure – a beginning, a middle and an end – is visualized in a design piece, whether it be a poster (single surface) or a book (multi-page).

How do you define a “good design” and a “good designer”? Good design provokes and makes you question your conventional attitudes. Good design enlightens and enhances our understanding of the world. Good design is inventive. Good design turns things on its head. Good design makes you see things you have never seen before. Good design makes the ordinary extraordinary. A good designer makes all of the above happen and is able to inspire others to do the same, a good designer is a catalyst. A good designer doesn't just make things, he/she makes things happen.

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Mimarl›k Seminerleri için afiﬂ serisi Poster series for Architecture Lectures

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Günümüzde grafik tasar›mc›n›n (toplumsal) rolü ve sorumlulu¤u nedir? Tasar›mc›lar yeteneklerini di¤erleri için bir insanl›k duygusu do¤uran çevreler ve f›rsatlar yaratmada görsel/sözlü iletiflim araçlar› olarak kullanma imkân›na sahiptir. Tasar›mc›lar, özellikle kendi kültürlerinden farkl› bir kültürde çal›flmak ya da etkileflim kurmak söz konusu oldu¤unda, vatandafllar ve temsilciler olarak da bir role sahiptir.

Ö¤retme yönteminizin en önemli noktas› nedir? Ö¤rencilerimde kiflisel tarihlerinin biçimlendirdi¤i bir bak›fl aç›s› gelifltirmekle ilgileniyorum. Güçlü bir özsayg› afl›laman›n, kifliyi kendi çal›flmas›na, kültürüne ve genel olarak topluma elefltirel bir gözle bakmaya yöneltti¤ine inan›yorum. Yazarl›k, yöntem kavramlar›n› ve kiflisel deneyimlerin tasar›mla iliflkisini inceliyorum – bunlar, tasar›mc› olarak empati gelifltirmek için önemli araçlard›r. Kim oldu¤unuzun fark›ndaysan›z, kendi sesinizi de yitirmeden bir müflterinin ortaya koyabilece¤i özdefllikleri ve sorunlar› sonunda üstlenebilece¤inizi düflünüyorum. “Tasar›m ve Biçim”de Bauhaus tasar›mc›s› Johannes Itten ö¤retmenli¤i flöyle tan›mlar: “Yetene¤in e¤itimde oldu¤u kadar belirleyici bir rol oynad›¤› hiçbir insani etkinlik alan›

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What's the (social) role and responsibility of the graphic designer today? Designers have the opportunity to use their skills as visual/verbal communicators to create environments and opportunities that engender a sense of humanity for others. Designers have a role as citizens and ambassadors specially when it comes to working or interacting in a culture different from one's own.

What's the most important point of your method of teaching? I am interested in developing in my students a point of view shaped by their personal history. I believe that instilling a strong sense of self-esteem leads to a critical outlook toward one's own work, culture and the society at large. I explore ideas of authorship, process and the relevance of personal experiences in design – devices which are important in developing empathy, as a designer. I feel that if you are aware of who you are, then you can ultimately take on the identities and problems a client may pose, yet not lose your own voice. Teaching, according to Johannes Itten, the Bauhaus designer who wrote in “Design and Form”: “There is no field of human activity in which talent plays so decisive a role as in education. Only the talented educator will respect and

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yoktur. Ancak yetenekli olan e¤itimci bir ö¤rencinin kendi insanl›¤›n›n betimlenemez mucizesine sayg› duyup onu koruyacakt›r. ‹nsana sayg› her e¤itimin baﬂ› ve sonudur.”

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protect in a student the indescribable miracle of his or her humanity. Respect for the human being is the beginning and end of all education.”

What alerted you to be an educator? Sizi e¤itimci olmaya iten fley nedir? Annem lise ö¤retmeniydi ve onun bu rolüne iliflkin ilk an›lar›mdan biri, ö¤rencileri ve meslektafllar› taraf›ndan çok sevilip say›lmas›yd›. Babam ise inflaat mühendisiydi; biri mant›kl› di¤eri sistemli. ‹kisi aras›ndaki yetifltiriliflim, rasyonel olanla sezgisel olan›n birlefliminden ibarettir. On yafl›nda genç bir k›zken, kuzenlerimi çizmeye ve boyamaya “zorlard›m” ve çocuk kitab› boyama dersleri verirdim, ta ki onlar hoflnutsuz oluncaya kadar, çünkü tek yapmak istedikleri koflup oynamakt›. “Oynamak”, yapraklar ve tafllar gibi do¤al fleyleri kullanarak küçük sanat ve zanaat projelerinin nas›l yap›laca¤›n› onlara ö¤retmek anlam›na geliyordu. Belki de, aile üyelerini ö¤renci olarak kullanarak bile olsa, birine ö¤retmenlik yapman›n ne demek oldu¤unu görmüfl oldum.

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My mother was a high school teacher and my early memories of her in this role was one in which she was well loved and respected by her students and her peers. My father was a civil engineer, logical and systematic. Between the two of them, my upbringing was one of combining the rational with the intuitive. As a young girl of ten years old, I “coerced” by cousins to draw and paint and I conducted classes in coloring children's books, to their dissatisfaction since all they wanted to do was play and run around. “Playing” meant teaching them how to make small arts and crafts projects using natural things like leaves and stones. Perhaps, even using my family members as students, I experienced what it meant to teach someone.

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E¤itimci kimli¤inizle grafik tasar›mc›s› kimli¤iniz aras›nda ne tür bir etkileflim var? ‹ki rol ayr›lmaz bir flekilde birbirine ba¤l› çünkü birinin di¤erinden derinden etkilendi¤ini görüyorum. E¤itimci olarak kulland›¤›m elefltirel yaklafl›m› kendi çal›flmamda da kullan›yorum, çünkü bu, yeni keflifler yapmaya olanak tan›yan bir anlay›flt›r. E¤itimci olarak ö¤rencilerime sürekli geliflen bir hayat›n öneminden bahsediyorum, bu, son 25 y›ld›r çal›flan bir tasar›mc› olarak devam ettirdi¤im bir fley. Deneyim da¤arc›¤›m›z› devaml› olarak geniflletmek için sürekli bir araflt›rma atmosferi yaratmak önemlidir. ‹yi bir ö¤retmen ayn› zamanda iyi bir “ö¤renci”dir.

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What kind of interaction is there between your identity as an educator and as a graphic designer? The two roles are inextricably linked because I see one being influenced profoundly by the other. The critical approach I employ as an educator is the same I use in my own work, because it is a mindset that leads to further exploration. As an educator, I talk to my students about the importance of a continually evolving life, something I hold as a designer who has been practicing for the last 25 years. It is important to create an atmosphere of a continuous search so that we are continually expanding our repertory of experience. A good teacher is one who is also a good “student”.

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1932'de Tiel, Hollanda'da do¤du. Grafik tasar›m e¤itimini Amsterdam Institute of Arts and Crafts'da (Gerrit Rietveld Akademisi) tamamlad›. 1957'den bu yana, görsel iletiﬂim alan›nda serbest tasar›mc› olarak çal›ﬂmaktad›r.

Jan van Toorn was born in 1932 in Tiel, Netherlands. He studied graphic design at the Institute of Arts and Crafts (later Gerrit Rietveld Academy) in Amsterdam. He has been a freelance designer in visual communication since 1957.

Çal›flt›¤› kurumlar aras›nda Stadelijk van Abbemuseum Eindhoven, Hollanda Kültür ve Bay›nd›rl›k Bakanl›klar›, Hollanda PTT, Vpro televizyonu, The Beyerd Breda Görsel Sanatlar Merkezi, Rosbeek Bas›mevi ve 010 Yay›nevi say›labilir. Dan›flman olarak Berlage Enstitüsü’nde, Rotterdam'da Mimarl›k lisansüstü e¤itim laboratuar›nda bulundu. Design Issues ve Visible Language dergilerinin dan›flma kurulu üyesi ve Visual Communication dergisinin fahri kurul üyesidir.

Among others he worked for the Stedelijk van Abbemuseum Eindhoven, the dutch Ministries of Culture and Public works, Dutch Ptt, Vpro television, Visual arts centre The Beyerd Breda, Rosbeek Printers and 010 Publishers. Among other institutions he was advisor to the Berlage Institute, Postgraduate Laboratory for Architecture in Rotterdam, and is member of the advisory board of the magazines Design Issues and Visible Language, and honorary board member of Visual Communication.

Hollanda'da ve baflka ülkelerde, Gerrit Rietveld Akademisi [Amsterdam, 1968-1985], Eindhoven Teknik Üniversitesi Mimarl›k Bölümü [19821983], Bandung Teknik Üniversitesi, [Endonezya] ve Bat› Sidney Üniversitesi [Avusturalya] gibi çeflitli akademi ve üniversitelerde uzun y›llar grafik tasar›m ve görsel iletiflim dersleri verdi. 1991-1998 y›llar› aras›nda, güzel sanatlar, tasar›m ve kuram için uluslararas› lisansüstü araflt›rmalar merkezi haline getirdi¤i, Maastricht'te bulunan Jan van Eyck Akademisi'nin yöneticili¤ini yapt›. Burada 1997 y›l›nda 'Tasar›m›n ötesinde tasar›m; elefltirel düflünme ve görsel iletiflim prati¤i' konulu bir konferans düzenledi. 1989'dan bu yana, Amerika Birleflik Devletleri, Providence flehrinde bulunan Rhode Island Tasar›m Okulu’nun Grafik Tasar›m Yüksek Lisans Program›nda doçentlik yapmaktad›r. Jan van Toorn 1972'den beri Alliance Graphique Internationale'in bir üyesidir. 1965 ve 1972 y›llar›nda Amsterdam flehri H.N. Werkman Ödülü'ne, 1985 y›l›nda Piet Zwart Ödülü'ne ve 2004'te New York'ta Athena Mesleki Seçkinlik Ödülü'ne lay›k görüldü.

He taught for many years graphic design and visual communication at various academies and universities in The Netherlands and abroad, including Gerrit Rietveld Academy, Amsterdam [1968-1985], the Department of architecture of Technical University Eindhoven [1982-1983], Technical University Bandung, Indonesia and the University of Western Sydney, Australia. From 1991-1998 he was director of the Jan van Eyck Akademie in Maastricht, transforming it into an international postgraduate centre for fine art, design and theory. In this context he organized the conference 'Design beyond design; critical reflection and the practice of visual communication' in 1997. Since 1989 he is associate professor in the MA programme of graphic design, Rhode Island School of Design, Providence USA. Jan van Toorn is a member of the Alliance graphique internationale since 1972. He got the H.N. Werkmanprize of the city of Amsterdam in 1965 and 1972, the Piet Zwart prize, 1985, and the Athena award for career excellence, New York 2004.

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Cultiver Notre Jardin, Dergi tasar›m› Magazine design

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Tasar›m›n yarat›c›l›k sürecinde, biçim ve içerik aras›ndaki sentez çok önemlidir, çünkü tasar›m insanlar› manipüle ederek baﬂka yerlere götürür. Bunun hakk›nda bize neler söyleyebilirsiniz?

In the creative process of design the synthesis between form and content is very important because design manipulates and leads people somewhere. Regarding this, what would you like to tell us?

Yarat›c›l›k süreci ve üretim aras›ndaki iliﬂki hakk›nda ne düﬂünüyorsunuz?

What do you think of the relation between creative process and production?

Tasar›m›n toplumsal rolüne dikkat çekiyorsunuz. Günümüzde bu iﬂlevin durumu nedir?

You point attention to the social role of design. How is the aspect of this function today?

‹maj ve görsel olan aras›ndaki fark nedir?

What is the difference between image and visual?

Grafist 10'a kat›lacaks›n›z, bu etkinli¤imiz

RÖPORTAJ INTERVIEW: LEYLA ERS‹N EKMEKÇ‹LER

You will participate to Grafist 10, can we

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Bir sürekli diyalog prati¤i olarak görsel iletiflim ya da görünür ekonomide tasar›m›n yükümlülükleri ve otonomisi - bu, vizyonu görsel deneyime geri getirmenin önemi, olas›l›klar› ve tatlar›yla ilgilidir. Öncelikle, 'deneyim ya da bilgi ekonomisi' içinde haleti ruhiyemizden birkaç cümleyle bahsetmek gerek; bu ruh hali içinde tasar›m›n rolü ve bu halin tasar›mc›lar›n hareketleri aç›s›ndan sonuçlar›yla da ilgili olarak. Politik ve entelektüel yeni dünya düzeni elitleri, sol ve sa¤ aras›ndaki - politik aç›dan ilerici ve muhafazakâr sosyal projeler aras›ndaki ideolojik karfl›tl›¤› taze, radikal ve faydac› bir siyaset güderek ask›ya ald›. Medya da art›k bir halk platformu de¤il. Kapitalizmin ve neo-liberal inanc›n dizginlenemeyen genifllemesi haber, bilgi ve e¤lence üretimi yoluyla varl›¤›m›z› yönetiyor. Ticaretin sömürgelefltirdi¤i büyük ölçekli

Visual communication as a dialogic practice: or the engagement and autonomy of design in the spectacle economy - that is, about the importance, possibilities and pleasures of putting vision back into visual experience. To start with, a few words about our state of mind in 'the experience or information economy'. About the role of design in that situation, and its consequences for the designer's actions. The political and intellectual elites of the new world order, have suspended the ideological opposition between left and right - between politically progressive and conservative social projects - through a fresh and radical pragmatic politics. Public functions have been privatised and the market has taken over. The media are no public platform either. The unfettered expansion of

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özel yat›r›m›n kâr ve promosyon endeksli politikalar› taraf›ndan yönlendirilen küresel bir kitle kültürü içinde yafl›yoruz. Ac› meyvelerini daimi ekonomik krizler ve bitmeyen savafl tehditleri içinde toplayan bu durum, sosyal demokrasiyi y›kmaya bir vesile oluyor. Bugünlerde, kamu yarar› için aktif, elefltirel bir serbestlikle, sosyo-kültürel ve politik yönlendirmelerden neredeyse hiç bahsedilmiyor. Bahsedilen toplumsal ve tarihsel boyutlar›n noksanl›¤› yüzünden, daha adil ve katlan›labilir bir dünya yaratma umudundan vazgeçilmifl görünüyor. Ço¤u entelektüel ve sanatç›, giderek daha fazla iflbirlikçi, ticari ve siyasi elitlerin ilüzyonlar›yla flekillenen bir dünya görüflüne sahip oluyor. Böylelikle entelektüel ve sanatsal çal›flma yerleflik de¤erleri sorgulama, fikir üretme, özgürlefltirici ve demokratik anlamda hayal gücünü biçimlendirme kapasitesini kaybetti. Yap›lan ifllerin temelleri, gittikçe artan bir flekilde faydac›, apolitik bir tutuma dayanan, ço¤unlukla sadece hitabet güzelli¤iyle sunulan, aflikâr soyutlamalara ve tasvirlere do¤ru gidiyor. Sonuç ise tüzel ve kurumsal yat›r›mlar taraf›ndan manipüle edilen medyada kamusal bir alan üretimi - ki bu yat›r›mlar, dayan›flan ve hoflgörülü bir toplum yaratma hizmeti içinde uzlaflt›r›c› gücünden vazgeçmifl devlet yat›r›mlar›n› da kaps›yor. Solun ne hale geldi¤ini

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capitalism and neo-liberal belief, govern our being through the production of information, knowledge and entertainment. Colonised by commerce, we live in a global mass culture driven by the profit and promotion of largescale private interest. A situation yielding its bitter fruits in constant economic crisis and the threat of endless war providing a pretext for destroying social democracy. There is hardly any talk nowadays of a socio-cultural and political orientation, with an active, critical independence in the service of the common good. As a result of the lack of those social and historical dimensions, the hope of bringing about a more equitable and liveable world seems to have been given up. Most intellectuals and artists too have a view of the world that is more and more shaped by the illusions of the colluding commercial and political elite. Intellectual and artistic labour has thereby lost its capacity to question established values, to form opinion and shape the imagination in a liberating and democratic sense. Their work is increasingly rooted in a pragmatic apolitical attitude leading to obvious abstractions and descriptions, often presented with a purely rhetorical beauty. The result is a public space in the media manipulated by corporate and institutional interests - including those of

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La Lutte Continue, Afiﬂ Poster for a social campaign

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biliyoruz: ‹çinde yaflad›¤›m›z ve üretti¤imiz durumlar›n gerçekli¤iyle ilgilenen aktif bir hayal gücü yerine, bilgiyi meta olarak pasif flekilde tüketen bir alan. Baflka bir deyiflle, Frans›z sosyolog Pierre Bourdieu'nün söyledi¤i gibi: “‹zleme oranlar› ve pazar konumlar› taraf›ndan kontrol edilen medya, er geç siyaset, bilim ve sanat› kapsayan tüm kamusal hayat› yozlaflt›r›r.” E¤er iletiflim tasar›m›na benim gibi, her fleyin ötesinde sembolik de¤ifl tokufl biçimleri üreten bir çeflit görsel gazetecilik olarak bakarsan›z; bunun daha genifl kültürel ve demokratik anlamda kamusal hayata katk›s›n›n büyük ölçüde azald›¤›n› görürsünüz. ‹letiflim tasar›m›n›n düflünme pratikleri, metodolojisi ve görsel okunurlu¤u üzerinde iz b›rakan uzun bir uzlaflt›rma süreci sonras›nda, görsel üslup biçimsel anlamda görülmeye de¤er hale geldi. Fakat bu görsel zenginli¤in içeri¤i yeniden ve yeniden esasen ayn› baya¤› düzenlemelere uyduruluyor ve bunlarla k›s›tlan›yor. Bence Hollanda'n›n son 25 y›ll›k süreci buna iyi bir örnek. Hollanda'da, çat›flmalar› ve sosyal hareketleri düzenleyen etken olarak devletle birlikte uzun zamand›r süre giden konsensüs kültürü, bize (altyap› ve finansman da dahil olmak üzere) hizmetlerin kurumsal düzeyinin nas›l bir kolektif bilinç ve böylece nüfusun ço¤unlu¤unun kendisini etkin hissetti¤i bir toplumsal

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the state, that gave up its mediating force in the service of human solidarity and a generous society. We know what is left: a passive consumption of information as commodity instead of an active imagination concerning the reality of the circumstances we live and produce in. Or as Pierre Bourdieu, the French sociologist, says: 'the media controlled by viewers' ratings and market positions eventually corrupt the whole of public life, including politics, science and the arts'. If you view communication design, as I do, above all as a kind of visual journalism that produces forms of symbolic exchange, its contribution to public life in a wider cultural and democratic sense has been drastically reduced. After a long process of accommodation that left its mark on communication design's thinking, methodology and visual literacy, its visual idiom has become spectacular in formal terms, but the content of that visual richness has again and again been adjusted and restricted to substantially the same banal constellations. I believe the dutch situation of the last 25 years exemplifies that process. The longstanding culture of consensus in the Netherlands, with the state as regulatory factor of conflicts and social movements, shows how an institutional level of services (including infrastructure and funding)

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Hommage à Toulouse Lautrec, Sergi afiﬂi Poster for an exhibition

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uyum duygusu yaratt›¤›n› gösteriyor. Yeniden Pierre Bourdieu'ye dönersek, bu müdahalenin her fleyin ötesinde, sosyal dengenin denetimi ve özgürlük için de önemli bir unsur olan kültürel sermayenin üretim araçlar›na bir yat›r›m oldu¤unu görürüz. Ana hatlar›yla aktard›¤›m gibi tasar›m kalk›nmada asli bir rol oynuyor. Kendini yeni siyasal ve toplumsal durumlara, yeni teknikler ve örgütsel süreçlere uydurabilme kabiliyeti, daha önce hiç olmad›¤› kadar, bir arac› olmas› talebiyle tasar›m› sürekli baflar›l› k›l›yor. Ancak siyaset, bilim, mimarl›k, gazetecilik, vb. di¤er entelektüel meslekler gibi, neo-liberal devrimin radikal faydac›l›¤›na elefltirmeden kap›lan iletiflim tasar›m› da, kültürel sermaye üretimini, hükmeden iktidar iliflkilerinin meflruiyetine indirgiyor. Serbestlik ve bask›, fleffafl›k ve opakl›k aras›nda devinen, önceki ilerici iletiflim kavram›, kendisini hakim bir iletiflim anlay›fl› üreten, muhafazakâr bir yap›lan›fla b›rak›yor. Baflka bir deyiflle, iletiflim fikrini küresel kapitalizmin de¤erleri ve kurallar›na; biçim vermenin, tümüyle kuflatan denetimden ço¤unlukla ay›rt edilemeyen sahte-bilginin özgürlü¤üne indirgiyor. Bugünlerde pek çok tasar›mc›n›n iletiflime yükledikleri s›n›rs›z umutlar, bana göre tasar›m›n içeri¤i ve toplumsal yönelimi aras›nda giderek artan mesafeyi

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creates a collective consciousness, and thus a sense of social cohesion with which the majority of the population feels engaged. Following Pierre Bourdieu again, that intervention is above all an investment in the means of production of cultural capital, which is at the same time an important element for the freedom as well as the control of the social equilibrium. Design plays an essential part in the development I have outlined. Its ability to adapt to new political and social circumstances, new techniques and organisational processes make it a continuous success, more in demand as an agent then ever before. A communication design, however, that like other intellectual professions such as politics, science, architecture or journalism, uncritically engages with the radical pragmatism of the neo-liberal revolution reduces the production of cultural capital to the legitimation of the ruling power relations. It replaces its earlier progressive notion of communication - torn between emancipation and domination between transparency and opacity - for a conservative configuration producing a hegemonic concept of communication. In other words, it reduces the idea of communication to the values and rules of global capitalism, to the freedom of fashioning, of

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Sandberg, Katalog tasar›m› Catalogue design

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yöneten, üreten, yeni, faydac› bir tavr› içsellefltirmesine yol açan teknolojik, idealist determinizmin bir biçimi. Bu tav›r, her fleyi zapt eden, ancak mesele özellikle kamu yarar›na geldi¤inde kay›ts›z kalan Tony Blair gibi 'ampirik soruflturma' politikac›lar›ndan al›flt›¤›m›z bir tav›r. Bu, özel ve kolektif alanda sahte kimlikleri müzakere eden ve zorlay›c› ve dinamik bir hitapla kay›ts›zl›¤a sevk eden bir zihniyet. Bu böylelikle, kendimizi bir vatandafl olarak içinde yaflad›¤›m›z yerleflik düzene, maddi ve sembolik teslim ediflimizin hakiki görünüflü önünde, do¤rudan do¤ruya en büyük engel olarak ortaya ç›k›yor. Ne buna bir ihtiyaç olmal›, ne de gerekli olmal›. Entelektüeller en az›ndan toplumsal iktidar iliflkilerine, ve bu iliflkilerin dünya görüflümüzü daralt›c› etkilerine dair elefltirel bir görüfl benimseyebiliyor. “Bir gazeteci (görsel bir gazeteci) ortam›n› benimsememelidir”, diyor yeni gazetecili¤in babas›, Amerikal› yazar Tom Wolfe. ‹yi (angaje) muhabirlik, bildi¤imiz gibi, 'verili' olan gerçekli¤i sorgulamal›. Bir iletiflim tasar›mc›s› olarak bu noktaya gelmek için, müflterilerimizin terk etti¤i uzam›n ve disiplinin normlar›n›n daimi bir geniflleticisi; akl›m›z› ve davran›fllar›m›z› belirleyen toplumsal anonim yap›lardan bizleri özgürlefltiren yükümlülüklerimizin geniflleticisi olarak, kültürel sermaye üretimindeki pay›m›z›

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pseudo-information which is often indistinguishable from an all-encompassing control. The boundless hopes many designers place in communication nowadays, in my eyes, are a form of technological idealistic determinism that makes them internalize a new pragmatic mode of managing, producing a greater distance between the content and social orientation of design. An attitude we are familiar with from the politicians of the 'empirical investigation', like Tony Blair, who tackle everything, but are especially negligent when it comes to matters of public interest. It is a mentality that confers false identities on the private and the collective, and induces complacency with a compelling and dynamic rhetoric. And thereby is immediately a major obstacle to a realistic view of the material and symbolic submission to the established order we find ourselves in as citizens. There should be no need for that, nor should it be necessary. Intellectuals can at least adopt an uneasy (critical) relationship to the social power relations and to their constricting effects on our view of the world. 'A journalist (a visual journalist) must not adapt to his environment', says the American writer Tom Wolfe, the father of New Journalism. Good (engaged) reporting should question, as we know,

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Sandberg, Katalog tasar›m› Catalogue design

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incelemeliyiz. Belki, ço¤u tasar›m iflini motive eden demokratik, eflitlikçi ve antikapitalist arzulardan flüphe etmeye gerek yok, ancak sosyokültürel yükümlülüklerimizin uyan›fl›, iletiflim tasar›m› gündemine çok daha ciddi yat›r›mlar yapmaya ça¤›r›yor. Hatta daha da fazlas›n›; çünkü, bence, Amerikal› opera yönetmeni Peter Sellars flöyle derken hakl›yd›: “Sanat, geriye kalan tek askerileflmemifl bölgedir.” Dünyay› baflka yollarla tasarlamak “Görsellefl(tir)meye genel gidifl, insanl›¤›, fizik ve biyoloji bilimlerini, sosyal bilimleri, do¤rusu bafltan sona tüm e¤itim biçimlerini yürütmek ve kuramsallaflt›rmak için gelifltirilen entelektüel ve pratik yönelimlere do¤ru yay›ld›.” Amerikal› bir sanat tarihçisi olan Barbara Stafford'un bu al›nt›s›, görsel iletiflimin kalitesinin kültürel olarak ne kadar önemli oldu¤unu hat›rlat›yor. Bu flekilde özetlendi¤inde, izleyeni ya da okuyan› özgürlefltirmeyi amaçlayan, onlar›n görsel bilgiyi kendi gerçek deneyimleriyle iliflkilendirmelerini sa¤layan, daha zengin bir görsel uygulamaya ulaflmaya çal›flt›¤›m teorik ve pratik giriflimlerimin ard›ndaki ayd›nlat›c› unsur ortaya ç›k›yor. Bunun yan›nda, kültür endüstrisinde bilgiyi, haberi ve e¤lenceyi görsellefltirmek art›k

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reality as a 'given'. To get there as a communication designer we should view our share in the production of cultural capital as a constant widening of the space left by our clients and the norms of the discipline; as a widening of our engagement that frees us from the socially incorporated structures that determine our minds and behaviour. Perhaps there is no need to doubt the democratic, egalitarian and anti-capitalist desires that motivate much design work, but the revival of our socio-cultural engagement calls for a much more serious investment in the agenda of communication design. Even more so, because, I believe, Peter Sellars, the American opera director, is right when he says that: 'the arts are the only demilitarized zone left'. Mapping the world in another way “The general move towards visualisation has broad intellectual and practical implications for the conduct and the theory of the humanities, the physical and the biological sciences, the social sciences - indeed, for all forms of education, from top to bottom.” This quotation from Barbara Stafford, an american art historian, recalls how essential the quality of visual communication is in cultural terms. Summed up in this way, it is a clarifying element behind my theoretical and practical

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Observatoire international des prisons, Afiﬂ Poster for a social campaign

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tekil biçim-verici uzmanlaflmalara dayanm›yor. Çok katmanl› ve derinlemesine bir görsel yeterlik içinde farkl› disiplinlerin üsluplar› ve yaklafl›mlar›n› bütünleyen yönetme ve ifade biçimleri için, tüm medyada genifl bir disiplinleraras› bütünleflme talebi var. Bir taraftan, bu geliflme bizleri, karmafl›k bir biçimsel ve sembolik süreklilik olarak (görsel) dil kullan›m›n›n farkl› tarihsel ve ça¤dafl biçimleriyle karfl› karfl›ya getirirken; di¤er taraftan, bana göre, fikirleri ifade eden, bir vizyonu eklemledi¤i için dünyay› baflka yollarla tasarlayan, denemeci bir görsel prati¤in yeniden canland›r›lmas› için elzem fikirler, yöntemler ve 'dönüfllü ya da karfl›l›kl› iletiflime dayanan gelene¤in' araçlar›yla karfl› karfl›ya getirir. Medyan›n ve özellikle dijital ortam›n son otuz y›ll›k gelifliminin tasar›mc›lar olarak e¤itimini gördü¤ümüz dil biçimleri aç›s›ndan derin sonuçlar› oldu. Ekonomik ve teknolojik de¤iflimlerin zorlad›¤› görsel diller; zaman›n, sesin ve uzam›n düzenleriyle birleflti. Belki de bunun en önemli göstergesi (filmlerde ve televizyonda oldu¤u gibi), esasen görsel bilgi aktar›m›nda, sözel-olmayan (duygusal) ve sözel (rasyonel) ö¤elere eflit rol verilmesidir. Bu, (elektronik sistemler, sergiler ve yay›nlar gibi) bilgi medyas›n›n karmafl›kl›¤›yla, 'dillerin' ço¤ullu¤unun tutarl› bir flekilde bütünleflmesi üzerine giderek

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attempts to arrive at a more substantial visual practice aimed at liberating the viewer or reader, enabling them to relate visual information to their own experiences in the real. Moreover, the visualisation of knowledge, information and entertainment in the culture industry is no longer dependent on a single form-giving specialisation. There is a large demand for interdisciplinary integration in all media for forms of direction and expression that integrate the idioms and approaches of the separate disciplines in a multilayered and more in-depth visual competence. On the one hand, this development confronts us with the different historical and contemporary forms of (visual) language use, as a complex formal and symbolic continuum, and at the other, with the ideas, methods and means of the 'reflexive or dialogic tradition' which, in my view, is essential for the revitalization of an essayist visual practice that vents opinions, that maps out the world in another ways because it articulates a vision. The development of the media in the last thirty years, and in particular that of the digital environment, has profound consequences for the language forms in which we have been trained as designers. Forced by economic and technological changes the visual languages have been combined in

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Noorderbreedte, Dergi tasar›m› Magazine design

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artan a¤›r talepler dayatmas› demektir. Daha önce de iflaret etti¤im gibi, bu talepler farkl› disiplinler ve uzmanlaflmalarla yeterince karfl›lanamaz. Grafik tasar›m; örne¤in, görselin, uzamsal›n, dokunsal›n çizgisel gelene¤iyle ba¤lant›l› de¤ildir; kavramsal bir gelenekle ba¤lant›l› bir görsel üsluba ve düzeltici yönteme sahiptir... Yani, pazar›n e¤ilimi ve metalaflt›rma bir yana, grafik tasar›m hâlâ genellikle metni, görüntüyü, uzam ve zaman›, vb. düzenler. Bir çeflit metne özgü tutuculuk; mesle¤e, görüntünün ve tüm di¤er metin-d›fl› iletiflim biçimlerinin, kendine özgü biliflsel, belirleyici ve biçimsel özellikleriyle beraber, içgörü ve deneyim yetersizli¤ini yükledi. Görsellefl(tir)me-karfl›tl›¤› ortadan kalkmak üzere; her taraftan imaj ya¤›yor. Bununla birlikte, daha önce de belirtti¤im gibi, neo-liberal devrim imaj üretimini, bilgi verici ve fikir-flekillendirici bir anlamda teflvik etmiyor. Bu rejimi, gündelik hayat›n gerçekli¤ine nazaran giderek berrakl›¤›n› kaybeden, klasik, ahenkli, kurallara uygun ve biçemsel bir birlik aray›fl› olarak nitelendirebiliriz. Bu arada medyada sosyo-kültürel ve politik de¤iflimin fakirleflmesini ve baya¤›laflmas›n› zaptetmeye çal›flan bir e¤ilim ortaya ç›kt›. Fakat, bu ço¤u tasar›mc›n›n ve tasar›m e¤itmeninin düflündüklerinden daha fazlas›n› gerektiriyor. Bu ne kadar önemli de olsa, 'mesle¤in

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formations with those of time, sound and space. Probably the most important implication of this (as in film and television) is that the non-verbal (emotional) and verbal (rational) elements have been given an equal role in the transfer of primarily visual information. This means that the complexity of the information media (such as electronic systems, exhibitions, and publications) imposes increasingly heavy demands on the coherent integration of a plurality of 'languages'. As I have already indicated, these demands cannot be met adequately by the separate disciplines and specialisations. Graphic design, for example, has a visual idiom and editorial method that are connected with a conceptual tradition and not with the figural tradition of the visual, the spatial the tactile... So, apart from the drift of the market, and commodification, it still mostly organises text, image, space and time etc. in a textual order. A kind of textual fundamentalism that has saddled the profession with a deficiency of insight and experience with the specific cognitive, signifying and formal aspects of the image and all other non-textual forms of communication. Anti-visualism is on the way out; it is raining images. All the same, the neo-liberal revolution does not promote the production of images in an informative and opinion-

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Kitap tasar›m› Book design

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vaziyeti' içinde anlaflmazl›klar› ve çeliflkileri yans›tan, bir sesler y›¤›n›yla tart›flmay› zenginlefltirmek için kamusal alanlar›n yarat›m› ve kullan›m› yeterli de¤ildir. En zaruri olan, toplumsal ve gerçekten demokratik bir tart›flma, dünyay› yeni bir yoldan yorumlamam›z›, günlük ifllerin s›radanl›¤›ndan öteye bakmam›z› sa¤layacak bir gündem yaratmakt›r: yeni birliktelik biçimlerine sevk edecek elefltirel bir tutum gelifltirmek ve böylece daha fazla direnifl yüzeyi oluflturmak için. Bence bizi yüzeysellikten kurtaracak tek sa¤l›kl› yol seyircilerimizi özgürlefltirmeyi amaçlayarak kendi ifllerimizde ve benzer flekilde izleyicilerimizde uyumsuz bir berrakl›¤a ulaflmak için gayret etmemizi gerektiren bir strateji gelifltirmektir. Bunun gibi teoriden prati¤e bir gündemi ele al›rken, görsel sanatlar›n, tiyatronun, filmin, edebiyat›n, tasar›m›n, mimarl›¤›n, vb'nin köklü 'dönüfllü' ya da 'karfl›l›kl› iletiflime dayanan' gelenekten pek çok fley ö¤renebiliriz. Karfl›l›kl› iletiflime dayanan gelenek klasik tasar›mda hiçbir rol oynamayan baz› özelliklere sahiptir. Her fleyden önce karfl›l›kl› iletiflime dayanan tasar›m bütüncül bir tasar›md›r. Hem içerik hem de biçim olarak, anlam vermeyi hedefler ve nüfusu kamusal alanda, hakiki toplumsal ve demokratik bir menfaat kayna¤› olmaktan kurtarmaya gayret eden

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forming sense, as I have already pointed out. Its regime is characterised by a classical, harmonious formal and stylistic unity which is less and less transparent with regard to the reality of everyday life. In the meantime, a tendency has emerged which tries to tackle the impoverishment and banalisation of socio-cultural and political exchange in the media. But this calls for more than what most designers and design critics think. Important though it is, the creation and use of public spaces to enrich the debate with a multitude of voices that mirror the conflicts and paradoxes of the 'business state', is not enough. Much more essential is a social and truly democratic engagement, an agenda that enables us to decipher the world in a new way, to look beyond the commonplaces of daily routine: to develop a critical attitude which taps new forms of collectivity and therefore has more levels of resistance.To prevent us from superficiality, I think, the only path to health is a strategy for the liberation of our audiences, which implies that we should strive for a dissonant clarity in our work and the spectators alike. To take an agenda like this from theory to practice, we can learn a lot from the long 'reflexive' or 'dialogic' tradition in the visual arts, theatre, film, literature, design, architecture, etc. The dialogic tradition has a number of aspects which do not

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Jan van Eyck Akademisi için afiﬂ Poster for Jan van Eyck Academy

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düflünceyi oluflturma sorumlulu¤unu üstlenir. Yani, bir arac› olarak tasar›mc›n›n kendisini bir vizyonla, inatç› yorumlar ve aç›klamalar için temel alaca¤› idealist bir duruflla donatt›¤›n› varsayan karfl›l›kl› iletiflime dayanan tasar›m; keflfetmekle, düflünceyi yans›tmakla, geleneksel olmayan bir biçimde (ilüzyonist olmayan bir yolla) hikâye anlatmakla ilgilidir. Tasar›mc›n›n bu öznel arac›l›¤›, genellikle bize sunulan temsillerin geleneksel biçimleriyle etkilefliminde cereyan eder. Sonuç ise, izleyenleri ve okuyanlar› üçlü bir diyalo¤a çeken, mesaj›n iç diyalo¤unu kendi deneyimleri ve geçmiflleriyle iliflkilendirmelerini sa¤layan, (içinde ve aras›nda, çeflitli yüzeylerde) iç diyalektik oluflturan bir tasar›m parças›d›r. Bafllanmas› gereken seviye görsel oland›r. Jean-Luc Godard'›n sözleriyle: “Görsel olan ve imaj aras›nda kesin bir ayr›m yapmal›y›z. ‹maj, türlü kuvvet alanlar› aras›ndaki yüzleflme cephesidir. Kendi ötekili¤ini, gerçekli¤iyle yüz yüze ifade etmeye mahkumdur: daima bir yokluk, ayn› zamanda da bir dolgu vard›r. ‹maj daima kendisinden hem daha fazla, hem daha azd›r; oysa görsel olan hiçbir zaman organlar›m›z›n coflkun ispat›ndan daha fazla olamaz.” Günümüzde tasar›m›n sorunu; öznel anlat›c› ve yorumlay›c› bir unsur olarak imaj yerine, gerçekçi bir taklit ya da

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play any role in classical design. First of all, dialogic design is integral design. In terms of both content and form it is aimed at conferring meaning, and it assumes responsibility for the formation of opinion in the public domain striving for the emancipation of the population as a genuine social and democratic interest. That means that it is about exploration, reflection and story telling in a nonconventional (non-illusionist way) - presupposing that the designer, as a mediator, has armed her or himself with a vision, with an idealistic position as a foundation for recalcitrant interpretation and commentary. This subjective intervention of the designer takes place in interaction with the conventional forms of representation that we are usually offered. The result is a design piece with an internal dialectics(on, and between, the several levels), that invites the viewers and readers to triangulate, to relate the inner dialogue of the message to their own experiences and background.' The level to start with is that of the visual. In the words of Jean-Luc Godard: 'We should make a clear distinction between the visual and the image. The image is at the front of the confrontation between a variety of force fields. It is condemned to express its otherness vis-a-vis reality:

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süsleme olarak görsel olandan daha fazla büyülenmemizdir. ‹maj, iç diyalo¤u sayesinde bir alg›dan çok daha fazlas›, (gelenek ve vizyonun) tasviri ve yorumunun diyalekti¤ini de aç›¤a ç›karan kurmacan›n efli¤inde gerekli bir yap›d›r. Dikkat edilmesi gereken baflka bir nokta da tasar›mc›n›n, müflterinin gündemini nas›l yorumlad›¤›d›r. Bir tasar›m her zaman ço¤ul bir derlemedir; müflterinin iste¤iyle, tasar›mc›n›n bunu nas›l idare etti¤i aras›nda bir düzenlemedir. Elbette müflterinin ve tasar›mc›n›n gündemlerinde ortak bir fleyler de vard›r, ancak genellikle di¤er seviyelerde farkl›laflabilirler. Bu, bir fleyi yapabilece¤imizi ve baflka bir fleyi yapamayaca¤›m›z› kavramak için stratejik bir içgörüyle hareket etmemiz gereken noktad›r. Bir ifl sorumlulu¤u bask›s› alt›nda, bu her ne kadar aflikâr görünse de; tasar›m›n her zaman, arac› olan tasar›mc›n›n 'anlat›c›' bir müdahalesi olarak tan›nabilir (deneyimlenmifl) olmas› gerekir. Bu, müflteri ç›karlar›n›n hakimiyeti ve kendi disiplinimize ait yap›lar›n, Félix Guattari'nin 'arac›n›n tutarl›l›k düzlemi' dedi¤i, tasar›mc›n›n, zihniyeti ve ifadenin biçimleri taraf›ndan sunulan ve bir arada tutulan bir yüzeyde, bir tak›m radikal programlay›c› ve sembolik müdahalelerle beraber mesaj›n içinde gösterilmesi demektir. Mesaj›n çok-boyutlulu¤u,

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there is always an absence, but there is also a hard core. The image is always both more and less than itself, while the visual is never more then an ecstatic verification of our organs'. The problem of design today is that we are more fascinated by the visual as a realistic imitation or decoration, and not by the image as a subjective narrative and interpretative element. While the image, because of its internal dialogue, is much more than a perception. A necessary construction on the brink of fiction, that reveals the dialectic of description and interpretation (of convention and vision). Another thing to pay attention to is the designer's interpretation of the client's agenda. A design is always a plural composition, a make-up of what the client wants and of how the designer handles it. The agendas of the client and the designer have something in common, of course, but they can differ widely at other levels. And that is where we have to use our strategic insight to ensure that we can do one thing and cannot not do the other. But no matter how explicit this may be under pressure of the commission situation, it should always be recognisable (experienced) as a 'narrative' intervention of the designer as a mediator. This implies that the dominance of the client's interests and our own

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Sergi afiﬂi Poster for an exhibition

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tasar›mc›n›n üslupsal bir monolo¤u içine bohçalanamaz. Metin, imaj, derleme, vb., art›k sorunsuz bir flekilde birbirlerine oturamaz; bu da farkl› unsurlar aras›ndaki dinamizmin, stereotipler, üsluplar ve di¤er geleneklerin bozunmalar› ve taklitleri fleklinde bir oyun içinde sürdürülmesi gerekti¤i anlam›na gelir. Buradan hareketle, deneyimimizi ve içgörümüzü karfl›l›kl› iletiflime dayanan dil kullan›m›n›n, belirleyici, gramere dayal› ve konuflkan ifllevleriyle geniflletmek, kavramsal ve ampirik, ayn› zamanda bilinçli ve sezgisel bir sözdizimi gelifltirmek için uzun dönemli bir yat›r›ma ihtiyac›m›z oldu¤unu söyleyebiliriz. Bu çok sesli anlat›, hem multi-medya gelece¤imize uygun, hem de klasik modernizmin ve postmodernizmin ayaklar› alt›ndaki hal›y› çekip atabilir. Her ikisi de, kendi kullan›m›m›z› yaratabilmek için her türlü kaynaktan, yüksek ve alt kültürden gelen, reklamlardan, popüler ve di¤er dünyalardan çal›nan kültürel malzemeden oluflan, bir dil kullan›m›yla birleflen çok katmanl›, iliflkisel bir dünya kavram›yla yer de¤ifltirmifltir. Görsel iletiflimin karfl›l›kl› iletiflime dayanan ya da dönüfllü gelene¤ini yeniden kazanmadan önce, hâlâ yap›lmas› gereken pek çok ifl oldu¤u apaç›k ortada. Gene de, kültürel bir araç olarak; bence, kavray›fl ve bilginin tart›flmac›, tüketmeyen biçimlerini yeniden

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disciplinary edifices are demonstrated in the message together with a number of more or less radical programmatic and symbolic interventions, presented and kept together by what Félix Guattari calls the 'mediator's plane of consistency' - by the designer's mentality and forms of expression. That multi-dimensionality of the message cannot be packaged by the designer in a stylistic monologue. Text, image, composition, etc. can no longer fit seamlessly into one another, which means that the dynamism between the different elements has to be maintained in a play of distortions and pastiches of stereotypes, styles and other kinds of conventions. From this follows that we need a long-term investment, in expanding our experience with, and insight into, the signifying, grammatical and communicative functions of dialogic language use, to develop a vocabulary that is conceptual and empirical, conscious and intuitive at the same time. This narrative polyphony, also adequate to our multi-media future, pulls the carpet from under the feet of classical modernism and postmodernism. Both are replaced by a multi-layered, relational concept of the world, in combination with a language use made up of cultural material from all kinds of provenances, from high and low culture, stealing from the commercial, popular and all

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canland›rmak aç›s›ndan bu son derece önemli. Yani, dünyay› daha gerçekçi bir yolla tasarlamam›za, deneyimlerimizi paylaflmam›za ve ifade etmemize olanak sa¤layan metodolojik bir araç. Ancak bundan sonra, Barbara Stafford'un hakk›nda konufltu¤u 'yeni imgeciler' gibi, yeniden görsel gazeteci ya da görsel yönetmenden bahsedebiliriz. Bana göre, medyadaki söz konusu e¤ilimlere bak›ld›¤›nda, iletiflim tasar›mc›lar› büyük bir mücadeleyle karfl› karfl›yad›r. Kültür endüstrisinde yer alan di¤er uygulamac› entelektüellerle birlikte, kamu yarar›n› gözeten, kültürel sermayenin görünüflte silinen bölümüne yeniden yat›r›m yapmal›y›z. Fakat Pierre Bourdieu'nün gösterdi¤i gibi, mücadele sembolik alanda görsel mesaj›, hakiki deneyimlerimizle, daha gerçekçi bir tarzda ba¤layan bir eylemin, görünür k›l›nmas›n› amaçlayan manevralar›n s›n›rs›z sahas›nda gerçeklefliyor.

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other worlds to make our own use of it. It will be clear that a lot of work still has to be done before we have recuperated the dialogic or reflexive tradition of visual communication. As a cultural instrument, however, it is, I believe, incredibly important for the revitalisation of the argumentative, nonconsumptive forms of cognition and information. A methodological tool that enables us to map the world in a more realistic way, to share and express our experiences. Only then we could speak again of the visual journalist, or visual director, as the 'new imagist' that Barbara Stafford talks about. I think that, given the trends in the media, communication designers are faced with a major challenge. Along with other practical intellectuals in the culture industry, we stand for a reinvestment in the apparently written off part of cultural capital that serves the common interest. Practical intellectuals often assume there is no room for that in the present setup. But as Pierre Bourdieu has shown, the challenge lies in the unlimited room for manoeuvre in the symbolic field, in aiming for more transparent action; an action that connects the visual message in a more realistic manner with our experiences in the real.

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1962 Eberswalde, Almanya do¤umlu. Berlin Sanat Yüksek Okulu'da (Kunsthochschule Berlin) grafik tasar›m e¤itimini tamamlad›ktan sonra, Do¤u Almanya'da serbest grafik tasar›mc› olarak çal›flt›. 1994'ten beri Berlin Sanat Üniversitesi, Görsel ‹letiflim Bölümü'nde Profesör olarak görev yapan e¤itimci, tasar›mc›, ve ilüstratör Henning Wagenbreth, 2003'ten beri AGI, Alliance Graphique Internationale üyesidir. Tel-Aviv Center for Design Studies, Hochschule für Künste Bremen, Akademie der Künste Stuttgart, La Chambre Brüksel, Filmacademy Ludwigsburg, Hong-ik University Seul, John Moores University Liverpool, University of Applied Arts, Institute for Design, Viyana'da konuk e¤itmenlik yapm›flt›r.

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Henning Wagenbreth was born in 1962, Eberswalde, former German Democratic Republic. After the graphic design education in Kunsthochschule Berlin, he began to work as a freelance graphic designer in East Germany. In 1992-93, he was invited for one year residence in Paris on fellowship for a German-French artists exchange. Between 1993-94, he worked as instructor for illustration at the Kunsthochschule Berlin. Since 1994 Prof. Wagenbreth is a lecturer in Visual Communication Department of the Berlin Arts University. As a designer, academician and illustrator, Wagenbreth is a member of AGI, Alliance Graphique Internationale since 2003. He teached as guest instructor at the Tel-Aviv Center for Design Studies, Hochschule für Künste Bremen, Akademie der Künste Stuttgart, La Chambre Bruxelles, Filmacademy Ludwigsburg, Hong-ik University Seoul, John Moores University Liverpool, University of Applied Arts, Institute for Design, Vienna.

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Macbeth, Tiyatro afiﬂi Poster for a play

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RÖPORTAJ INTERVIEW: S‹NAN N‹YAZ‹O⁄LU

Serbest çal›flan bir sanatç› olman›n ya da kendi stüdyonuzu iflletmenizin avantajlar› nelerdir? Neden serbest çal›flmaya karar verdiniz? Ya da büyük bir flirketin tasar›mc›s› olmak yerine, neden ba¤›ms›z bir tasar›mc› olmay› seçtiniz?

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Ald›¤›n›z ifllerin seçiminde, çal›flma zamanlar›nda ve sanatsal kararlarda serbest olman›z bir avantajd›r. Do¤u Almanya'da büyüdüm, oradaki günlük yaflam, konuflma özgürlü¤ü, ifl seçimi ve siyasi angajman aç›s›ndan oldukça s›n›rl›yd›. Her zaman sisteme sempati duydu¤unuzu ifade etmek zorundayd›n›z. Ama sanatç›lar ve tasar›mc›lar alternatif fikirlerle ba¤›ms›z bir alan yaratabilirler. 20 yafl›ndayken grafik tasar›m› okumaya karar vermemin bir nedeni buydu. Ö¤renimimden önce, Berlin'e, küçük bir ofset poster bas›mevinde çal›flmaya gittim ve patronum bana neredeyse her fleyi gösterdi. Bu makineden ve bütün bas›m sürecinden büyülenmifltim. Bas›mevi sahibinin büyükbabas› 40'l› y›llarda hâlâ litografi kullan›yormufl. Binada birçok ilginç, eski makine vard›. Berlin'de ö¤renimimi tamamlad›ktan sonra, temalar› nas›l ifade edece¤im konusunda kendi fikirlerimin peflinden gitmeyi tercih ettim. Kendi görsel dilimi gelifltirebilece¤im bir tiyatro buldu¤um için flansl›yd›m. Onlar bir tiyatro oyununun provas›n› yaparlarken, oyunu kendim de okudum ve kendi bak›fl aç›m› gelifltirdim. Oyuncular›n foto¤raflar›n› ya da baflka

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What are the advantages of being a freelancer, or operating your own studio? Why did you decide to be a freelancer? Or, why did you choose to be an independent designer, instead of a designer of a large corporation? The advantage is the free choice of jobs you take, working time and artistical decisions. I grew up in East Germany where the daily life was quite restricted in terms of the freedom of speach, choice of work and political engagement. You were always forced to confess your sympathies to the system. But artists and designers could develop some independent space with alternative ideas. That was one reason to study graphic design when I was 20 years old. Before my studies I went to work in a little offset poster printery in Berlin and my boss showed me how to do almost everything. I was fascinated by this machine and the whole printing process. The grandfather of the printer used still lithografie in the fourties. He had many old interesting machines in his building. Since I finished my studies in Berlin I prefered to follow my own ideas how to express themes. I was lucky to find a theater where I could develop my own visual language. When they rehearsed a theatre play I read the play by myself and developed my own point of view. They didn't forced me to to use photographs of the actors or other material. They understood that in is way the

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Tout au fond de la tête, Sergi afiﬂi Poster for an exhibition

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materyalleri kullanmam için beni zorlamad›lar. Bu flekilde tiyatronun son derece kendine özgü bir görsel kimlik edindi¤ini anlad›lar. Son zamanlarda, daha çok kendi projelerimi üretip satmay› tercih ediyorum. ‹flinizi nas›l tarif edersiniz? “Tasar›mc›” ad› yan›nda, mesle¤inize verdi¤iniz baflka bir ad var m›? Ö¤renimime bafllarken, sanatç› olmay› hiç istemedim. Sanatç›n›n, yaln›zca kendisini düflünen ve sonras›nda, sonucun kamu yarar›na olup olmad›¤›n› önemsemeden, halk› kendi düflüncesinin ifadesiyle karfl› karfl›ya b›rakan biri oldu¤unu düflünüyordum. Buna karfl›l›k, tasar›mc›lar›n kamusal çat›flmalarla u¤raflmas› gerekti¤ini savunuyordum. Ama ço¤unlukla baflka insanlar›n sorunlar›n› çözmek zorundad›rlar. Bir tasar›mc› olarak çal›fl›yorsan›z, müflterilerin ço¤u, tasar›mc›n›n yaln›zca güzel bir biçim bulmas› gerekti¤ini, ürünün güzel ya da sat›labilir görünmesi gerekti¤ini düflünüyor. Ama hemen, tüm içerik sorunlar›yla derinden ilgilenmeye bafll›yorsunuz. Müflterilerimin fikirlerine inanmazsam, hiç kimseyi ikna edemem. Bugün, iyi sanatla iyi tasar›m aras›nda çeliflki olmad›¤›n› düflünüyorum. Her ikisi de insan varoluflunun çat›flmalar›n›n kökenlerine inmek zorunda. ‹kisi de flafl›rt›c›, al›fl›lmam›fl

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theatre gets a very unique visual identity. The last time I prefere more and more to create my own projects and to sell them afterwards. How would you describe your job? Is there a name that you call your profession, besides the title 'designer'? When I started my studies I never wanted to be an artist. I thought, an artist is someone who just thinks of himself and then confronts the public with the expression of his thinking, no matter if the result is of any public interest. In contrast, I thought, designers have to deal with public conflicts. But mostly they have to solve other people problems. If you work as a designer most of the clients think, the designer has just to find a good form, the product has to look good or sellable. But immediately you are deeply involved in all the questions of the content. I cannot convince somebody, when I don't believe in my clients ideas. Today I think, there is no contradiction between good art and good design. Both have to go to the roots of the conflicts of the human existence. Both have to search for surprising, unused forms of expression. There are many objective criteria for the arts and subjective criteria for design. There is the word which calls my profession illustrator. But I

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ifade biçimleri aramak zorunda. Sanat için birçok nesnel kriter, tasar›m için de birçok öznel kriter vard›r. Mesle¤im için ilüstratörlük kelimesi kullan›l›yor. Ama bu terimin yay›nc›l›k ya da reklamc›l›k dünyas›nda kullan›l›fl flekline genelde kat›lm›yorum. ‹lüstrasyon, bir fleyi dekore etmek, onu güzel göstermek demek de¤ildir. En derin anlam›yla ilüstrasyon, bir imajla kelimeler aras›ndaki iliflkiyi tan›mlar. Ayn› zamanda çizimlerin kitle iletiflim araçlar›nda kullan›lmas›n› tan›mlar. ‹lüstrasyon özel bir çizim türüdür. ‹lüstrasyonlar iletiflim kal›plar›n› kullanan okunur, anlafl›l›r çizimlerdir. Ders verirken ilüstrasyonu yaln›zca medya ve bütün görsel iletiflim süreci ba¤lam›nda ö¤retiyorum.

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mostly disagree how the term is used in the world of editing or advertising. Illustration does not mean to decorate someting, to make it look good. Illustration in the deeper sense describes the relationship between an image and words. It also describes the use of drawings in mass medias. Illustration describes a special kind of a drawing. Illustrations are readable drawings, understandable drawings which use stereotypes of communication. When I teach, I teach illustration only in the context with the media and the whole process of visual communication.

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Rehaklinik, Kendi yay›n› Self edited print Mystic Avenue, Kitap kapa¤› ilüstrasyonu Illustration for book cover

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Tasar›m sürecinin tek bir kifliyle tamamlanmas›n›n güç oldu¤una inan›yorum. Di¤er mesleklerde oldu¤u gibi, iflinizi yapmak için baflka kiflilerle ya da flirketlerle iliflki kurman›n özel bir yolu var m›? ‹lk ifllerimden biri, Do¤u Almanya Çocuk Televizyonu için befl dakikal›k bir çizgi film tasar›m›yd›. Kitab› al›p sahneleri ve karakterleri oluflturdum ve k›sa süre sonra bu küçük filmin yönetmeniyle büyük bir tart›flmaya girdim, çünkü onun çocuklar›n çizdi¤im dünyadaki ironiyi anlama yeteneklerini küçümsedi¤ini düflündüm. Elbette ki, o günlerde televizyonda görmeye al›flk›n oldu¤umuzdan farkl› bir görsel dünya tasarlamak istedim. Sonuç olarak, fikirlerimin yaln›zca baz›lar›n› gerçeklefltirerek bütün projenin hedefine göre kendimi ayarlamak zorunda kald›m. Sonraki en iyi deneyimim, karakterlere kamera önünde hareket veren kad›nla, sonras›nda seslendirmeyi yapan oyuncularla ve filmin sesini gerçeklefltiren adamla yapt›¤›m iflbirli¤i oldu. Bu büyük bir tak›m çal›flmas›yd› ve karakterlerimin anlam›n›n hareket ve sesin etkisiyle ne kadar de¤iflti¤ine flafl›rm›flt›m. Bugün, harf tasar›m›ndan, tipografiden ilüstrasyona hatta yaz›m›na kadar kitaplar›m› tek bafl›ma tasarlarken, hiçbir uzlaflma zorunlulu¤u olmadan her fleye tek bafl›ma karar verdi¤im için mutluyum. Ama bu özgürlük ayn› zamanda insan› çok yaln›zlaflt›r›yor. ‹flbirli¤ini, tart›flmalar› ve baflka insanlar›n ve fikirlerin etkisini özlüyorum.

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I believe that the process of design is difficult to accomplish by a single person. Like other professions, is there a special means of forming relationships with other persons or enterprises in order to carry out your work? One of my first jobs was the design of a five minute cartoon film for the East German Children TV. I got the book and made up the scenes and the characters and was soon in big discussion with the director of this little movie, because I thought, he underestimated the ability of the children to understand the irony of the world I have drawn. I of course wanted to design a visual world which was different from the one which was usually seen on TV those days. Finally I had to arrange myself with the aim of the whole project not without to achieve some of my ideas. The best experience afterwards was the collaboration with the woman who moved my characters under the camera and later the actors who gave their voice and the man who made the sound of the movie. That was a great team work and I was surprised how much the meaning of my characters was changed under the influence of movement and sound. When I design my books today alone, from typeface design, typography to the illustration, or even writing I am happy to decide everything alone without any compromises. But this freedom makes one quite lonely too. I miss the collaboration, the debate and the influence of other people and ideas.

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Tobot World, Serigrafi Silkscreen

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Çal›flman›z›n karakteristik özelliklerini temsil eden befl anahtar kelime seçebilir misiniz? Basitlik, aç›kl›k, anlafl›l›rl›k, güç, ifade, rahats›zl›k. Yukar›daki anahtar kelimeleri seçme nedenleriniz nelerdir? (Anahtar kelimeler beflle s›n›rl› kalmak zorunda de¤il. Beflten az ya da çok olabilir, ama çal›flman›z›n karakteristik özelliklerini fiilen kapsamal›.) Basitlik, aç›kl›k Bir ilüstrasyon ya da poster yaparken, karmafl›k düflünceleri içerik ve biçim aç›s›ndan en basit fikre indirgemeye çal›fl›yorum. Düflünce de¤il, ama ifade edilme flekli basit olmal›. Anlafl›l›rl›k Biçim ve fikir düflüncede o kadar aç›k olmal› ki herkes anlam›n› ç›karabilmeli. Herkesin tam olarak anlad›¤› fley her zaman farkl› olacakt›r, ama genel mesaj iletilmelidir. En iyi çal›flma bir tür etkileflim yarat›r. Tasar›mc› bir düflünce sunar ve izleyici düflünme sürecini sonuçland›r›r. Güç, ifade Çal›flmam görülmeli. Resimler sizi içine çekmeli. Birini resimlerimle hipnotize edebilirsem ne mutlu bana.

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Can you select five key words that represent the characteristics of your work? Simplicity, clarity, comprehensibility, power, expression, disturbance. What are the reasons for selecting the above key words? (The key words do not have to be restricted to five. It can be more or less than five, but should implicate the characteristics of your work effectively.) Simplicity, clarity If I do an illustration or poster I try to come down to the most simple idea in terms of content and form for complex thoughts. The thought should not be simple but how it has to be expressed. Comprehensibility The form and the idea has to be so clear in the thought that everybody should be able to understand the meaning. What exactly everybody understand will be always different, but the general message should be transmitted. The best work produce a kind of interactivity. The designer offers one thought and the audience finishes the thinking to a result. Power, expression My work should been seen. Pictures have to suck you in. I would be happy if I could hypnotise somebody with my pictures. Disturbance

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Bertolt Brecht, Çizgi dizi Comic strip

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Rahats›zl›k Dikkat çekmek için, al›flkanl›klar› içine gömülmüfl insanlar› rahats›z etmelisiniz. Bir resim kültürünün geliflmesi için, modernlik için, araçlar›n›z da güncelse, her gün denemelisiniz. Yeni biçimler ve fikirler rahats›zl›k vericidir. Eski, unutulmufl biçimlerin yeniden kullan›m› da yenilik yaratabilir. ‹nsanlar› rahats›z etmeyi baflarm›flsan›z, bir fleylerin tam da üstüne basm›fls›n›zd›r. Bofl zamanlar›n›z› genelde nas›l geçirirsiniz? Berlin Sanat Üniversitesi'nde ö¤retmenlik yapmaya bafllad›¤›mdan beri, kendi projelerim üstünde çal›flmak bofl zamanlar›m› geçirme yolum oldu. Kendi iflimdeyken, ifl ile bofl zaman aras›nda çok fark olmuyor. Yüzerken, yürüyüfl yaparken, okurken ya da seyahat ederken, projelerim hakk›nda düflünüyorum. Barlara, konserlere, tiyatrolara ya da sinemaya gitmek, kendimi baflkalar›n›n ba¤lam›na oturtmak aç›s›ndan önemli, öncelikle de ilüstratörlerin iflinin yaln›zl›¤›nda kaybolmamak aç›s›ndan. Alt› yafl›ndaki o¤lumla oynarken ya da çizerken, fikirler gelifltiriyoruz. O¤lumun e¤lenceli bir hayal gücü var ve bana birçok fikir vermifltir. Canavarlar, uzay gemileri ve savafllar›, iyi adamlar ve kötü adamlar çizmekte çok usta.

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To get attention you have to disturb people in their habits. For the development of a culture of pictures, for modernity you have to proof daily, if your tools are still up to date. New forms and ideas are disturbing. The recycling of old forgotten forms cans be new too. If you succeed to disturb people you might have hit the nail on the head.

How do you usually spend your leisure time? Since I teach at the University of Arts Berlin, working on my own projects is my leisure time. In my own work I do not make a big difference between work and leisure. When I swim, hike, read or travel I think about my projects. Going to bars, concerts, theaters or movies is important to put myself in context to the others, first of all not to get lost in the lonelyness of the illustrators job. When I play or draw with my six year old son, we develope ideas. My boy has a funny imagination and he gave me many ideas. He is a big master in drawing monsters and spaceships and battles, good and bad guys.

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Space Hawk, Dergi kapa¤› ilüstrasyonu Illustration for magazine cover

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Tasar›m›n›z›n nedenleri ve amaçlar› nelerdir? Kendimi ar›yorum, ayn› zamanda yaflamak için çok güzel bir ifl. “Tasar›m” terimini nas›l tan›mlars›n›z? Bunun yan›nda, tasar›m›n yaflam›n›zdaki anlam› nedir? Bu soruya, tasar›m ve sanat aras›ndaki iliflki hakk›ndaki ikinci soruda cevap vermeye çal›flt›¤›m› düflünüyorum. Tasar›m›n›z için ilham› nereden al›yorsunuz? Çal›flman›za ilham bulmak için baz› faaliyetleriniz ya da al›flkanl›klar›n›z var m›? Baflka ülkelere gitmek ilham bulmak için her zaman iyi bir yoldur, çünkü baflka bir toplumun farkl› görsel kodlar›na al›flk›n de¤ilsinizdir. Sokaklardaki panolar, ambalajlar, evler, arabalar ve insanlar farkl› görünür ve insanlar da farkl› davran›rlar. Kâ¤›t üzerinde bir dünya yaratmaya çal›fl›rken ne yapt›¤›n›z› görürsünüz orada: Farkl› bir dünyan›n nas›l göründü¤ünü ve nas›l iflledi¤ini. Neyin daha iyi olabilece¤ini ya da neyin kötü oldu¤unu anlars›n›z. Eski yay›nlar, mizah dergileri, çizgi filmler gibi popüler iletiflim araçlar›n›n üzerimde etkisi vard›r.

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What are the reasons and purposes for your design? It is the search for myself and a wonderful job to live on. How would you define the term 'design'? Furthermore, what significance does design have in your life? I think I tried to answer this question in the second chapter about the relationship between design and art. Where do you find the inspirations for your design? Are there any actions or habits to find inspirations for your work? Going to other countries is always a good way to find inspiration, because you are not used to the different visual code of another society. Panels in the streets, packagings, houses, cars and people look different and they behave different too. You see what you do when you try to invent a world on paper: How looks a different world and how does it function. You try to find out what could be better or what is worse. I am influenced by popular medias of the past like prints, comics, cartoons I am influenced by popular medias of the past like prints, comics, cartoons.

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Plastic Dog, Çizgi dizi Comic strip

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Tobot My Street, Serigrafi Silkscreen

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After You’ve Gone..., Tiyatro afiﬂi Poster for a play

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MO RT EZ A MO MA YE Z

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Morteza Momayez An›s›na

In Memory of Morteza Momayez

Morteza Momayez 1998'de Grafist'e konuk oldu. Ö¤rencilerle atölye çal›flmas› yapt›, deneyimlerini paylaflt›. Uluslararas› tasar›m seminerinde ‹ran grafik tasar›m› ve kendi iflleri hakk›nda konufltu, örnekler gösterdi.

Morteza Momayez was Grafist's guest in 1998. He realised workshops with students and shared his experience with them. He gave talks on Iranian graphic design and on his own works and he also gave examples from his own products at International design seminars.

Morteza Momayez 1936'da Tahran'da do¤du. 1964'te Tahran Üniversitesi Güzel Sanatlar Fakültesini bitirdi. 1969'da Paris'te lisansüstü e¤itimini tamamlad›. Genç yaflta kitap, gazete dergi ilüstratörü olarak meslek yaflam›na bafllad›. Uzun süren tasar›mc›l›k kariyeri boyunca tiyatro dekorundan animasyona, ilüstrasyondan tipografiye, kitap ve dergiden afifle, para tasar›m›ndan kurumsal kimli¤e kadar birçok alanda ürün verdi. Grafik tasar›m konusunda yaz›lar yay›nlad›. Tahran'da, çeflitli üniversitelerde ders verdi. ‹ran Grafik Tasar›mc›lar Derne¤i'nin baflkanl›¤›n› yapt›. 1977'de Alliance Graphique Internationale'e (AGI) üye seçildi. Çal›flmalar› uluslararas› yay›nlarda yer ald›. ‹ran'da ve birçok ülkede sergi açt›, sergilere kat›ld›. Ülkesinde karfl›laflt›¤› olumsuzluklardan y›lmad›; ömrünü iyi bir tasar›mc› olmaya, iyi tasar›mc›lar yetifltirmeye, ‹ran grafik tasar›m›n›n standartlar›n› yükseltmeye, meslektafllar›n› ve ö¤rencilerini ça¤dafl dünya tasar›m› ile buluflturmaya adad›. 2005'de bu dünyaya veda etti.

Morteza Momayez was born in Tehran in 1936. He graduated from the Fine Arts Faculty, Tehran University in 1964. He did his professional studies in Paris in 1969. He began his professional life at a very early age, as an illustrator of books, newspapers, and magazines. Throughout his long career as a designer, he produced works in many different fields from theatre props to animations, from illustrations to typography, from books and magazines to posters, and from making moneydesigns to designs for institutional identity. He published articles on the subject of design. He taught courses at various universities in Tehran. He became the Director of Iranian Graphic Designers' Association. He was chosen member of the Alliance Graphique Internationale in 1977. His works were printed in international publications. He opened exhibitions and participated in exhibitions in Iran and in many other countries. Morteza Momayez was not defeated by the difficulties and negative reactions in his own country; he dedicated his life to become a good designer, to train good designers, to raise the standarts of Iranian graphic design, to bring his colleagues and students and the contemporary world design together. He departed from this world in 2005.

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Morteza Momayez, Grafist 2, 1998

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Sergi afiﬂi Poster for an exhibition

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Tribute to Pablo Neruda, Afifl Poster, Music from Northen Khorasan, Afifl Poster First Asian Graphic Design Biennale. Tehran, Afifl Poster

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“‹ NA DI NA YU RD AE R” “Y UR DA ER ,R EL EN TL ES SL Y”

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1935 y›l›nda do¤du. Güzel Sanatlar Akademisi, Afifl Atölyesi’nin yüksek bölümünden 1957’de mezun oldu. K›sa süren reklam ajans› deneyimlerinden sonra ba¤›ms›z çal›flmay› seçti. 1964’te Türk Alman Kültür Merkezi’nde açt›¤› ilk kiflisel sergisi, Türkiye’de gerçeklefltirilen ilk grafik tasar›m sergisidir. 1965 y›l›nda Almanya’da yay›nlanmakta olan Gebrauchsgraphik dergisinde ifllerinin yay›nlanmas›yla bir d›fl yay›nda iflleri yer alan ilk Türkiyeli grafik tasar›mc› oldu. 1960’lar›n ikinci yar›s›ndan bafllayarak, yurtd›fl›nda gerçeklefltirilen çok say›da grafik tasar›m etkinli¤ine iflleri kabul edildi. Türkiye grafik tasar›m›n›n yurtd›fl›nda tan›n›rl›¤›n› sa¤lamak için giriflimlerde bulundu. 1968’de Grafik Sanatç›lar Derne¤i’nin kurulmas›na öncülük etti. Yapm›fl oldu¤u Nasreddin Hoca resimlemeleri 1974 y›l›nda ‹ngiltere’de kitap haline getirilerek yay›nland›. 1976’da ‹DGSA Uygulamal› Endüstri Sanatlar› Yüksek Okulu’ndaki (UESYO) ö¤retim görevlili¤inden bafllayarak 2002’de Mimar Sinan Üniversitesi Güzel Sanatlar Fakültesi Grafik Bölümü’nden emeklili¤ine kadar grafik tasar›m e¤itimi alan›nda farkl› roller üstlendi. ‹lki 1982’de olmak üzere, 1987’den 1993’e kadar Grafikerler Meslek Kuruluflu’nun baflkanl›k görevini yürüttü. 1996 y›l›nda 60. yafl günü nedeniyle uluslararas› ça¤r›l› afifl sergisi düzenledi. Halen grafik tasar›m alan›nda ürün vermeye devam etmekte olan Alt›ntafl’›n çal›flmalar› dünyada çeflitli müze ve arflivlerde yer almaktad›r.

“‹nad›na Yurdaer” Grafik tasar›mc›n›n tiyatro / sinema afiﬂleri ve resimlemeleri üstünden bir portresi Yap› Kredi Kültür Sanat Merkezi, Sermet Çifter Salonu 7 Nisan – 6 May›s 2006 Yap› Kredi Kültür Sanat Yay›nc›l›k A.ﬁ. taraf›ndan Mimar Sinan Güzel Sanatlar Üniversitesi, Güzel Sanatlar Fakültesi, Grafik Tasar›m Bölümü'nün katk›lar›yla düzenlenen

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Yurdaer Alt›ntaﬂ was born in 1935. He graduated from the advanced level of the Poster Workshop of the Academy of Fine Arts in 1957. He worked for advertisement agencies for a short while, but then chose to be freelance artist. His first solo exhibition at the Turkish-German Cultural Center in 1964 is the very first graphic design exhibition in Turkey. He became the first Turkish graphic artist whose works were published abroad when the German journal Gebrauchsgraphik published his works in 1965. His works were accepted and exhibited in a variety of graphic design activities abroad starting with the second half of the 1960s. He endeavored to achieve the recognition of Turkish graphic design in foreign countries. He initiated the foundation of the Association of Graphic Artists in 1968. His Nasreddin Hodja illustrations were collected in a book and published in England in 1974. He began to teach at the College of Applied Industrial Arts of the Istanbul State Academy of Fine Arts in 1976. He took on various educational posts in graphic design until he retired from the Graphics Department of the Faculty of Fine Arts of the Mimar Sinan University in 2002. He was the president of the Turkish Society of Graphic Designers (GMK) first in 1982 and then from 1987 until 1993. In 1996, he organized an international poster exhibition by invitation to celebrate his 60th birthday. Currently, Yurdaer Alt›ntaﬂ continues to produce graphic works. Many museums and archives in the world house the artist’s works.

“Yurdaer, Relentlessly” Portrait of a graphic designer through his theater / cinema posters and illustrations Yap› Kredi Kültür Sanat Merkezi, Sermet Çifter Salonu April 7 – May 6, 2006 The exhibition “Yurdaer, Relentlessly”, organised by Yap› Kredi Culture, Arts and Publishing Co. with the contributions of the

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“‹nad›na Yurdaer” Sergisi “Yurdaer, Relentlessly” Exhibition In Memoriam Buñuel, Film Festivali afiﬂi Poster for Film Festival

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“‹nad›na Yurdaer” sergisi, 7 Nisan-6 May›s 2006 tarihleri aras›nda, Yap› Kredi Kültür Sanat Merkezi, Sermet Çifter Salonu'nda aç›ld›. Yurdaer Alt›ntafl, üretti¤i ifller, e¤itimde üstlendi¤i görevler, etkin bir meslek örgütünün yap›land›r›lmas› ve ülke grafik tasar›m›n›n yurtd›fl›nda tan›n›rl›¤›n› artt›rmak için yapt›¤› giriflimler arac›l›¤›yla, Türkiye grafik tasar›m›n›n geliflimine önemli katk›larda bulunmufltur. “‹nad›na Yurdaer” sergisinde, tasar›mc›n›n 1950'lerden bugüne üretmifl oldu¤u tiyatro / sinema afiflleri ve resimlemeleri üstünden bir portresi sunuldu; bu sergi nedeniyle Alt›ntafl'›n Uygulamal› Endüstri Sanatlar› Yüksek Okulu'nda (UESYO) asistanl›¤›n› da yapm›fl olan grafik tasar›mc› Emre Senan'›n yönetiminde gerçekleflen söyleflide, Yurdaer Alt›ntafl'la birlikte, “Yurdaer Alt›ntafl” üstüne konufluldu. “Yurdaer Alt›ntafl, 'grafik tasar›m' denilen genifl kavramsal çerçevenin ilk fark›na varanlardand›r bu ülkede. Görsel iletiflimin evrensel boyut ve ilkeleri oldu¤unu ilk kavrayanlardand›r. ‘‹fl’ üretirken bu çerçeveyi hiç gözden uzak tutmad›¤›, yayg›nlaflmas› için h›rsla davrand›¤› için mesle¤inin geliflmesine önderlik etmifltir.”* Ayr›ca, sergi münasebetiyle haz›rlanarak, Yap› Kredi Kültür Sanat Yay›nc›l›k A.fi. taraf›ndan sat›fla sunulan “‹nad›na Yurdaer” kitab›nda, tasar›mc›n›n sergiye konu olan tiyatro/sinema afifllerinin ve resimlemelerinden örneklerin yan› s›ra, kendisinin mesleki hayat›n› aktarmak üzere kurgulanm›fl bir metne de yer verildi. * Emre Senan, “Ben Yurdaer Alt›ntafl'› Tan›yorum”, Arredamento Dekorasyon, Haziran 1995.

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Department of Graphic Design, Faculty of Fine Arts, Mimar Sinan Fine Arts University, has been opened at the Sermet Çifter Hall at the Yap› Kredi Culture and Arts Centre between April 7 - May 6 2006. Yurdaer Alt›ntafl has made significant contributions to the development of graphic design in Turkey with his design works with the tasks he undertook in education, and his efforts towards establishing professional organisations and to increase the appreciation of this country's graphic design in other countries. At the exhibition “Yurdaer, Relentlessly”, a portrait of the artist has been presented by means of the theatre / cinema posters and pictures the designer has produced since the 1950s; on the occasion of this exhibition, in an interview conducted under the moderation of Emre Senan, a graphic designer, who worked as Mr. Alt›ntafl's assistant at the High School of Applied Industrial Arts (UESYO), discussion sessions were held on “Yurdaer Alt›ntafl” with the participation of Yurdaer Alt›ntafl. “Yurdaer Alt›ntafl is one of the very first people in this country who became aware of the wide conceptual framework called 'graphic design'. He is one of the first to perceive the global dimension and principles of visual cummunication. He has been a leader in the development of this profession, because he never neglected this framework, when he produced his 'work', and was ambitious for this framework to be widely.”* In addition, in the book “Yurdaer, Relentlessly” prepared to be sold by the Yap› Kredi Culture, Arts and Publishing Co. on the occasion of this exhibition containing some examples from the theatre/cinema posters and illustrations shown at the exhibition, a text was also published to give an account of the professional life of the designer. * Emre Senan, “I know Yurdaer Alt›ntafl”, Arrademento Dekorasyon, June 1995.

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ﬁafak, Film afiﬂi Poster for a film

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In Memoriam Fellini, Film Festivali afiﬂi Poster for Film Festival In Memoriam Hitchcock, Film Festivali afiﬂi Poster for Film Festival

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ﬁairin Mektuplar›, Tiyatro afiﬂi Poster for a play

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Grafist’in 10 Y›l› 1 - 31 May›s 2006, MSGSÜ F›nd›kl› Kampüsü

10 Years of Grafist 1 - 31 May 2006, MSGSU F›nd›kl› Campus

Sergi dan›ﬂman›: Ak›n Nalça Yard›mc› dan›ﬂman: Ebru Üstüner Ayto¤ Ö¤renciler: P›nar Gerçek, Cihan ‹çeri, Erdo¤an Kaya, Ezgi Turan, Aren Selvio¤lu, Oya Özkan.

Advisor of the exhibition: Ak›n Nalça Assistant advisor: Ebru Üstüner Ayto¤ Students: P›nar Gerçek, Cihan ‹çeri, Erdo¤an Kaya, Ezgi Turan, Aren Selvio¤lu, Oya Özkan.

Grafist etkinli¤i 2006'da onuncu y›l›n› kutluyor. Bu önemli y›ldönümü özel bir e¤itim projesi ile gündeme geliyor. Etkinli¤in on y›ll›k serüvenini anlatan bir sergiyi düzenleme iflini, MSGSÜ Grafik Tasar›m Bölümü ö¤retim görevlisi Ak›n Nalça ve araflt›rma görevlisi Ebru Ayto¤'un dan›flmanl›¤›nda, Sergileme Tasar›m› dersi ö¤rencileri üstlendi. Sergi mekân› olarak üniversitenin F›nd›kl› Kampüsü seçildi. Ö¤rencilerden, Grafist tarihi ile ilgili araflt›rma yapmalar›, sergi küratörü gibi ifle bafllamalar›, öncelikle “nas›l bir sergi?” sorusuna yan›t aramalar› istendi. Sergi yap›m›na paralel olarak gerçeklefltirilecek belgeleme çal›flmas› sonunda herkesin yararlanabilece¤i bir Grafist arflivi oluflturulacak.

Grafist is celebrating its tenth year. This important anniversary brings a special educational project to the agenda this year. The task of organizing an exhibition telling of the ten-year story of this event has been undertaken by the students taking the course on Exhibition Design under the leadership of Ak›n Nalça, Faculty Member at MSGSU, Graphic Design Department, and of Ebru Ayto¤, Research Assistant at the same department acting as advisors. As the venue of the exhibition, the F›nd›kl› Campus has been chosen. The students were asked to do research on the history of Grafist, to start working as if they were the curators of the exhibition and, before anything else, to search for an answer to the question, “What kind of an exhibition should it be?” At the end of the documentation work carried out parallel to the organisation of the exhibition, the aim is to create the Graphist Archives everybody can benefit from.

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Proje Brifi:

Project Brief:

Grafist nedir? Grafist, Uluslararas› ‹stanbul Grafik Tasar›m Günleri bafll›kl› etkinli¤in k›salt›lm›fl ad›d›r. Grafik ve ‹stanbul sözcüklerinin ilk hecelerinden türetilmifltir.

What if Grafist? Grafist is the short name given to the activity called International Istanbul Graphic Design Days. It is derived by bringing together the first syllables of Graphics and Istanbul (Graf + Ist).

Grafist’i kim, nerede, ne zaman düzenliyor? Mimar Sinan Üniversitesi Güzel Sanatlar Fakültesi (MSGSÜ) Grafik Tasar›m Bölümü düzenliyor. GMK, Grafikerler Meslek Kuruluflu ve BGV, Bikem Özsunay Grafik Tasar›m Vakf› ile iflbirli¤i yap›yor. Grafist etkinlikleri MSGSÜ ve ‹stanbul'daki çeflitli kültür kurumlar›n›n mekânlar›nda her y›l Nisan sonu ya da May›s ay› bafl›nda gerçeklefltiriliyor.

Who organises Grafist, where and when? It is organized by the Graphic Design Department of Mimar Sinan University, Faculty of Fine Arts (MSGSU). It works in collaboration with the Turkish Society of Graphic Designers (GMK) and Bikem Özsunay Foundation of Graphic Design (BGV). Grafist activities are realised each year at the end of April or at the beginning of May in the F›nd›kl› Campus of the MSGSU and of various other cultural institutions.

Grafist’in giderleri nereden sa¤lan›yor? Grafist'in giderleri sponsor kurulufllar›n destekleriyle sa¤lan›yor. Kat›l›mc›lardan hiçbir ücret al›nm›yor. Uluslararas› statüsü nedir? Grafist, Grafik Tasar›m Dernekleri Uluslararas› Konseyi Icograda'n›n, ‘Bölgesel Tasar›m ‹flbirli¤i Program›’n›n pilot projesi olarak planlanm›flt›r. “Endorsed by Icograda”, Icograda taraf›ndan desteklenen bir projedir. Grafist baz› Icograda etkinlikleri için bir ilk olmufltur. Icograda, bütün dünyada 60'tan fazla grafik tasar›m örgütünün üye oldu¤u kuruluflun ad›d›r (www.icograda.org). Türkiye'den GMK, Grafikerler Meslek Kuruluflu (www.gmk.org.tr) Icograda üyesidir. Grafist’te ne gibi etkinlikler yap›l›yor? Bir grafik tasar›m e¤itimi organizasyonu olan Grafist program› içinde ö¤renci de¤iflimi, workshop, seminer, sergi ve yay›n çal›flmalar› yer al›yor.

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Who pays for the expenses of Grafist? The expenses of Grafist are paid with the support of sponsoring institutions. We do not charge the participants any fees. What is the international status of Grafist? Grafist has been planned as the pilot project of the Regional Design Collaboration Programme of Icograda, the International Council of Graphic Design Associations. It is a project, “Endorsed by Icograda”, that is supported by Icograda. Grafist has been the first for some Icograda activities. Icograda is the name of the graphic design organisation with more than sixty members from all over the world. (www.icograda.org). From Turkey, GMK (Turkish Society of Graphic Designers) is a member of Icograda. What kind of activities take place at Grafist? In the Grafist programme, which is an educational organization for teaching graphic design, student exchanges, workshops, seminars, and activities such as exhibitions and publications take place.

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Grafist’e kimler kat›l›yor? Türkiye'den ve dünyadan grafik tasar›m ö¤rencileri, e¤itmenler ve profesyonel tasar›mc›lar Grafist etkinliklerine kat›l›yor.

Who takes part in Grafist? Students of graphic design, educators, and profesional designers from Turkey and from all over the world take part in Grafist activities.

Grafist ilk kez ne zaman düzenlendi? ‹lk Grafist etkinli¤i Nisan 1997'de düzenlendi. Icograda program› çerçevesinde, ‹srail Tel Aviv'de faaliyet gösteren Vital Tasar›m Okulu ile yapt›¤›m›z bir anlaflmayla, 1997 fiubat ay›nda, Mimar Sinan, Marmara ve Yeditepe Üniversitelerinden on bir ö¤renci, bir e¤itimcitasar›mc› ve bir afifl sergisi ‹srail'e gitti. Ayn› y›l›n Nisan ay›nda düzenlenen Grafist 97 etkinli¤ine ‹srail'den ö¤renciler, e¤itimciler ile baflka ülkelerden profesyonel tasar›mc›lar kat›ld›.

When was Grafist first organised? The first Grafist activity was organized in April 1997. Within the framework of the Icograda programme, with the agreement we made with the Vital Design School carrying out its activities in Tel Aviv, Israel, eleven students from Mimar Sinan and Yeditepe Universities, one educatordesigner, and a poster exhibition went to Israel in February 1997. To the Grafist 97 activity organised in Turkey in April 1997, that is in the same year, students and educators from Israel and professional designers from other countries came to participate.

Grafist’e flimdiye kadar hangi ülkelerden konuklar geldi? Grafist'e flimdiye kadar, ‹ngiltere, Fransa, Belçika, Hollanda, Almanya, Finlandiya, ‹sveç, Çek Cumhuriyeti, Slovakya, Avusturya, Polonya, Rusya, Yunanistan, ‹sviçre, ‹ran, Lübnan, ‹srail, Kore, ABD, Kanada, Uruguay ve Türkiye'den profesyonel tasar›mc›lar, tasar›m e¤itimcileri, reklamc›lar ve ö¤renciler konuk oldu. Grafist konuklar› ve kat›l›mc›lar› hangi ölçütlere göre belirleniyor? Seminer, workshop ve sergi için davet edilen konuklar flu ölçütlere göre seçiliyor: 1. Uzmanl›k alan›, 2. Tecrübe düzeyi, 3. Kad›n erkek dengesi, 4. Türkiye’ye komflu ülkeler ve kültürler. Ö¤renciler için ölçütler: 1. Workshop’lar: % 50 MSGSÜ, % 25 yurtd›fl›, % 25 Türkiye Üniversiteleri, 2. Seminerlere kat›l›m için herhangi bir önkoflul bulunmuyor.

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How many guests from which countries have visited Grafist so far? So far, professional designers, design educators, advertisers, and students from England, France, Belgium, Holland, Germany, Finland, Sweden, the Czech Republic, Slovakia, Austria, Poland, Russia, Greece, Switzerland, Iran, Lebonan, Israel, Korea, the USA, Canada, Uruguay, and Turkey have been the guests of Grafist. What are the standards Grafist observes when deciding on its guests and participants? The standards applied in choosing the guests to be invited in order to give seminars, to run workshops and to open exhibitions are the following: 1. Field of specialty, 2. Level of experience, 3. The proportion of women to men, 4. Neighbour countries and cultures of Turkey. The standards used for the students are: 1. Workshops: 50 % MSGSÜ; 25 % from abroad; 25 % other Turkish universities, 2. There are no prerequisites for participating in the seminars.

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Grafist organizasyonunda kimler görev al›yor? MSGSÜ ö¤retim elemanlar› ve ö¤rencileri.

Who works in the organisation of Grafist? MSGSU faculty members and students.

Grafist’in yay›nlar›n›, bilgilendirme ve tan›t›m araçlar›n› kim tasarl›yor? Bu görev her y›l organizasyon komitesi içinden ve d›ﬂ›ndan genç tasar›mc›lara veriliyor.

Who designs the publications of Grafist and the tools of information and promotion? This task is assigned to the young designers coming from within and outside the organisation committee each year.

Haz›rlayaca¤›n›z “Grafist'in 10 Y›l›” sergisinin içeri¤i bize hangi verileri sa¤layacak? 1. Metinler: Yaz›flmalar, bas›n haberleri ve yaz›lar›, kitap metinleri, Grafist’e kat›lm›fl ö¤rencilerin tan›kl›klar›, elefltirileri, yorumlar›. 2. Görsel malzemeler: workshop, sergi ve seminerlerden foto¤raf, video, bilgisayar döküman›. Sergilenebilecek obje: kitap, broflür, dergi, afifl, branda, davetiye, öteki bas›l› araçlar, workshop ürünü, konuk tasar›mc›lar›n Grafist arflivine hediye etti¤i ifller, an› nesneleri. Serginin amac› nedir? Grafist’in on y›ll›k tarihini anlatmak/göstermek, geçmiflini belgelemek, gelece¤ine ›fl›k tutmak. Bir serginin oluflumunu örneklemek.

Which data can you supply us with regarding the contents of the “10 Years of Grafist” exhibition you are going to prepare? 1. Texts: Correspondence; press bulletin and newspaper publications; testimonials, critiques and comments of the students who take part in Grafist. 2. Visual materials: photographs from the workshops, exhibitions, and seminars; video and computer documents. Objects that can be exhibited: books, brochures, posters in magazines; canvases, invitation cards, other printed tools, workshop products, works donated to Grafist by the visiting designers, and souvenirs. What is the aim of the exhibition? To give an account of the ten-year history of Grafist, to document its past and to enlighten on its future. To exemplify the formation of an exhibition.

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‹stanbul’u Duyumsamak Sad›k Karamustafa

Feeling ‹stanbul Sad›k Karamustafa

Grafik tasar›m›n kökeninde kentlilik yatar; kent ortam›nda icra edilen bir ifltir bu. Yaflad›¤› ve çal›flt›¤› kentin tasar›mc› üzerinde hem etkisi hem de a¤›r bask›s› vard›r. Birçok tasar›mc›n›n ad› yaflad›¤› yerle birlikte an›l›r. Alain le QuernecQuimper (Fransa), Cassandre-Paris, Werner JekerZurich, Alan Fletcher-Londra, Ahn Sang Soo-Seul, David Tartakover-Tel Aviv vs. Willisau Caz Festivali (‹sviçre) olmadan Niklaus Troxler ismi akl›n›za gelmeyebilir. I NY iflaretinin yarat›c›s› Milton Glaser'›n ad›, tasar›m dünyas›nda New York'la özdeflleflmifltir. Türk grafik tasar›m›n›n öncülerinden ‹hap Hulusi'nin imzas›n› '‹stanbul'suz düflünemezsiniz. Dünyada, üst düzeydeki tasar›mc›lar›n üye seçildi¤i, Alliance Graphique Internationale, k›sa ad›yla AGI, her y›l farkl› bir ülkenin bir kentinde tasar›m kongresi düzenliyor. Her kongre öncesinde AGI üyelerinin kat›laca¤› bir proje organize ediliyor. Gelen ifller kongre s›ras›nda sergileniyor ve bir kitap halinde yay›nlan›yor. Son iki y›ld›r proje konusu olarak etkinli¤in düzenlendi¤i kentler tema olarak seçiliyor; “Paris, …’n›n gördü¤ü gibi” ya da “Berlin, as seen by …” Bir yabanc› olarak k›sa süreler geçirdi¤iniz bir kenti ne kadar görebilir, bir afiflle nas›l gösterebilirsiniz? ‹ster istemez kliflelere yönelirsiniz. ‹yi bir tasar›mc›ysan›z kliflelerden yarat›c› sonuçlar ç›karmay› becerirsiniz belki. Ayr›ca görmek, hissetmek midir? ‹fllere toplu olarak bakt›¤›n›zda, dünyan›n en seçkin tasar›mc›lar›n›n birkaç bildik tema içinde kald›klar›n› flafl›rarak görürsünüz. Grafist, Uluslararas› Grafik Tasar›m Günleri kapsam›nda bir afifl projesi düzenlemeye karar verdi¤imizde görmek yerine duyumsamak kavram›yla yola ç›kt›k. Ça¤r› yapt›¤›m›z tasar›mc›lar›n en az yar›s›n›n ‹stanbul kentiyle ilgili deneyimleri Grafist'in yo¤un etkinlik günleriyle s›n›rl›yd›. Bir yar›s› ise bu kentte yafl›yordu, yani fazlas›yla içindeydi. Amac›m›z, tasar›mc›lar›n ‹stanbul'a, profesyonel

What lies under graphic design is being an urbanite; this is a profession practised in the city environment. The city in which the graphic designer lives and works influences and oppresses the designer. The names of many famous designers are mentioned together with the cities in which they live and work: Alain le Quernec-Quimper (France), Cassandre - Paris, Werner Jeker - Zurich, Alan Fletcher - London, Ahn Sang Soo - Seul, David Tarkatover - Tel Avi etc. Without Willisau (Switzerland) Jazz Festival, you may not remember the name of Niklaus Troxler. The name of Milton Glazer, who created the sign of I NY, is identified with New York in the realm of design. You cannot think of ‹hap Hulusi’s signature, who was one of the pioneers of Turkish graphic design, without “‹stanbul”. Alliance Graphique Internationale, AGI for short, to which top-level designers of the world are being selected as members, organizes a design congress in a city of a different country each year. Before each congress, a project is organised for all the members of the AGI to join. The works sent are exhibited during the congress and then published as a book. For the last two years, the cities in which this activity is organised have been chosen as the theme of the project; “Paris, as viewed by ...” or “Berlin, as seen by ...” How much of the city in which you have spent short periods as a foreigner can you see and how can you show it in a poster? Inevitably, you will be driven towards stereotypes. If you are a good designer, you will probably manage to bring out creative solutions from the stereotypes. Besides, does seeing mean feeling? When you look at all those products as a whole, you will be surprised to see that the most distinguished designers of the world have remained within the limits of a few familiar themes. When we decided to organize a poster project in the context of Grafist 10, the Tenth International Graphic Design week, we started from the concept

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al›flkanl›klar›n›n d›fl›nda, basmakal›p bir afifl yapma tuza¤›na düflmeden, kiflisel duygular›n›n yarat›c›l›¤›yla yaklaflmalar›n› önermekti. Amin Maalouf'un “Yüzüncü Ad” roman›nda, kör fieyh Abdülbasit*, Konstantinopolis yolculu¤una haz›rlanan Baldassare'ye flöyle der: “‹stanbul! ‹stanbul! Gözleri olanlara dünyada görülecek hiçbir fley olmad›¤›n› söylemek zordur. Ne var ki gerçek bu, inan›n bana. Dünyay› tan›mak için dinlemek yeter. Yolculuklarda görülen bir aldatmacad›r yaln›zca. Gölgelerin peflinde baflka gölgeler. Yollar ve ülkeler, önceden bilmedi¤imiz hiçbir fley ö¤retmez bize; gecenin dinginli¤inde kendi içimizde dinleyebileceklerimizden baflka hiçbir fley.” Yaln›zca görmek hissetmek de¤ildir. Geçti¤imiz on y›l içinde Grafist organizasyonuna yüzden fazla tasar›m profesyonelinin eme¤i geçti. Otuza yak›n ülkeden tasar›mc›lar, tasar›m e¤itmenleri ve kuramc›lar›, tasar›m kurumu yönetmenleri ve yay›nc›lar Grafist kapsam›nda seminerlere, workshoplara, sergilere, yay›nlara ve baflka etkinliklere kat›ld›lar, organizasyon çal›flmalar›nda yer ald›lar. Biz onlara Grafist Kulübü Üyeleri diyoruz. Grafist Kulübü'nün üyeleri on y›l içinde birçok ülkeden, binlerce ö¤renci, genç profesyonel, tasar›mc› ve e¤itimciyle kiflisel deneyimlerini paylaflt›lar, geldikleri ülkelerin grafik tasar›m› konusunda bilgi aktard›lar, çok de¤erli zamanlar›n› herhangi bir karfl›l›k beklemeden Grafist etkinliklerine ay›rd›lar. Grafist'in onuncu y›l›nda, bu anlaml› y›ldönümünde, onlardan bir kez daha Grafist için çal›flmalar›n›, Grafist 10 kapsam›nda düzenledi¤imiz “...n›n duyumsad›¤› ‹stanbul / ‹stanbul as felt by ...” bafll›kl› proje için afifl tasarlamalar›n› istedik. Kimine adres de¤iflikli¤i nedeniyle ulaflamad›k. Birkaç tasar›mc› dostumuz, programlar›n›n yo¤unlu¤u nedeniyle özür diledi. Ça¤r› yapt›¤›m›z Grafist Kulübü üyelerinin büyük bir ço¤unlu¤u önerimizi kabul etti ve proje için afifl tasarlay›p gönderdi. Projenin konusunu, “görmek hissetmek de¤ildir” sözünden yola ç›karak, bilinenin d›fl›nda, s›radan tan›mlar›n ötesinde, tasar›mc›n›n kifliflel

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of “feeling” instead of “seeing”. In the experience of half of the designers we invited to join this project, ‹stanbul was limited with the intensive days of Grafist activities. And the other part of the designers lived in ‹stanbul, that is they were too much in this city. Our aim was to suggest to the designers to approach ‹stanbul, which was outside their professional habits, without falling into the trap of making typical posters, using the creativity of their own personal feelings. In Amin Maalouf’s novel, “The Hundredth Name”, the blind Sheikh Abdülbasit* says the following to Baldassare, who is preparing to set out for a trip to Constantinople; “‹stanbul! ‹stanbul! It is difficult to say to those with eyes that there is nothing to be seen in the world. Nevertheless, this is the truth, believe me. It is enough to listen in order to get to know the world. What one sees during one’s trips is only an illusion. Shadows following other shadows. Roads and countries do not teach us anything that we did not know before; nothing besides what we can listen to ourselves in the deep of the night.” Only seeing something does not necessarily mean that you feel it. In the past ten years, more than one hundred design professionals put their efforts into the organization of Grafist. Designers, design educators and theorists, administrators of design institutions, and publishers took part in the seminars, workshops, exhibitions, publications and in the other activities within the framework of Grafist and participated in the organization work. We call them members of the Grafist Club. In these ten years, Grafist Club members shared their experiences with thousands of students, young professionals, designers, and educators from a large number of countries, transferred the knowledge they have brought from their respective countries related with graphic design, and gave up their precious time to the Grafist activities without expecting anything in return. In the tenth year of Grafist, on this meaningful anniversary, we asked them to work for Grafist once more and to design a poster for the project called ‹stanbul as felt by ..., which we have

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Aykut Köksal, Ayﬂegül Özmen Alexander Jordan (Nous Travaillons Ensemble), Anders Suneson

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deneyimlerinin k›lavuzlu¤uyla duyumsad›¤› anlam›yla, ‹stanbul kenti olarak belirledik. Kat›lanlar›n ço¤unlu¤u ‹stanbul'u ilk kez Grafist için geldiklerinde görmüfllerdi. En fazla bir hafta süren, seminerler, workshoplar ve sergi aç›l›fllar›n›n yo¤un temposu aras›nda, k›sac›k zaman aral›klar›na s›¤d›r›lmaya çal›fl›lm›fl bir ‹stanbul deneyimi. Havaalan›, otel odas›, atölyeler, konferans salonlar›, sergi mekânlar› ve akflam yeme¤i lokantalar›ndan geriye ne kald›ysa. Görebildikleri, yaflayabildikleri, okuduklar› ‹stanbul’u, varsa geçmifl deneyimleriyle harmanlay›p, duyumsad›klar› ‹stanbul için afifl tasarlad›lar. Projeye Türkiye'den kat›lanlar için, do¤al olarak ‹stanbul “fazlas›yla tan›d›k” bir kentti; do¤duklar› (bir bölümünün), yaflad›klar›, çal›flt›klar› ve art›k çal›flmaktan baflka hiçbir fleye vakit ay›ramad›klar› ‹stanbul. Yoran, hapseden, çözülen, kafa kar›flt›ran, sinirlendiren, korkutan, özleten, sevindiren, duyguland›ran... Tasar›mc›lara herhangi bir müflteri gibi gidip afifl ya da kent için tan›t›m kampanyas› isteseydik, büyük bir olas›l›kla baflka türlü düflünecek, konuya “profesyonel” yaklaflacaklard›. Afifllerde “k›talar›n ve kültürlerin bulufltu¤u kent” genelgeçer temalar›n yorumlar›n› görecektik. Çünkü asl›nda grafik tasar›m bir baflkas›n›n hikâyesini anlatma iflidir; o “bir baflkas›” (bir ürün, bir kurum, bir sergi, bir kitap vs.) ad›na görür, hisseder, düflünür ve yarat›rs›n›z. Anlatt›¤›n›z kendi hikâyeniz de¤ildir. Oysa bu sergi, tasar›mc›lar›n duyumsad›klar› ve ifade ettikleri ‹stanbul'a dair kiflisel yaflant›lar›n›n afifllere yans›m›fl halidir. Burada al›fl›lmam›fl bir durum vard›r: ürünü elefltirmek. Oysa profesyoel yaflamda tasar›mc› hiçbir biçimde, müflterisi olan kurumu ve ürünü elefltirme hakk›na sahip de¤ildir. Projeye bir de e¤itim boyutu katmak iste¤iyle, deneysel tasar›m dersimde bu konuyu ö¤rencilerime ödev olarak verdim. Yaln›z onlardan, kendi duyumsad›klar› ‹stanbul'u de¤il, bir baflkas›n›n duygular›ndaki kent için afifl tasarlamalar›n›, yani “öteki” tasar›mc›larla empati kurmalar›n› istedim: “Siz herhangi bir

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organized within the framework of Grafist 10. We have not been able to reach some of them because their addresses changed. Some friends sent us their apologies for not being able to participate because of their heavy work schedules. A large majority of the Grafist Club Members we invited have kindly accepted our proposal and designed a poster for this project and sent it to us. Starting from the statement that “seeing is not feeling” we defined the theme of the project as the city of ‹stanbul, in the sense that the designer felt it with the guidance of his/her personal experiences, outside the known ‹stanbul, beyond the ordinary definitions of ‹stanbul. Most of the participants had seen ‹stanbul when they first came here for Grafist. An experience of ‹stanbul in between the fast tempo of seminars, workshops, and exhibition openings in one week, all to be squeezed in a very short time span. Whatever is left from the airports, hotel-rooms, studios, conference halls, exibition spaces, and dinners at restaurants. They designed posters for the ‹stanbul as they felt it, by merging the ‹stanbul they could experience and they have read about with their past impressions, if they had any. For those who joined the project from Turkey, ‹stanbul was naturally a city “too familiar”, the ‹stanbul in which they (some of them) were born, in which they live and work, where they cannot spare any time to do anything but work. The city which exhausts them, which inspires them, which is dissolving, which is puzzling, which makes them feel stressful, which frightens them, which fills them with feelings of longing and joy which moves them... If we had gone to the designers like a customer and asked them for a poster or a promotion campaign for the city, they would probably have thought in a different way and approached this subject “professionally”. In the posters we would have found the interpretations of generalised themes like “the city where continents and cultures meet”. . . For, in fact, graphic design is the job of telling someone else’s story; you see, feel, think and create for that someone else (a

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Leyla Ersin Ekmekçiler Eddie Goldfine Emre Senan

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ülkede yaflayan ve çal›flan bir tasar›mc›s›n›z. Günlerden bir gün sizi, seminer, sergi ve workshop için Grafist'e davet ettiler. Kabul ettiniz. Bu, ‹stanbul'a ve Türkiye'ye ilk gidiflinizdi. ‹stanbul'da bir hafta kald›n›z. Grafist boyunca zaman›n›z ço¤unlukla, Bo¤az'›n k›y›s›ndaki, Mimar Sinan Güzel Sanatlar Üniversitesi'nin atölyelerinde geçti. Çal›flmalardan f›rsat buldukça, k›sa zaman aral›klar›nda, nefes nefese kenti gezmeye ve tan›maya çal›flt›n›z. Bir hafta sonunda, yo¤un bir Grafist etkinli¤inin ard›ndan ülkenize döndünüz. Bu y›l Grafist'ten bir ça¤r› ald›n›z. Grafist'in onuncu y›l›nda gerçeklefltirilecek “…'n›n duyumsad›¤› ‹stanbul” bafll›kl› afifl projesi için sizden ‹stanbul hakk›ndaki duygular›n›z› ifade eden bir afifl tasarlay›p yollaman›z› istiyorlar.” Projeye kat›lan altm›fl›n üzerindeki afiflin her biri ‹stanbul'a dair, farkl› kiflisel deneyimi ve duyguyu yans›t›yor. Yirmi befl y›l önce Türkiye'ye gelip birkaç ay geçiren Tel Aviv'li tasar›mc› Yossi Lemel'in afiflinde, eski bir kartpostaldan al›nan Türkan fioray bize gülümserken, Budapeflte'li ‹stvan Orosz, tarihte bir nedenle ‹stanbul'da ikamet eden, ya da Osmanl› taraf›ndan buna mecbur edilen bilim adam›, asker, politikac›, müzisyen ve sanatç› Macarlar› afifline tafl›m›fl. Uwe Loech konuya baflka bir pencereden bak›yor: “‹stanbul Do¤u ile Bat› aras›ndaki kay›p ba¤lant›d›r. fiimdi daha çok Bat›ya do¤ru hareket ediyor. Ben otuz y›l önce, Hindistan'a giderken u¤rad›¤›m ‹stanbul'u seviyorum. Bu, dünyan›n en güzel kentlerinden birine do¤ru yeniden ç›k›lan duygusal yolculuktan daha fazla bir fleydir. ‹stanbul gelece¤in y›ld›z›d›r.” Bülent Erkmen'e göre ‹stanbul, içinde kaybolman›z› ve keflfetmenizi bekleyen bir labirenttir. Seul'lu tasar›mc› Ahn Sang Soo, afiflinde Sultanahmet veya Süleymaniye'yi de¤il Taksim'deki küçük caminin teneke minaresini göstermeyi tercih ediyor. Melis Tuncay son derece yal›n, bir o kadar da etkili bir tipografik tasar›mla, kentin a¤›rl›¤›n› duyumsat›yor. Teoman F›ç›c›o¤lu'nun ‹stanbul'unda ‹stanbul yok olmufl. Oded Ezer kente flehvetle sar›l›yor. Henning Wagenbreth daha ‹stanbul'u görmedi. U¤urcan

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product, an institution, an exhibition, a book etc.). What you are telling is not your own story. Whereas, this exhibition is the reflection in posters of the personal feelings of the designers as they felt them and expressed them. There is an unusual situation here: criticising the product. In professional life, the designer has no right to criticise the institution and the product of his/her client. To add an educational dimension to this project, I assigned this subject to my students in the Experimental Design Course I teach. However, I wanted them to design a poster not only for ‹stanbul as they felt it, but a poster for the city as some other person feels it, that is I wanted them to emphatise with the “other” designer: “You are a designer living and working in any city. One day, they invited you to Grafist for seminars, exhibitions, and workshops. You accepted the invitation. This was the first time that you went to ‹stanbul and to Turkey. You stayed in ‹stanbul for a week. During Grafist, you spent most of your time in the studios of Mimar Sinan Fine Arts University. Whenever you found the occasion, you tried to go round the city in order to get to know it in short periods of time in a hurry, breathless. At the end of one week, after the intensive Grafist activities, you returned to your own country. This year you have received an invitation from Grafist. They want you to design and send a poster expressing your own feelings about ‹stanbul with the title ‹stanbul as felt by ...” Each of the posters taking part in the project is about ‹stanbul, reflecting different personal experiences and feelings. In Yossi Lemel’s poster, the designer from Tel Aviv, who had come to Turkey twenty-five years ago and spent a few months here, Türkan ﬁoray, the most famous Turkish movie star, as taken from an old postcard smiles at us, while Istvan Orosz from Budapest carries into his poster the Hungarians who for some reason lived in ‹stanbul some time in history or the scientists, soldiers, politicians, and artists who were compelled to live in ‹stanbul by the Ottomans.

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Yossi Lemel

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Atao¤lu ‹stanbul'a Karadeniz k›y›s›ndan, eski Ordu'dan bak›yor. Robert Appleton, Büyük Londra Oteli’nin piyanosunun tufllar›na odaklanm›fl. Aykut Köksal bilgilendiriyor: “...statu quo’yla girdi¤i çat›flmada özgürlefltirici bir rol yüklenen ‘yeni iktidar’ ‹stanbul'a yöneldi¤inde tahrip edici ve taflralaflt›r›c› bir güce dönüflüyor.” Ben bundan k›rk y›l önce taflradan ‹stanbul'a ilk kez, gemiyle geldim. Adeta kente denizden düfltüm. ‹stanbul'u ilk defa Bo¤aziçi'nden görmüfl olmay›, yani afiflte anlatmaya çal›flt›¤›m durumu, hâlâ ayr›cal›k say›yorum. ‹yi ki de gelmiflim.

* Amin Maalouf, Yüzüncü Ad, Samih Rifat (çev.), Yap› Kredi Yay›nc›l›k, 29. bask›, ‹stanbul, 2005, s. 33.

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Uwe Loech looks at this subject through another window: ‹stanbul, the missing link between Orient and Occident, moves more and more to Europe. I like the old ‹stanbul, which I discovered 30 years ago on the way to India. It´s more than a sentimental journey back to one of the most beautiful cities in the world. ‹stanbul the coming up star. For Bülent Erkmen, ‹stanbul is a labyrinth which expects us to get lost in it and to discover it. Ahn Sang Soo, the designer from Seul, prefers to show in his poster the tin-plated minaret of the small mosque in Taksim and not the famous mosques of Sultanahmet and Süleymaniye. Melis Tuncay, with an extremely simple and just as effective typographic design, makes us feel all the weight of the city. In Teoman F›ç›c›o¤lu’s ‹stanbul, ‹stanbul has vanished completely. Oded Ezer holds onto the city with lust. Henning Wagenbreth has not seen ‹stanbul yet. U¤urcan Atao¤lu looks at ‹stanbul from the Black Sea coast, from old Ordu. Robert Appleton has focused on the keys of the piano at the Grand London Hotel. Aykut Köksal informs us: “ ‘the new power’ which assumed a liberating role in the conflict it entered with the status quo, turns into a destructive and pertifying power when it orients towards ‹stanbul.” I came to ‹stanbul for the first time forty years ago by ship. It was as if I had fallen into this city from the sea. I still consider it a priviledge that I first saw ‹stanbul from the Bosphorus, that is, the situation I tried to tell about in my poster. How well I did by coming here!

* Amin Maalouf, The Hundredth Name, translated by Samih Rifat, Yap› Kredi Publications, 29th Printing, ‹stanbul, 2005, p. 33.

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Dionysis Livanis, Ça¤atay Bilsel Kenan Ünsal, Metin Erksan Timuçin Unan, Ahmet Baﬂar

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Ayﬂegül ‹zer Semra Güler Ak

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Simone Hüetlin

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Alain le Quernec Baﬂak Ürkmez Dilek Bektaﬂ

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Cem Akar, Kamer Alt›nova Eda Tekcan Tomba, Serkan Avar Tevfik Fikret Uçar, Barbara-Zafer Baran

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Niklaus Troxler

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Umut Südüak Burcu Dündar U¤urcan Atao¤lu

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Kari Piippo, Bülent Erkmen Shigeo Fukuda, ‹lhan Bilge “...’NIN DUYUMSADI⁄I ‹STANBUL” “‹STANBUL AS FELT BY ...” / 211

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Esen Karol

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Ahn Sang Soo, Selen Baﬂer Duygu Aksoy, Andrey Logvin “...’NIN DUYUMSADI⁄I ‹STANBUL” “‹STANBUL AS FELT BY ...” / 213

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Uwe Loesch Robert Appleton 214 / GRAF‹ST 10

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Oded Ezer

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Melis Tuncay

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Lawrence Zeegen, Sad›k Karamustafa Emre Ç›k›no¤lu, Antony J. Rostvold ‹zzeddin Çal›ﬂlar, Dimitris Arvanitis

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Canan Suner, Serhat Akavc› Laurence Madrelle, Juergen Hefele 218 / GRAF‹ST 10

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Istvan Orosz

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Tom Klinkowstein

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Ebru Üstüner Ayto¤ Sinan Niyazio¤lu

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Erkut Terliksiz, Teoman F›ç›c›o¤lu Savaﬂ Çekiç, Leila Musfy

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Elif Yalç›nkaya

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"K›rm›z› - Bas›nda En ‹yiler Reklam Ödülleri"

“RED - The Best in Print Advertising Awards”

Mimar Sinan Güzel Sanatlar Üniversitesi, Resim ve Heykel Müzesi, Beﬂiktaﬂ, ‹stanbul 1 - 31 May›s 2006

Mimar Sinan Güzel Sanatlar Üniversitesi, Resim ve Heykel Müzesi, Beﬂiktaﬂ, ‹stanbul 1 - 31 May 2006

Düzenleyenler: Hürriyet Gazetesi ve Reklamc›l›k Vakf›

Organized by Hürriyet Newspaper and Foundation of Advertisement

“K›rm›z› - Bas›nda En ‹yiler Reklam Ödülleri” bas›l› reklam alan›nda yarat›c›l›¤› özendirmeyi, belgelemeyi reklam ajanslar› ile reklamc›lar›n yarat›c›l›¤›n› ödüllendirmeyi amaçlamaktad›r. Üçüncü y›l›nda, K›rm›z› Ödülleri'ne 30 farkl› kategoride baflvuru kabul edilmifltir. 20042005 y›l› ödülleri için 89 reklam ajans›ndan 923 ilan yar›flmaya kat›lm›flt›r ve bu sergi de ödül kazanan ilanlar› bir araya getiriyor.

“RED - The Best in Print Advertising Awards” aims to encourage creativity in print advertising, to certificate and to reward the success of advertising agencies and advertisers. In its third year, the Red Awards received entries in 30 categories. 923 ads from 89 advertising agencies were entered the 2004-2005 Red Awards and this exhibition is brings all the award winner ads together.

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En ‹yi Gazete Reklam Kampanyas› Ödülü, Alice BBDO Best Newspaper Advertisement Campaign Prize, Alice BBDO

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Jüri Özel Ödülü, Y & R Reklamevi Special Jury Prize, Y & R Reklamevi

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En ‹yi Reklam Foto¤raf› Ödülü, Y & R Reklamevi Best Advertisement Photography Prize, Y & R Reklamevi

KIRMIZI RED / 229

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En ‹yi ‹nsan Kaynaklar› Ödülü, 3. Kuﬂak Best Human Resources Prize, 3. Kuﬂak

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K›rm›z› Ödülü, TBWA K›rm›z› Prize, TBWA K›pk›rm›z› Ödülü, Rafineri K›pk›rm›z› Prize, Rafineri

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En ‹yi Bölgesel Reklam, Öncül Sefa ‹letiﬂim Best Local Advertisement, Öncül Sefa ‹letiﬂim

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En ‹yi Otomotiv Reklam Kampanyas› Ödülü, TBWA / ‹stanbul Best Automotive Advertisement Campaign Prize, TBWA /

KIRMIZI RED / 233

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Bu kitab›n bas›m›nda Printspeed 80 gr/m2, Edixion 300 gr/m2 ka¤›t kullan›lm›ﬂt›r. In the publication of this book Printspeed 80 gr/m2, Edixion 300 gr/m2 paper is used.

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Simge Antalis’e katk›lar›ndan dolay› teﬂekkür ederiz. Thanks to Simge Antalis for it’s asistance.

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Bu kitab›n bask›s›n› gerçekleﬂtiren Stil Matbaac›l›k’a teﬂekkür ederiz. Thanks to Stil Matbaac›l›k for printing this book.

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Sponsorlar Sponsors Ajans Ultra, Alametifarika, Alman Kültür Merkezi, BGV Bikem B. Özsunay Grafik Tasar›m Sanat› Vakf›, Bilge Adam, Euro RSCG Klan, ‹stanbul Hollanda Baflkonsoloslu¤u, Marka, Ogilvy& Mather, Rafineri, RPM / Radar, Tayfa, Teori, Y&R Reklamevi, Yorum Ajans. Grafist Dostlar› Friends of Grafist Allsports Organizasyon, Art› Bilgisayar, Bilkom, Bilsar, Epson, Geliflim Creative, Graphis, Philips, Sappi, Simge Antalis, Still Matbaas›, 3 Sistem. ‹flbirli¤iyle In collaboration with BGV Bikem B. Özsunay Grafik Tasar›m Sanat› Vakf›, GMK Grafikerler Meslek Kuruluflu, Karfl› Sanat Çal›flmalar›, Korpus Kültür Sanat Yay›nc›l›k. Katk›lar›yla With the contributions of BGV Bikem B. Özsunay Grafik Tasar›m Vakf›, GMK Grafikerler Meslek Kuruluflu. ‹letiflim Sponsoru Communication Sponsor Arkitera Web Sponsoru Web Sponsor www.trio-services.com Endorsed by Icograda

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Düzenleyen Organised By Mimar Sinan Güzel Sanatlar Üniversitesi, Güzel Sanatlar Fakültesi, Grafik Tasar›m Bölümü Mimar Sinan Fine Arts University, Faculty of Fine Arts, Graphic Design Department Grafist 10, ICOGRADA, Grafik Tasar›m Dernekleri Uluslararas› Konseyi taraf›ndan desteklenmektedir. Grafist 10 is endorsed by ICOGRADA, International Council of Graphic Design Association. Mimar Sinan Güzel Sanatlar Üniversitesi Rektör Vekili Deputy Rector of Mimar Sinan Fine Arts University Prof. Dr. Onur Arman Güzel Sanatlar Fakültesi Dekan› Dean of Fine Arts Faculty Prof. Rahmi Aksungur ICOGRADA Baflkan› President of ICOGRADA Mervyn Kurlansky Organizasyon Komitesi Baflkan› President of the Organizing Committee Prof. Dilek Bektafl MSGSÜ Grafik Bölümü Baflkan› Head of Graphic Design Department Prof. Ayflegül ‹zer Proje Yönetmeni Project Manager Sad›k Karamustafa Organizasyon Komitesi Organizing Committee Semra Güler Ak, Ebru Üstüner Ayto¤, Selen Bafler, Dilek Bektafl, Burcu Dündar, Leyla Ersin Ekmekçiler, T. Melih Görgün, Ayflegül ‹zer, Sad›k Karamustafa, Sinan Niyazio¤lu, Canan Suner, Umut Südüak, Nilüfer Tönel, Baflak Ürkmez. ‹letiflim Koordinatörü Communication Coordinator Melis Tuncay

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