GRAFIST 11

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11. ULUSLARARASI ‹STANBUL GRAF‹K TASARIM GÜNLER‹ 11th INTERNATIONAL ISTANBUL GRAPHIC DESIGN WEEK 30 N‹SAN APRIL - 5 MAYIS MAY 2007

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11. Uluslararas› ‹stanbul Grafik Tasar›m Günleri 30 Nisan - 5 May›s 2007 11th International Istanbul Graphic Design Week 30 April - 5 May 2007 Yay›mlayan Published Mimar Sinan Güzel Sanatlar Üniversitesi, Güzel Sanatlar Fakültesi, Grafik Bölümü Mimar Sinan Fine Arts University, Faculty of Fine Arts, Graphic Design Department Yay›na Haz›rlayan Edited By ‹lker Coflkun Konsept Consept Elif Yalç›nkaya, ‹lker Coflkun Grafik Tasar›m Graphic Design Elif Yalç›nkaya Uygulama Artwork Didem Uraler Röportaj Interview Baflak Ürkmez, Ebru Ayto¤, Elif Yalç›nkaya, Selen Bafler Nejat, Sinan Niyazio¤lu, Umut Südüak Son Okuma Prof Reading Sad›k Karamustafa, ‹lker Coflkun Çeviri Translation Oya Çitçi Renk Ayr›m›, Bask› ve Cilt Colour Separation, Printing and Binding Matafl Matbaa Ka¤›t Paper Print Speed 110 gr.

Kapak Ka¤›d› Cover Paper Sappi Magno 300 gr. ‹stanbul 2007 Bu Kitap 30 Nisan - 5 May›s 2007 tarihlerinde düzenlenen “Grafist 11” 11. 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 11, the International Istanbul Graphic Design Week hold on 30 April - 5 May 2007

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CORDULA ALESSANDRI 11-34 DANIEL VAN DER VELDEN / MAUREEN MOOREN 35-60 FONS HICKMANN 61-84 HALUK TUNCAY 85-100 ‹LHAN B‹LGE / ÜM‹T CELB‹fi 101-128 LEONARDO SONNOLI 129-152 MAJID ABBASI 153-184 ALAN FLETCHER ANISINA IN MEMORIAM ALAN FLETCHER 185-202 KENT REHBER‹ - ANADOLU ÜN‹VERS‹TES‹ MIGRATION GRUBU SERG‹S‹ CITY GUIDE - ANADOLU UNIVERSITY MIGRATION GROUP EXHIBITION 203-214 2007 MSGSÜ GRAF‹K TASARIM BÖLÜMÜ MEZUN‹YET ‹fiLER‹NDEN B‹R KES‹T A FEATURE FROM THE GRADUATION PROJECTS OF 2007 MSGSU, GRAPHIC DESIGN DEPARTMENT 215-248 KIRMIZI - BASINDA EN ‹Y‹LER REKLAM ÖDÜLLER‹ SERG‹S‹ RED - BEST IN PRINT ADVERTISING AWARDS EXHIBITION 249-260 "LEVI'S® PROJES‹" SERG‹S‹ "THE PROJECT LEVI'S®" EXHIBITION 261-282 “K‹TAP YAPMAK?” BÜLENT ERKMEN SERG‹S‹ “MAKING BOOK?” BÜLENT ERKMEN EXHIBITION 283-287

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ÖNSÖZ GRAF‹ST’11 ”Grafik ve ‹stanbul" sözcüklerinden türetilmifl olan ve GRAF‹ST k›sa ad›yla an›lan “Uluslararas› ‹stanbul Grafik Tasar›m Günleri”, bu y›l on birinci kez 30 Nisan – 05 May›s 2007 tarihleri aras›nda gerçeklefliyor. Türkiye'nin ve dünyan›n en uzun soluklu grafik etkinliklerinin bafl›nda gelen GRAF‹ST, 1926 y›l›nda kurulan ve bu y›l 80. kurulufl y›ldönümünü kutlayacak olan Grafik Tasar›m Bölümümüzün e¤itim program›nda etkin bir yere sahiptir.

“Uluslararas› ‹stanbul Grafik Tasar›m Günleri”, Mimar Sinan Güzel Sanatlar Üniversitesi, Grafik Tasar›m Bölümü’nün 1997 y›l›ndan beri düzenledi¤i, e¤itim amaçl› bir etkinliktir. Bu etkinlik Uluslararas› Grafik Tasar›m Dernekleri Konseyi ICOGRADA’n›n 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› co¤rafyalar›n da yaflayan tasar›mc›lar›, tasar›m e¤itimcilerini ve ö¤rencileri her y›l düzenlenen etkinliklerde bir araya getirmek, bir iletiflim disiplini olan grafik tasar›m›n çevresinde, farkl› kültürlerin buluflmas›n› ve etkileflmesini sa¤lamakt›.

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 tasar›m›n›n yöneliflleri konusunda bilgi edindi¤i bir ortam olarak, 11 y›l boyunca üstlendi¤i misyonu gerçeklefltirmifltir. Bu süreçte, Almanya, Avusturya, Fransa, ‹ngiltere, Belçika, Hollanda, ‹sviçre, Polonya, Çek Cumhuriyeti, ABD, Rusya, ‹ran, Japonya, Kore, Avustralya, Kanada, ‹srail, ‹talya 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 7. etkinli¤i ile birlikte bünyesine eklemledi¤i “Grafist Gelecek Kuflak” sergileriyle, grafik tasar›m çerçevesine genç profesyonel tasar›mc›lar› da ekleyerek, tasar›m alan›nda yeni yönelifllere de yer vermeye bafllad›.

GRAF‹ST’in amac›, bir hafta boyunca yurt d›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, atölye çal›flmas› ve sergi gibi etkinlikler arac›l›¤›yla birbirlerini tan›malar›, tasar›m kriterleri ve vizyonlar›n› de¤erlendirmeleri için uygun buluflma ortam›n› haz›rlayan 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 Grafist,

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görsel iletiflimin 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 30 Nisan - 05 May›s 2007 tarihleri aras›nda dünyan›n çeflitli ülkelerinden gelen profesyonel tasar›mc›lar›, Türkiye’den ve yurtd›fl›ndan gelen tasar›m ö¤rencileriyle Mimar Sinan Güzel Sanatlar Üniversitesi’nde buluflturuyor.

Bu y›l on birincisi düzenlenecek olan Grafist 11 etkinli¤ine, Almanya’dan Fons Hickmann, Avusturya’dan Cordulla Alessandri, Hollanda’dan Daniel Van Der Velden / Maureen Moooren tasar›m grubu, ‹ran’dan Majid Abbasi, ‹talya’dan Leonardo Sonnoli, Türkiye’den Haluk Tuncay, ‹lhan Bilge ile Ümit Celbifl kat›l›yor.

Uluslararas› ‹stanbul Grafik Tasar›m Günleri GRAF‹ST 11’in, hedeflenen bilgi ak›fl›, etkileflim ve ileriye dönük bir potansiyel oluflturaca¤› inanc›yla baflar›l› geçmesini dilerken, baflta GRAF‹ST 11’in gerçekleflmesini özveriyle sa¤layan MSGSÜ Rektörü Prof. Sn. Rahmi Aksungur’a, MSGSÜ GSF Dekan› Prof. Sn. Zeki Alpan’a ve Grafik Tasar›m Bölümü Ö¤retim Kadrosuna, ‘GMK’ Grafikerler Meslek Kurulufluna, BGV ‘Bikem Özsunay Grafik Tasar›m Vakf›’na, Hürriyet Gazetesi Reklam Grup Baflkan› Sn. Ayfle Sözeri Cemal’e, Reklamc›lar Derne¤i’ne, Euro RSCG Klan, Manajans/Thompson, Medina Turgul DDB, RPM/Radar, Yorum Tan›t›m, Young & Rubicam Reklamevi, Ajans Ultra, Alametifarika, Alice BBDO gibi de¤erli reklam kurulufllar› ile Bilge Adam, Arma Teknoloji, Epson, Art› Bilgisayar, Görsel Productions, Matafl Matbaa, Photoshop Magazin, Sappi, Simge Antalis, Graphis, Levi’s, 3 Sistem gibi katk›lar›n› bizlerden esirgemeyen Grafist Dostlar›’na, Anadolu, Marmara, Kadir Has, Dokuz Eylül, Do¤ufl ve Baflkent Üniversitelerine, ‹stanbul Hollanda Baflkonsoloslu¤u ile ‹stanbul ‹talyan Kültür Merkezi’ne en içten teflekkürlerimi sunar›m.

Prof. Dr. Ayflegül ‹ZER MSGSÜ, GSF, Grafik Tasar›m Bölüm Baflkan›

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PREFACE GRAFIST ‘11 “International Istanbul Graphic Design Week” or in short GRAFIST, derived from the words graphic (grafik in Turkish) and Istanbul, will be taking place on 30 April – 05 May 2007 for the eleventh time this year. GRAFIST, being one of the longest lasted graphic design event of Turkey and the world, has an effective role on the education program of our Graphic Design Department which was founded in 1926 and will be celebrating its 80th foundation year in 2007.

“International Istanbul Graphic Design Week”, having been organized by Mimar Sinan Fine Arts University, Graphic Design Department since 1997, is an event based on design education. It is supported by The International Council of Graphic Design Associations, ICOGRADA. Grafist began in 1997 as a pilot project of ICOGRADA Design Collaboration Program. Its aim was to bring together the designers, design educators and design students living in the different regions of the world in the annually organized event and procure different cultures to meet and influence each other within the framework of communication discipline, graphic design.

GRAFIST, composed of exhibition, seminar and workshop activities, has achieved its undertaken purpose in its 11 year process by being a reference point for international and national professionals, emerging designers and instructors, as well as graphic design students to obtain information regarding the tendency of world’s graphic design.

In this period, it brought together various well-known designers from Germany, Austria, France, England, Belgium, Netherlands, Sweden, Poland, Czech Republic, USA, Russia, Iran, Japan, Korea, Australia, Canada, Israel, Italy, Greece and academicians, professionals and design students from Turkey.

GRAFIST has begun to include new tendencies in the area of design by adding young professional designers to graphic design’s frame through articulating “GRAFIST Future Generation” exhibitions to its constitution with its 7th activity in 2003.

GRAFIST’s aim is to set up a space in which all works and their results are shared by creating a meeting environment proper for foreign and Turkish graphic designers, foreign and Turkish design students to get to know each other and to appraise each other’s design criterions and visions through activities like seminars, workshops and exhibitions.

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Grafist, offering the opportunity to analyze the entire social, economical, political and ecological relations that graphic design takes on out of the exhibition works, thoughts shared in seminars and projects produced during the workshops, reflects the up-to-date tendencies of visual communication. GRAFIST “International Istanbul Graphic Design Week”, realized every year in the first week of May, assembles professional designers coming from various countries of the world and design students both from Turkey and foreign countries in Mimar Sinan Fine Arts University between 30 April - 05 May 2007.

Fons Hickmann from Germany, Cordula Alessandri from Austria, Daniel Van Der Velden / Maureen Moooren design team from Netherlands, Majid Abbasi from Iran, Leonardo Sonnoli from Italy, Haluk Tuncay, ‹lhan Bilge and Ümit Celbifl from Turkey will be taking part in the GRAFIST 11 event.

While wishing International Istanbul Graphic Design Days GRAFIST 11 to be successful in terms of aimed data flows, interactions and the belief of its forming future potentials, I would like to thank the Rector of MSGSÜ, Professor Rahmi Aksungur, who provided self-sacrificing help in order GRAFIST 11 to become true, to the Dean of MSGSÜ GSF, Professor Zeki Alpan and the academic staff of the Graphic Design Department, ‘GMK’ Turkish Society of Graphic Designers, ‘BGV’ Bikem Özsunay Graphic Design Foundation, Hürriyet Newspaper Advertising Group President Ayfle Sözeri Cemal, Turkish Association of Advertising Agencies, to precious advertising offices such as Euro RSCG Klan, Manajans/Thompson, Medina Turgul DDB, RPM/Radar, Yorum Advertising, Young & Rubicam Advertising Agency, Agency Ultra, Alametifarika, Alice BBDO, to GRAFIST friends who never spared their contributions like Bilge Adam, Arma Technology, Epson, Art› Computers, Görsel Productions, Matafl Printing, Photoshop Magazine, Sappi, Simge Antalis, Graphis, Levi’s, 3 Sistem, to Anadolu, Marmara, Kadir Has, Dokuz Eylul, Dogus and Baskent Universities, The Royal Netherlands Consulate General in Istanbul and Italian Cultural Institute of Istanbul.

Professor Ayflegül ‹ZER MSGSÜ, GSF, Head of The Graphic Design Department

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11. ULUSLARARASI ‹STANBUL GRAF‹K TASARIM SERG‹S‹ 11th INTERNATIONAL ISTANBUL GRAPHIC DESIGN EXHIBITION

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CORDULA ALESSANDRI

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1960 y›l›nda Salzburg’da do¤du ve burada sanat e¤itimi veren bir liseyi olgunluk s›nav›n› vererek tamamlad›. 1978-1982 y›llar› aras›nda Viyana Uygulamal› Sanatlar Yüksek Okulu’nda, Prof. Herbert Schwarz’›n yan›nda grafik tasar›m ö¤renimini tamamlad›. Bunu Joej Badian ile geçen tipografi, konsept ve reklam odakl› üç zorlu meslek e¤itimi takip etti. 1985-87 y›llar› aras›nda DDB Needham Worldwide’da sanat direktörlü¤ü yapt›. 1987 y›l›nda Alessandri Tasar›m’› kurdu.

Stüdyosunda, kurumsal kimlik tasar›m›ndan ambalaj tasar›m›na, kitap tasar›mlar›ndan klasik reklam uygulamalar›na kadar farkl› görsel konsept çal›flmalar›n› hayata geçirdi. 2003-05 y›llar› aras›nda Saarbrücken Güzel Sanatlar Üniversitesi’nde konuk profesör olarak “Seviflmek ve Yemek Yapmak” adl› dersi verdi. Uluslararas› bir çok sergiye kat›ld›. Çok say›da konferansta konuflmac› olarak yer alan tasar›mc› Uluslararas› Grafik Birli¤i (AGI) üyesidir.

She was born 1960 in Salzburg. Cordula Alessandri grew up and graduated from an art high school with a General Certificate of Education in Slazburg.

In 1978-1982, she completed her graphic design education with Professor Herbert Schwarz in University for Applied Art Vienna. This was followed by three severe vocational trainings based on typography, concept and advertsing with Joej Badian. In years 1985-87, she worked as an art director for DDB Needham Worldwide. She founded Alessandri Design in 1987. In her studio, Alessandri implemented many visual concept projects from corporate identity design to package design, book designs to classical advertising works. In years 2003-05, she teached the course called “Fucking and Cooking” as a guest professor in University of Fine Arts, Saarbrücken. She participated in many international exhibitions. Designer, who has been involved in many conferences as a lecturer, is an Alliance Graphique Internationale (AGI) member.

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Grafik tasar›m anlay›fl›n›z› nas›l tan›mlars›n›z?

Grafik tasar›m anlay›fl›m, kariyerim boyunca düzenli olarak de¤iflmekte. Ö¤renciyken iyi tasar›mlar yaratmay› ö¤renmekle ilgileniyordum. Bu, genç insanlar› e¤itirken hala benim için önemli. Fakat grafik tasar›m “saf” tasar›mdan çok daha fazlas›. Font seçimi, genel olarak bilgilendirme tasar›m› ve buna ek olarak kitaplar ve ambalaj tasar›m› ile ayn› zamanda sosyal bir sorumluluk.

Günlük yaflant›m›zda bir tasar›m anlay›fl›n› aktarmak, uluslara ve onlar›n zihniyetlerine flekil verir. Avusturya do¤umlu Amerikal› yazar, mimar, ö¤retmen, tasar›mc› ve sosyal tarihçi Bernard Rudofsky, benim düflündü¤üm fleyi söylüyor: “Mimarl›k ve tasar›mdaki fiziksel zevkin, entellektüel zevkin önünde durmas› gerekti¤ine inan›yorum.” Bence bu tav›r grafik tasar›m iletiflimini gelifltirebilir ve yeniliklere yol açabilir.

How would you describe your perception of graphic design?

My perception of graphic design has been changing regularly over the course of my career. As a student I was interested in learning how to create good design. This is still important for me while teaching young people. But graphic design is more than “pure” designing. It is also a social responsibility: the choice of font, information design in general and in addition, books and packaging.

To communicate an understanding of design in our everyday life forms whole nations and their mentality. Bernard Rudofsky, an Austrian-born American writer, architect, teacher, designer, and social historian says just what I think: “I believe that sensual pleasure in architechure and design should clearly stand in front of intellectual pleasure.” I think that this attitude can improve the communication of graphic design and lead to changes.

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Alessandri Tasar›m Portfolyo Tasar›m› Portfolio Alessandri Design Kart boyutlar› Size of the card: 18x14.5 cm.

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Niepoort Etiket ‹llüstrasyon Serisi, Kurumsal Kimlik Tasar›m› Niepoort Comics Edition, Corporate Design

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Grafik tasar›ma bafllad›¤›mda, bunu bilseydim her fley daha kolay olurdu dedi¤iniz bir fley var m›?

Daha pratik tecrübelerle daha realist bir e¤itim alm›fl olmay› dilerdim.

Bafllang›çta, yak›c› bir tutkuyla bana ilham verebilecek insanlar› kaç›rd›m. Üniversite e¤itimimin sonunda, bir asistan olan Barbara Markstein -ne yaz›k ki k›sa ömürlü- kendimi aflmam için bana ilham verebildi. Genç yetenekler bulup onlara herfley için ve her yönde merak afl›lamak, e¤itim aktivitelerimdeki en büyük kayg›m ve ayn› zamanda en büyük gücüm.

Is there anything that you say “If I knew this when I first started graphic design, everthing would be easier”?

I would have wished for a more realistic course of studies with more practical experience. I especially missed people who could inspire me with a burning passion right at the beginning. Only at the end of my university study, a new assistant, Barbara Markstein - unfortunately short-lived - could really inspire me to grow beyond myself. To find such young talents, to inspire them with curiosity for everything and every direction is my utmost concern in my teaching activities and at the same time my biggest strength.

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Bir e¤itimci olarak iletiflim tasar›m›nda dönüm noktas› olarak tan›mlayaca¤›n›z dönemi ya da kiflileri sayabilir misiniz? Özellikle kariyerimin bafllang›c›nda ilgimi çeken dönemler ve insanlar oldu.

Ama flu da bir gerçek ki edebiyat, sanat ve sanat iflçili¤i, tiyatro ve mimarl›k dallar› aras›ndaki anlay›fl, süpermarketler, çöplükler, günlük kültür ve manzara muhtemelen ifllerimi, çeflitli tarzlardan ve çok be¤enilen meslektafllar›mdan çok daha fazla etkilemifl ve bana daha fazla esin kayna¤› olmufltur.

As an educator, could you name certain periods or individuals that appear to be milestones in the commercial design?

Of course there have been - especially at the beginning of my career – periods or people attracting my attention. But it is a fact that interdisciplinary perception in literature, art and artwork, theatre, architecture, supermarkets, garbage dumps and everyday culture and scenery have probably inspired and influenced my everyday work more than certain styles or work of highly appreciated colleagues.

Stüdyonuz “Alessandri Tasar›m”› di¤er stüdyolardan farkl› k›lan nedir?

‘His ve duyarl›l›¤a dokunmak’. Alessandri Tasar›m’da hisleri harekete geçirmeye çal›fl›yoruz. ‹fllerimizle insanlar›n özlerine ulaflmak istiyoruz. ‹nsanlara ulaflmak, hedef gruplar›na ulaflmak demektir. Ayn› fley insanlar› güldürmek ve oyun güdülerini harekete geçirmek için de geçerlidir.

What distinquishes your studio “Alessandri Design” from the other studios?

"Touching sense and sensitivity". At Alessandri Design we try to stimulate senses. We want to reach the inner core of the people with our work. Reaching people also means reaching target groups. The same is true for making people smile or to stimulate their play instinct.

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Culinarium Oesterreich, Ambalaj Tasar›m› Culinarium Oesterreich, Packaging Design

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A S›n›f› - Bugünün Avusturya Ürün Kültürü, Kitap Tasar›m› Class A - Austrian Product Culture Today, Editorial Design

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Bildi¤im kadar›yla tasar›mlar›n›zda duygularla oynamay› seviyorsunuz. Bunu izleyene de ayn› yo¤unlukta geçirebildi¤inizi düflünüyor musunuz? Ya da bunun sizin için bir önemi var m›?

Tüm insanlar›n verileri, bununla beraberde yeni bilgileri yutmaya önceden karar verdiklerini farz ediyorum. T›pk› bir sünger gibiler. Bu durum ben ve tüm insanlar, yani bütün hedef grubu için geçerli. Günlük etki ve uyar›c›lar›n çoklu¤una ba¤l› olarak insanlar do¤al bir flekilde ve genelde fark›nda olmadan bilgiyi bloke ediyorlar. Bunu özellikle de ondan istenen bir fley varsa yap›yorlar; sigaray› b›rakmak, para harcamak, düflünceyi de¤ifltirmek vb. Bizim tasar›mc›lar olarak üzerimize düflen ise bilgiyi e¤lenceli ve heyecanl› bir yolla anlatmak ve izleyicinin kabul edip, tasar›m›n içine girmesini sa¤lamakt›r.

Bu ba¤lamda ifllerim ‘duygu ve duyarl›l›¤a dokunmaya’ odaklan›yor. Duyarl› tasar›mlar›n, bilgiyi daha etkili bir flekilde ilettiklerine inan›yorum. Bilgi ne kadar zor, so¤uk, ciddi ya da s›k›c› olursa olsun, duyarl› bir flekilde iletiflim kurmak baflar›labilirse herkese ulafl›labilir. Bu durum genelde son derece mesafeli ve düz olan modernite için de geçerli. Tasar›mc›lar olarak biz görme, duyma, dokunma ve hatta koklama duyular›n› harekete geçirebilirsek, insanlar›n ve hedef grubumuzun içindeki öze ulaflabiliriz. Bu insanlar› güldürdü¤ümüzde ve oyun duygular›n› harekete geçirdi¤imiz noktada da böyledir. Bu konuyla ilgili olarak, kendimi görevli hissediyorum. “Seviflmek ve Yemek Yapmak” bafll›¤› alt›nda yaflam çemberini, öncesi ve sonras›yla, kapsayan en az 19 tane atölye çal›flmas› düzenledim; Yemek Yapmak ve Erotik, Do¤um ve Ölüm, Cehennem ve Cennet. Bu tematik alan duyarl›l›kla oynaman›n zevkini yaflamak için de uygun ortam oluflturdu ve ö¤renciler çal›flmalara hevesle kat›ld›.

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As far as I know and realize, you like playing with “emotions (feelings)” in your designs, are you able to convey this to your audience? Does it make any difference?

I assume that every human being is a prior determined to absorb information and therewith new knowledge. Like a sponge. This is true for me; this is of course true for all people, therefore for every target group.

Due to the abundance of everyday impressions and influences, people react quite naturally and mostly unconsciously by blocking information. Particularly if something is required from him: to stop smoking, spend money, change thinking etc. All the more, we designers have to communicate our information in a joyful and exciting way so that he or she accepts it and gets involved.

In this sense my work focuses on “touching sense and sensitivity”. I believe that sensitive design conveys information more affectionately. If one succeeds to communicate knowledge sensitively, everybody can be reached. Indifferently how difficult, cold, serious or boring the respective information may be.

This is particularly true for modernity which is often very cool and straight.

If we designers try to stimulate the sense of sight, hearing, touch or even smell we almost immediately reach the inner core of the people and therewith our target group. This also applies when we are able to make people smile or excite their play instinct. Concerning this matter I have a real sense of mission. Under the topic Cooking & Fucking I held no less than 19 workshops which thematically comprised the whole cycle of life (inclusive before and afterwards). From cooking to erotic, from birth & death, hell & paradise. This thematic range alone induced the pleasure to experiment with sensitivity. And the students enthusiastically participated.

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Boehler - Uddeholm, Faaliyet Raporu Boehler - Uddeholm, Annual Report

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Dado, Ambalaj Tasar›m› Dado, Packaging Design

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ADC Kitab›, Kitap Tasar›m› ADC Book, Editorial Design

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Amons Lezzetli Servis, Kurumsal Kimlik Tasar›m› Amons Delicious Catering, Corporate Design

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Olgunluk Zaman ‚ster, Postalama Maturation Needs Time, Mailing

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Willl, Kurumsal Kimlik Tasar›m› Willl, Corporate Design

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Sen Siyah Olana Kadar, Do造rudan Postalama Till You're Black, Direct Mail

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Avusturya Postanesi, Faaliyet Raporu Austrian Post. Annual Report

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Fangocur, Ambalaj Tasar›m› Fangocur, Packaging Design

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DANIEL VAN DER VELDEN MAUREEN MOOREN

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MAUREEN MOOREN & DANIEL VAN DER VELDEN (1969, Dordrecht / 1971, Rotterdam) 1990 ortalar›nda Rotterdam’da Willem de Kooning Akademi’de tan›flan Hollandal› grafik tasar›mc›lar 1998’de Amsterdam’da ilk stüdyolar›n› açt›lar. Son y›llardaki deneysel grafik tasar›m çal›flmalar›n›n birço¤u da onlar›n eseri. ‹kili, müflterilerinin mesajlar›n› sindirerek ve bu mesajlar› kültürel ba¤lamda yeniden yap›land›rarak benimsedikleri farkl› tutum ve stratejiler ile çeflitli projelere imza atmaktad›r. Bunlardan bir tanesi mimarl›k dergisi Archis’in (flimdiki ad›yla Volume), 2001’den 2005’e kadar süren tasar›m›d›r. Performans sanat› için uluslararas› bir festival olan Hollanda Festivali’nin 2005’ten bu yana kimlik ve afifl kampanyalar› üzerinde çal›flan tasar›mc›lar, sanat alan› ROOM için davetiye tasar›mlar› ve yaz›lar, TNT Post (Hollanda) için pul tasar›mlar›, Magasin 3 Projekt Stockholm için kimlik çal›flmalar›, Jan Mot için “Minyatür Gazete” (Brüksel) gibi çal›flmalar gerçeklefltirdi. ‹kili, 2001’de sanatç› Manon der Boer’le ortak olarak La Lettre Volee taraf›ndan yay›nlanan Oscillations’›n yazarl›¤›n› yapt›. 2004’te, Koreli sanatç› Haugue Yang ile ortak bir çal›flma sonucu Maureen ve Daniel, 256 sayfal›k ve ço¤unlu¤u bofl faks ka¤›tlar›ndan oluflan bir kitap olan The Pages‘i yaratt›. ‹kilinin grafik tasar›m fikirlerinin merkezinde etkileflim, kurgu (hem görsel hem de metinsel) ve “yetenek” ile grafik tasar›m›n, özünde ticari olmayan ve pazar mant›¤›na uydurulamayacak olan kamusal fikirleri, objeleri ve “art›k de¤er”i sunmas› yat›yor.

MAUREEN MOOREN & DANIEL VAN DER VELDEN (1969, Dordrecht / 1971, Rotterdam) Dutch graphic designers, who had met in Willem de Kooning Acdemy in mid 1990’s, founded their first studio in Amsterdam, in 1998.They are responsible for some of the most experimental graphic design works of the recent years.

The attitudes and strategies that these two designers take on, digesting the messages of their clients and cultural reconfiguration of these messages, leads to various projects and assignments. One of these is the re-design of the arcitectural magazine Archis (now called Volume) from 2001 to 2005. Designers, who has been working on the identity and poster campaigns of the Holland Festival, an international performing arts festival, since 2005, worked on various projects that include invitation designs and writings for the art space ROOM, stamp designs for TNT Post (Holland), identity designs for Magasin 3 Projekt, miniatures newspapers for Jan Mot (Brussels) In 2001, the duo co-authored, in collaboration with the artist Manon der Boer, the ‘intersubjective novel’ Oscillations, which is published by La Lettre Vole. In 2004, with the Korean artist Haegue Yang, Maureen and Daniel created The Pages, a 256-page book of mostly empty fax sheets. In the center of duo’s graphic design notions lies the interactivity, fiction (both visual and textual) and “gift” together with the graphic design’s presentation of public domain ideas, objects and “surplus value” that are essentialy non-commercial and non-translatable into the market logic.

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Tasar›mc›n›n üstlendi¤i sosyal rol nedir?

Genel sorular› cevapland›rmak her zaman çok zordur. Öncelikle tasar›mc›n›n üstlendi¤i sosyal rol her zaman ve her yerde de¤iflkenlik gösterir. Düflünülmesi gereken tasar›m›n toplumla kurdu¤u, üretici veya kapitalist olmayan “serbest b›rak›lm›fl” iliflkidir. Bununla kastetti¤imiz nedir? Asl›nda, her ne kadar bu fikirle görevlendirilmifl olsak da tasar›mc›n›n ba¤›ms›z bir sanatç› gibi topluma ait olabilece¤ini düflünmüyoruz. Bunun nedeni, bir iletiflim tasar›m› parças›n›n “okumas›n›n”, bu okuman›n nas›l ve nerede yap›ld›¤›ndan ba¤›ms›z düflünülemeyece¤idir. Bu yüzden, özellikle tasar›m parçalar› sanat eserlerinden çok daha güçlü bir ba¤la gerçeklikle iliflki kurar. Bu ba¤lamda, tasar›m üstü kapal› olarak toplumsald›r. Bu toplumsall›k nas›l aç›k bir hale getirilebilir?

Tasar›mc›lar aras›nda bu konuya nas›l de¤inilece¤i ve özellikle bunun ifllerin bak›fl aç›s›ndan m›, bireyin kiflisel ba¤lant›lar›ndan m› yoksa “kendili¤inden kabul edilmifl projeler” yoluyla m› olaca¤› konusunda tart›flmalar söz konusudur.

Kamu fonuna güvenen birçok iflveren, kamu için orada olduklar›, “marka” olmad›klar› ve vatandafllar›n onlar›n ürünleriyle ilgilenince “al›flverifl”e gitmedikleri gerçeklerini unutmufllard›r. Sonuç olarak, tasar›mc›n›n en önemli sosyal rolü, belli bir duyarl›l›¤› ve halk olma hissini geri kazand›rmakt›r.

Bu eski moda iletiflim yollar›na geri dönmek demek de¤il, halk›n içinde “ticari olarak etkili” olmaktan uzak fakat hala baflar›l› reklamlar›n ve farkl› iletiflim yollar›n›n olabilece¤ini an›msamakt›r.

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What is the social role of the designer?

It’s always difficult to answer questions that are very general; the social role of the designer is always and in any place a different one, first of all.

What should be of concern is not necessarily the productive or capitalistic, but the emancipatory relationship of design to society. What do we mean with this?

Basically, although this idea has often been assigned to us, we don’t believe that the designer can relate to society as an autonomous artist. This is because “reading” a piece of communication design can never be seen autonomously from the conditions where it is read, and how. Necessarily, pieces of design thereby relate more strongly than works of art, to the real. In that sense, all design is implicitly societal. But how can it be made explicitly societal?

There absolutely is a debate amongst designers about how to address this and especially whether it should be done from the perspective of assignments, from one’s personal engagement or from so-called “self-initiated projects”.

Many commissioners who, for instance, rely on public funding, have forgotten about the fact that they are there for the public, that they are not “brands” and that citizens do not go “shopping” when they’re interested in their products.

So there the first social role of the designer is to bring back a certain sensitivity, a sense of being public. This is not to return to old-fashioned forms of communication, but to realize that in public, there can exist other forms of communication, which do not centre around assumptions about being “commercially effective”; forms that nevertheless still are succesful forms of publicity.

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Görsel iletiflim e¤itiminin gereksinimleri hakk›nda ne düflünüyorsunuz?

Yine genifl kapsaml› bir soru. Bu soruya genel anlamda cevap verebilmek çok zor. Genel olarak görsel iletiflim, göz önünde olmas› aç›s›ndan kendini ve söylemini sürekli olarak yenilemelidir. fiimdi internet, MySpace, bloglar vb. ile birlikte, son derece estetik ve tasar›m odakl› olan fakat profesyonel tasar›mc›lara ihtiyaç duymayan sunum araçlar› ortaya ç›kt›. Tasar›mc›lar›n yapabilecekleri ve ne yapmalar› gerekti¤i konusunda pasif bir tav›r gerekir.

Archis ile yapt›¤›m›z, bir anlamda MySpace avant la lettre’nin bas›lm›fl versiyonuydu ki, ikisinde de utangaç bir “afl›r› yüklenme”ye ve “hiçbir zaman yeterli olmama”ya flahit olabilirsiniz. E¤itim aç›s›ndan bak›ld›¤›nda bu, tasar›mc›lar›n hiçbir zaman “dogma”lara ba¤l› kal›narak e¤itilmemesi gerekti¤i anlam›na gelir. Çünkü dogmalar yok olur. Bunun yerine onlar, bilgisayarlar›n yapamad›¤› bir fley olan fikir üreticileri olarak, farkl› roller alabilme imkan› sa¤layacak olan ajans ve çal›flma ortam› içinde e¤itilmeliler. De¤iflmemesi gereken baflka bir fley de ö¤rencilerin sanat, edebiyat ve kültüre do¤ru, aç›k bir flekilde, yönlendirilmeleridir.

What do you think about the needs for visual communication education?

Again a very “big” question! Hard to answer this question in general terms.

Visual communication in general needs to constantly redefine itself and its own mandates in order to stay relevant. Especially now that with the internet, MySpace, blogs, etc., there are so many tools for representation that are incredibly aesthetical and design-intensive but that do not require professional designers, it is important not to become cynical about what designers can do and what they should be taught to do. In some sense, what we did with Archis was very much like a printed version of MySpace avant la lettre - in both you can witness the self-conscious “overload”, a “never enough”. For education, this means that designers should not be taught around any “dogma” because the dogmas fade. Instead they should be educated around their agency possibility to take on different roles as idea generators, something no machine can do – and around their pro-activity. And as always, this hasn’t changed, students should have a very wide and open orientation towards arts, literature, culture.

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Yapt›¤›n›z iflleri yak›ndan inceledikten sonra size bir tasar›m manifestonuzun olup olmad›¤›n› sormak istiyorum?

Asl›nda sürekli de¤iflen manifestolar›n etraf›nda çal›fl›yoruz. Manifestolardan ilki, kurgusal biçimler, mektuplar ve günlük nesnelerin tasar›m›n›n kurguya dönüfltürülmesiydi. ‹kincisi, tasar›m›n bilgi yüklemelerine da¤›l›m›yd›. Üçüncü manifesto ise, Hollanda Festivali poster kampanyas›n›n tasar›mc›lar› olmam›z gibi bizi aflan; tasar›m›n, kamusal simgelerle yeniden düzenlenmesidir.

After looking closely to all your works you have done so far, I would like to ask you if you have a design manifesto?

We have worked around constantly changing manifestoes, in fact. The first one was the personification of design into fictions; fictional formats, letters, everyday objects. The second one was the dispersion of design into information overload.

And the third manifesto was the re-alignment of design with public symbols, largely overlapping us becoming designers for Holland Festival poster campaigns.

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Daniel van der Velden’e; Bize Sealand Projenizden biraz bahsedebilir misiniz? Biliyorum ki Meta Haven’in ‘Anti-Kurumsal Kimlik’ isimli ilk kitab›n›n bas›laca¤›n› bildirdiniz.

Bu nas›l gidiyor? Ülkelerin tasar›m politikalar›n›n olmas› gerekti¤ini düflünüyor musunuz?

Evet tabi ki, Sealand Projesi bitti. Meta Haven, Sealand kimlik projesi reklam›n› gelece¤e tafl›d› ve flimdi de “Anti-Kurumsal Kimlik” adl› bir kitap haz›rl›yor.

Fakat Sealand’in dört vaka analizinden biri oldu¤u ve tasar›m ve politikan›n görsel ve teorik bir ifllemesinin olaca¤›ndan baflka bu projeyle ilgili bir fley söylemeyelim. Sealand Kimlik Projesi’nin yeni do¤an “devlet marka”s› çerçevesinde yorumlanabilece¤ini, 2004 y›l›nda ilk bafllad›¤›nda fark edemedim.

Fakat projenin amac›, salt yeni bir marka yaratmaktan çok, ulus devlet veya sadece bir bölge gibi karmafl›k bir fleyin internetteki sanal kaos ortam›nda nas›l temsil edilebilece¤i üzerinde çal›flmakt›. Sealand çok ilginç bir çal›flmayd›.

Fakat gerçe¤i söylemek gerekirse, ülke “marka”lar›n›n birço¤unun korkunç oldu¤unu düflünüyorum. ‹çsel ço¤ulculuklar›, “marka de¤eri” tan›mlamalar›n›n hiçbirine dirençli de¤il. Bu yüzden buna karfl›y›m. “Anti-Kurumsal Kimlik”, devletlerin neden marka olamad›klar›na dair bir makale sunacak. Bu, herhalde Sealand Projesi’nin sonuçlar›ndan biri. Tabi ki politikac›lar ve ifl adamlar›, bir ülke hakk›nda yalan söylemek için marka flemsiyesini kötü yönde kullanabilir.

Markalar› yönlendirmek insanlar› yönlendirmekten çok daha kolayd›r.

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To Daniel van der Velden; Could you please tell us more about the Sealand Project? And I know that you have informed to publish the first book named “Uncorporate Identity” of Meta Haven. How is that going so far? And do you think that do the countries have to have a design policy?

Yes of course, first of all Sealand Identity Project is now finished. What came from it was the design research collective Meta Haven that took the former Sealand Identity Project’s banner with it into the future and is now indeed preparing a book, “Uncorporate Identity”. Let’s not say too much about it other than that it will be a both visual and theoretical elaboration into design and the political, where the Principality of Sealand is one of four case studies.

The Sealand Identity Project, I didn’t realize when it started, has at the time when it emerged in 2004, that it would de interpreted largely in the emerging framework of “state branding”. But the goal of the project was not necessarily to create a new brand but to study and work on the conditions under which something as complicated as the nation state, or merely territory, is represented in the virtual chaos of the internet. Sealand was a very interesting case study at that. But to tell you the truth, I think many “country brands” are horrifying.

States are not brands, democracies are not brands, and cultures are not brands; their inherent pluralism is resistant to any definition of “brand value”. So I’m against it. “Uncorporate Identity” will feature an article on why states cannot be brands. That perhaps is one of the conclusions of the Sealand project. Of course, politicians and businesspeople can misuse the umbrella of a brand to tell a great deal of lies about a country. Brands are easier to manipulate than people.

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Dans Edemiyorsam Devriminin Bir Parças› Olmak ‹stemiyorum, Program Kitap盤› If I Can't Dance, I Don't Want To Be Part of Your Revolution, Programme Book 2005

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fiu an ne üzerinde çal›fl›yorsunuz?

Ben Daniel van der Velden; ço¤u zaman›m› tasar›m araflt›rmas› ve “Anti-Kurumsal Kimlik”i ve kitab›n içindeki dört olay analizini yazarak geçiriyorum. Bunun yan›nda Jan van Eyck Akademi’de “Kamusal Alan” çat›s› alt›ndaki araflt›rmac›larla çal›fl›yorum.

Ben Maureen Moouren; birkaç farkl› ifl üzerinde çal›fl›yorum. 2007 Hollanda Festivali’nin yeni kampanyas›n› bitirdikten sonra, Arnhem Moda Bienali (tüm dünyada zirvede olan moda kültürünü gösteren ve Haziran 2007’de gerçekleflecek bir etkinlik) için bir reklam kampanyas› üzerinde çal›fl›yorum.

Di¤er bir iflim ise TU Delft Mimarl›k Fakültesi’nde gerçekleflecek olan ve dünyan›n 60 y›l sonra nas›l görünece¤i ve bu konuda bizim yapabileceklerimiz ve yapamayacaklar›m›z konulu, “Miras” adl›, InDeSem (Uluslararas› Tasar›m Semineri) için gerçeklefltirilecek reklam kampanyas› ve atölye çal›flmalar›n› içeriyor. Atölye çal›flmalar›, Werkplaats Tipografi ö¤rencileriyle beraber yürütülecek.

Bunlar d›fl›nda devam etmekte olan Marres, Ça¤dafl Kültür Merkezi, Jan Mot Galeri ve ‘Dans edemezsem…’ iflleri üzerine çal›flmaktay›z.

What are you working on now?

Daniel is working most of the time on design research and writing for “Uncorporate Identity” and the four case studies in this book; also he is working with fellow researchers at the Jan van Eyck Academie in the framework of “Public Space”.

Maureen is working on a variety of assignments. After just finishing the new campaign for the Holland Festival 2007, she is working now on a publicity campaign for the Arnhem Fashion Biennial – an event that shows cutting edge fashion culture from all over the world – which will take place in June 2007.

Another project consists of publicity for and workshops with InDeSem (International Design Seminar) which is held at the faculty of Architecture at the TU Delft, where the issue at stake is “The Legacy”, the way the earth will look in 60 years time and what we can and cannot do about it. Workshops will be carried out together with students of the Werkplaats Typografie. And there is ongoing work for Marres, Centre for Contemporary Culture, Jan Mot Gallery, and “If I Can’t Dance…”.

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Dans Edemiyorsam Devriminin Bir Parças› Olmak ‹stemiyorum, Program Kitap盤› If I Can't Dance, I Don't Want To Be Part of Your Revolution, Programme Book 2005

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Dans Edemiyorsam Devriminin Bir Parças› Olmak ‹stemiyorum, Program Kitap盤› If I Can't Dance, I Don't Want To Be Part of Your Revolution, Programme Book 2006

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Haegue Yang, Sanatç› Katalo¤u Haegue Yang, Artist Book 2004

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Archis Mimarl›k Dergisi, Kapak Tasar›m› Archis Architecture Magazine, Cover Design 2005

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Magasin 3 Projekt Broflürleri Flyers of Magasin 3 Projekt 2004

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Magasin 3 Projekt Broflürleri Flyers of Magasin 3 Projekt 2004

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FONS HICKMANN

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1966 y›l›nda Westfalen’de do¤du. 1993 y›l›nda Dusseldorf’ta iletiflim tasar›m›, foto¤raf ve felsefe ö¤renimini tamamlad›. 1994 y›l›nda Kairos adl› sanatç› grubunun kuruluflunda yer ald›. 1999’da “Fons Hickmann m23” adl› stüdyoyu Gesine Grtotrian-Steinweg ile birlikte kurdu. Stüdyosunda Avusturya, Almanya, ‹sviçre’den gelen tasar›mc›larla birlikte çal›flan tasar›mc›n›n Berlin’deki stüdyosu, kompleks iletiflim sistemlerinin tasar›m› üzerine odaklanm›flt›r.

Tasar›mc›n›n çal›flmalar› aras›nda kurumsal kimlik, kitap, afifl, dergi ve dijital medya tasar›m› bulunmaktad›r. 1999 y›l›ndan bu yana Dortmund Tasar›m Üniversitesi’nde konuk profesör olarak Tipografi, 2001 y›l›ndan bu yana Viyana Tasar›m Üniversitesi’nde Grafik Tasar›m ve Yeni Medya Tasar›m›, 2006 y›l›ndan bu yana ise Berlin Sanat Üniversitesi’nde ‹letiflim Tasar›m› dersleri vermektedir.

Fons Hickmann & Students (2003), Touch Me There (2005) ve 5xBerlin (2006) yay›nlanan çal›flmalar›d›r. Uluslararas› birçok ödüle de¤er görülen, atölye çal›flmalar› gerçeklefltiren, birçok yar›flmada jüri üyeli¤i yapan ve çeflitli konferanslara konuflmac› olarak kat›lm›fl olan Hickmann, 2004 y›l›ndan beri Uluslararas› Grafik Birli¤i (AGI) üyesidir.

He was born 1966 in Westfalen. He completed his communication design, photography and philosophy education in 1933, in Dusseldorf. He was one of the members of the artist group called Kairos, founded in 1994. He co-founded studio called ‘Fons Hickmann m23’ in 1999, with Gesine Grtotrian-Steinweg.

Hickmann who is working with designers from Austria, Germany, Switzerland in his studio, is focused on the design of complex communication systems.

Among the works of the designer, there are the corporate identity designs, book and poster designs, magazine designs and digital media designs.

He has been giving lectures about Typography in University of Applied Design (Dortmund) since 1999, lectures on Graphic Design and New Media in University of Applied Arts (Vienna) since 2001, lectures on Communication Design in University of Arts (Berlin) since 2006. His published works are Fons Hickmann&Students (2003), Touch Me There (2005) ve 5xBerlin (2006).

Hickmann who has been an AGI member since 2004, has received many international awards, participated in various workshops, in numerous competitions as a jury member and many conferences as a lecturer.

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Düsseldorf Yüksekokulu’nda foto¤raf ve iletiflimi tasar›m›, Wuppertal’de estetik ve medya teorisi e¤itimi ald›ktan sonra Berlin’de Fons Hickmann m23 isimli tasar›m stüdyosunu kurdunuz. Bu stüdyo, iletiflim sistemleri, kurumsal kimlik, dergi, kitap, afifl tasar›m› ve web tasar›m› ile ilgili üretimleriyle dünyada en bilinen tasar›m stüdyolar› aras›nda yer ald›. Bas›l› ürün, dijital ürün ve sistem tasar›m› gibi grafik tasar›m›n üç farkl› üretim kanal›n›, birbirleriyle etkilefliminden yola ç›karak tan›ml›yorsunuz ve üretimlerinizde bu etkileflim aç›kça hissediliyor. Fons Hickmann m23 ve burada üretilen projelerden bahseder misiniz? fiu s›ralar, Bavyera Devlet Operas› kurumsal kimli¤i, insan haklar› için bir dergi, Avrupa genelinde tasar›m konusunda odaklanm›fl yay›nevleri için kitap tasar›mlar›, Tanr› ve Dünya için afifller tasarlamak gibi farkl› projeler üzerinde çal›flmaktay›z. ‹yiki stüdyoda yaln›z de¤ilim, orta¤›m Gesine Grotrian-Steinweg’den baflka, Avusturya, Almanya ve ‹sviçre’den dört müthifl insan var. Ço¤unlukla bilmedi¤im konulara ilgi duydu¤um ve yeni yollar denemeyi sevdi¤im için bu denli birbirinden farkl› projeleri kabul ediyoruz.

San›r›m, en yarat›c› niteli¤imi yeni alanlarda ortaya koyabiliyorum, gelecek merak edenlerin olacak.

After having studied photography and communication design at Düsseldorf Academy, aesthetics and media theory at Wuppertal, you founded a design studio called Fons Hickmann m23 in Berlin. This studio has been one of the most known design studios in the area of communication systems, corporate identity, magazine, book, poster design and web design. You define the three different production areas of graphic design which are printed products, digital products and system designs, according to the interaction among them and this interaction is clearly recognized in your productions. Would you talk about Fons Hickmann m23 and its projects?

We are working on various projects such as a new corporate design for Bavarian State Opera, a magazine for Amnesty International, book designs for publishing houses focused on design subject throughout Europe and poster designs for the God and the World. I am lucky I am not alone in the studio. Beside my partner Gesine Gortrain- Steinweg, I have four fantastic colleagues from Austria, Germany and Switzerland. Since I am interested in the unknown subjects and like to experience new paths, we have diversified projects. I believe one is more creative in the new fields, future belongs to the curious ones.

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5 x Berlin, Sergi Afii 5 x Berlin, Exhibition Poster

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Giyecek Koleksiyonu, Etkinlik Afii Clothing Collection, Event Poster

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Mercedes - Benz Müzesi’nin bütün yönlendirme ve iletiflim tasar›m› birimlerini oluflturdunuz. Bu büyük projenin içerisinde yer alan bir tasar›mc› olarak müzenin kurulufl aflamas›ndan projenin ortaya ç›k›fl›na kadarki süreç nas›l geliflti? Sizin sorumlulu¤unuzda tasarlanan iletiflim sistemlerinin bir bütün olarak müzeyle, müzeyi oluflturan nesneler ve ziyaretçilerle kurdu¤u iliflkiye yaklafl›m›n›z› ve tasar›m sürecinizden bahseder misiniz?

Bu projedeki farkl›l›k, henüz inflaat bafllamadan yönlendirme sistemini gelifltirmekle görevlendirilmifl olmam›zd›. Yani do¤rudan Ben Van Berkel’in tasar›m› üzerinde çal›flabildik. Gelifltirdi¤imiz yönlendirme sistemi kaba betonun içine döküldü. Tipografik duvar iflaretlerinin bir k›sm› metrelerce yükseklikteydi ve devasa yüzeylere böylece bir tane bile tabela asmadan bu sorunu çözdük ki, ben tabeladan nefret ederim.

You have created all the orientation and communication design units of the Mercedes - Benz Museum. As a designer who has come up in this big project, can you tell us the formation of the project from the very begining. Would you tell us your approach to the relationship of the communication systems designed under your responsibility, with the museum, the objects that form the museum and the visitors? Would you talk about your design process?

What is special in this project is that we were assigned to develop orientation system before the building had even been formed. We worked directly with Ben Van Berkel’s drafts. We developed an orientation system which could be cast into the rough, concrete building. The enormous typographic impelements are placed high up on the walls. We managed to not to use even a single shield.

The whole orientation system is part of the wall. I hate shields.

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Bana Orada Dokun, Kitap Tasar›m› Touch Me There, Book Design

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Dijital görüntü bankas› olarak muhtemelen dünyadaki tüm reklam ajanslar›nda katalo¤u bulunan Zefa’n›n kurumsal kimli¤ini tasarlad›n›z. Arad›¤› görüntüyü hemen bulmak isteyen sanat yönetmenleri için pratik bir yönlendirme sisteminin de tasarlanmas› demekti bu. Zefa’n›n kurumsal kimlik tasar›m› ve iletiflim sisteminin tasar›m› nas›l gerçekleflti?

Zefa projesi bir kaç y›l önceydi. Kendi çekmedi¤im foto¤raflarla çal›flmak ilginç bir deneyim olmufltu. Foto¤raf e¤itimi al›p, nadiren foto¤raf çeken biri olarak bu süreci deja vu olarak duyumsam›flt›m. Bu durum benim, baflka insanlar›n baz› fleyleri benden daha iyi baflarabilece¤ini kabul etmeme neden oldu.

You have designed the corporate identity of a digital image bank, Zefa, whose catalog is probably used by all the advertising agencies. This was also a practical orientation system design for art directors who are impatient about finding the images they desire. How are the corporate identitiy and the communication system design of Zefa formed?

The Zefa project started couple of years ago. It was an interesting experience to work with the photographs I had not taken. As a person who studied Photography but who rarely takes photographs, I describe this process as a deja vu. This situation made me admit that some people might be more successful than I am in some fields.

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Genç ve Sosyal, Etkinlik Afifli Young and Social, Event Poster

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‹çsel Görev, Sergi Afifli Inner Mission, Exhibition Poster

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Displace Yourself: Unrealized Material by Fons Hickmann, projelerinizi bize anlat›r m›s›n›z?

Displace Yourself! (Yerini De¤ifltir!) Viyana’da açt›¤›m kiflisel serginin ad›yd›.

Sergi için bir katalog ç›kt›. ‹çinde sergide yer alan çal›flmalar›m de¤il de, tüm gerçeklefltirilmemifl ifllerim vard›. Viyanal› filozof Ludwig Wittgenstein’›n bir keresinde söyledi¤i gibi: “Belki de en iyisi, söylememifl olduklar›m› söylemektir.”

Katalogda, bu durumun belki tasar›m için de geçerli olabilece¤ini sorgulad›m.

Kendi d›fl›nda bir durufl noktas› seçmeyi, “deplasman” tekni¤i olarak adland›r›yorum. Yani kendi bak›fl aç›s›n› b›rak›p, baflkas›n›n bak›fl aç›s›n› almak.

Bu sayede daha önce göremedi¤im bir fleyi görebiliyorum.

Would you tell us your projects Displace Yourself: Unrealized Material by Fons Hickmann?

“Displace Yourself!” was the title of my first solo exhibition in Vienna.

An exhibition catalog, which consists all the unexhibited works, was prepared.

As Wiener philosoph Ludwig Wittgenstein once said “Maybe the best is to say what I haven’t said”. What I asked with this catalog was, if this thinking is also effective in design field. I call taking a place other than oneself as “dis-placement” technic. In other words, giving up your view point, your vision and adopting somebody else’s view point and vision. In this way, I can realize what was hidden before.

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Touch Me There (Bana Orada Dokun) isimli kitap projenizden bahseder misiniz?

“Touch me There” 10 y›ll›k tasar›m geçmiflim üzerine bir kitap. Her fleyi bir araya getirip, yeniden tarif etmeye çal›flt›m. Bu bir tür atetik psikoterapiydi.

Stüdyomda geçen y›llar içerisinde öylesine farkl› konseptler ve tasar›mlar birikmiflti ki, onlar› neticelendirmek için, hepsini bir bütün içerisinde toparlamak gerekiyordu. Kitab›n yay›nlanmas›yla, art›k özgür bir nefes alabilecek ve yeni bir yol seçmeyi deneyecektim.

Would you tell us your book project called Fons Hickmann – Touch Me There?

“Touch Me There” is a book which is based on my 10-year graphic design background. I tried to compile all my knowledge and re-define them. It was some kind of a atetic psychotherapy. Various design projects has been designed in my studio in recent years. In order to see the results, we had to put them together and form a whole. After publishing the book, I had the oppurtunity to take a deep breath and try to follow a new path.

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‹çsel Görev, Sergi Afifli Inner Mission, Exhibition Poster

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Yetiflen Tasar›mc›lar, Sergi Afifli Emerging Designers, Exhibition Poster

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Yetiflen Tasar›mc›lar, Kitap Tasar›m› Emerging Designers, Book Design

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Son olarak size tasar›m e¤itimi ile ilgili soru sormak istiyorum. Viyana Sanat Üniversitesi’den profesör oldunuz, Berlin Sanat Üniversitesi’nde ö¤retim üyesi olarak e¤itim vermektesiniz; Essen ve Dortmund kentlerindeki tasar›mla ilgili e¤itim kurumlar›nda konuk ö¤retim görevlisi olarak ders veriyorsunuz.

Günümüz görsel iletiflim tasar›m› e¤itimi ile ilgili neler söylebilirsiniz? Nas›l olmas› gerekti¤ni düflünüyorsunuz?

Daha ö¤renciyken Aristoteles’in bir sözü beni çok etkilemiflti: “Ö¤retmen konuflur, ö¤renci dinler.” Burada herkesin birbirinden ö¤renece¤i bir fley vard›r, demekteydi. Tabii ki bu ideal bir tasavvur ve dünyada birçok ak›ls›z da var; ama onlardan bile ö¤renebilece¤imiz fleyler vard›r. Hayatta, model olan kiflileri örnek al›p onlardan olumlu anlamda etkilenmenin gerekli oldu¤unu düflünüyorum. Fakat flu da unutulmamal›d›r ki, karfl› durulmas› gereken düflmanlar da vard›r. Bu demek de¤ildir ki, düflmanlar›n›z› dinlemeyiniz.

Aksine, bize karfl›t gelen, itici gelen hatta korkutanlardan da ayn› oranda fley ö¤renebiliriz, hatta bazen onlar›n hakl› oldu¤unu bile.

My last question is about design education. You are a professor at the University of Applied Arts-Vienna, since 2007 professor at the Berlin University of Arts and a visiting lecturer in the design schools of Essen and Dortmund.

What can you tell us about the visual communication design education of the present day? How do you think it should be?

Even as a student, I was impressed by one of Aristotle’s sentence: “Teacher talks, student listens”. He made an emphasis on the fact that there is always something one can learn from the other. This is, of course, an idealized concept and there are surely lots of foolish people in the world but also one can learn from them. I believe what is needed in life is to take some people as role models and let them affect us in a positive way. But one should not ignore the fact that we have enemies we need to resist. This doesn’t mean that they shouldn’t be listened. On the contrary you can learn a lot from the ones who oppose, repulse and scare us - you can even learn that they may be right at some points.

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Etkinlik AfiямВi Event Poster

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Etkinlik AfiямВi Event Poster

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Uluslararas› Grafik Birli¤i, Gazete Tasar›m› Alliance Graphic International, Newspaper Design

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HALUK TUNCAY

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1958 y›l›nda do¤du. ‹stanbul Devlet Güzel Sanatlar Akademisi (bugünkü ad›yla Mimar Sinan Güzel Sanatlar Üniversitesi), Uygulamal› Endüstri Sanatlar› Yüksek Okulu, Grafik Bölümü’nden 1980 y›l›nda mezun oldu. 1979’dan bu yana çeflitli ajanslarda grafik tasar›mc› ve sanat yönetmeni olarak görev ald›.

Yurtiçi ve yurtd›fl›nda sergilere kat›ld›, çal›flmalar› grafik tasar›mla ilgili yurtiçi ve yurtd›fl›nda yay›mlanan çeflitli dergilerde yer ald›. Grafik tasar›m›n pek çok dal›nda ifller üretti, ödüller ald›. Grafik tasar›m yar›flmalar›nda seçici kurul üyeli¤i yapt›. 1994 y›l›ndan bu yana MSGSÜ, Grafik Tasar›m Bölümü’nde ö¤retim görevlisidir.

He was born in 1958. He graduated from Istanbul State Academy of Fine Arts (Today Mimar Sinan Fine Arts University), Applied Industrial Arts School, Graphic Design Department in 1980. From 1979 on, he has worked in various agencies as an art director and a graphic designer. He has participated in national and international exhibitions and his works have been published in national and international graphic design publications. Tuncay has produced many works in various branches of graphic design and recieved many awards.

He has been involved in design competitions as a jury member. He has been working as a lecturer in MSGSU, Graphic Design Department since 1994.

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‹stanbul Film Festivali Afifli ‹stanbul Film Festival Poster 1995

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Uçuk Mavi Tasar›m Günleri Afifli Uçuk Mavi Design Days Poster 2001

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Film AfiямВi Film Poster 2005

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Film AfiямВi Film Poster 2005

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1995-2005 Y›llar› Aras›nda Üretilmifl Çeflitli Logolar Various Logotypes Designed Between 1995-2005

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Dergi Kapa¤› (Konu: ‹stanbul ve Mahalle) Magazine Cover (Subject: Istanbul and District) 1999

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Dergi Kapa¤› (Konu: ‹stanbul ve Deprem) Magazine Cover (Subject: Istanbul and Earthquake) 1999

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Dergi Kapa¤› (Konu: ‹stanbul ve Ankara) Magazine Cover (Subject: Istanbul and Ankara) 2001

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Dergi Kapa¤› (Konu: ‹stanbul ve Sanat) Magazine Cover (Subject: Istanbul and Art) 2004

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Dergi Kapa¤› (Konu: Zaman ‹çinde ‹stanbul) Magazine Cover (Subject: Istanbul in Time) 2004

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‹LHAN B‹LGE ÜM‹T CELB‹fi

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‹LHAN B‹LGE 1950’da ‹stanbul’da do¤du. 1971’de Devlet Tatbiki Güzel Sanatlar Yüksek Okulu (bugünkü ad›yla Marmara Üniversitesi) Grafik Bölümü’nden mezun oldu. 1967’de profesyonel ifl hayat›na bafllad›. Kurumsal kimlik tasar›m›, yay›n tasar›m›, bilgilendirme tasar›m› ve çevresel grafik tasar›m› gibi farkl› dallarda ürün veren Bilge, ambalaj tasar›m› alan›nda uzmanlaflt›. Kariyeri boyunca reklam ajans› çal›flan›, serbest tasar›mc› gibi görevlerde bulundu.

Tasar›m flirketi kurucusu olan Bilge, birçok yay›nda çeflitli görevlerle ve çal›flmalar›yla yer ald›. Çok say›da ödüle de¤er görüldü. Birçok yar›flmada seçici kurul üyeli¤i yapt› ve çeflitli seminerlerde konuflmac› olarak yer ald›. Grafikerler Meslek Kuruluflu kurucu üyesi olan Bilge, Marmara Üniversitesi, Grafik Bölümü’nde reklam grafi¤i ve MSGSÜ Grafik Bölümü’nde ambalaj tasar›m› üzerine e¤itim vermektedir.

He was born 1950 in ‹stanbul. He graduated from the Graphic Design department of State University of Applied Arts (Today’s Marmara University Faculty of Fine Arts) in 1971. His professional career started in 1967. Bilge who is involved in corporate identity design, editorial design, information design, environmental graphic design, finally specialized in package design. He has worked as a designer in advertising agency and a free-lance designer. Bilge who is a founder of a design company, participated in various publications with his works. He has recieved many awards, involved in many competitions as a jury and in various conferences as a lecturer. Bilge, who is a GMK (The Turkish Society of Graphic Designer) founder member, is teaching advertising graphics in Marmara University, Graphic Design Department and packaging design in Mimar Sinan Fine Arts University, Graphic Design Department.

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ÜM‹T CELB‹fi 1946 y›l›nda ‹zmir’de do¤du. 1969 y›l›nda Devlet Tatbiki Güzel Sanatlar Yüksek Okulu’nun (bugünkü ad›yla Marmara Üniversitesi Güzel Sanatlar Fakültesi) ‹ç Mimarl›k Bölümü’nden mezun oldu. 1971’de bir iç mimarl›k bürosunda profesyonel çal›flma hayat›na bafllad›. 1972’de Devlet Bursu s›nav›n› kazand›. Almanya’da bir y›l süresince dil ö¤renimi gördü ve ard›ndan 1974-78 y›llar› aras›nda Gesamthochschule Kassel'de (Bugünkü Kassel Üniversitesi) endüstri tasar›m› e¤itimi ald›. 1979’da Türkiye’ye dönerek, DTGSYO’da asistan olarak göreve bafllad›. 1986’dan bu yana ayn› fakültenin Endüstri Ürünleri Tasar›m› Bölümü’nde yard›mc› doçent olarak çal›flmaktad›r.

Lisans düzeyinde, tasar›ma girifl, endüstri tasar›m›, tasar›m yöntemleri derslerini, yüksek lisans düzeyinde ise endüstri tasar›m› proje ve tasar›m teorisi e¤itimi veren Celbifl, 1996-2002 y›llar› aras›nda Y›ld›z Teknik Üniversitesi, fiehir ve Bölge Planlamas› Bölümü’nde Kent Mobilyalar› dersini verdi.

Endüstri Tasar›m› ile ilgili birçok etkinlikte, dan›flma kurulu, bilim kurulu ve jüri üyeliklerinde bulundu. 1988-2004 y›llar› aras›nda ‹stanbul Teknik Üniversitesi, Mimarl›k Fakültesi, Endüstri Ürünleri Tasar›m› Bölümü’nde endüstri tasar›m› ve ürün tasar›m› proje derslerini verdi. Ayn› tarihten bu yana ‹TÜ, Fen Bilimleri Enstitüsü’nde “Bauhaus ve Takipçisi Ak›mlar›n 20. Yüzy›l Tasar›m›na Etkileri” adl› yüksek lisans dersini vermektedir.

He was born 1946 in ‹zmir. He graduated from the interior design department of the State University of Applied Arts (DTGSYO, today’s Marmara University Fine Arts Faculty) in 1969. He started his professional career in a interior design office in 1971. He earned government scholarship in 1972. He recieved language education for a year in Germany and later between 1974-78, recieved Industrial design education in Gesamthochschule Kassel (Universitaet Kassel). In 1979, he came back to Turkey and started to work as a assistant in DTGSYO. He has been working as a assistant professor in the Industrial Product Design Department of the same faculty since 1986. Celbifl, who is teaching introduction to design, industrial design, design methods in undergraduate level and industrial design project and design theory in graduate level, had given Urban Furnitures course in Urban and Regional Planning department in Y›ld›z Technical University between 1996 and 2002. Between 1988 and 2004, he had taught industrial design and product design project courses in ‹stanbul Technical University, Architecture Faculty, Industrial Design Department. From the same year on, he has been giving the course called “The Effects of Bauhaus and Pursuing Movements on 20. Century’s Design” in graduate level in ITU, Science Faculty. He has participated in various Industrial Design events, consultative committees, science committees, jury memberships.

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Emre Güntürkün - Tuba Çak›ro¤lu

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1+1~2 Yetenekli bireyler mi, yetenekli kurumlar m›?

Markalara hizmet vermek üzere yap›lanm›fl bir tasar›m flirketinin bünyesinde grafik tasar›mc›lar küçük bir yer tutuyor. Orada ürün, tekstil, çevre ya da kent tasar›mc›lar›, mimarlar, pazar araflt›rmac›lar›, ürün planlamac›lar› bir arada çal›fl›yor.

Bütünleflik pazarlama iletiflimi, reklam› da iletiflimin merkezi olmaktan ç›kard›; iflin bölümlerinden yaln›zca bir tanesi durumuna indirdi. Organize olmufl bir reklam ajans› bile art›k marka iletiflimini tek bafl›na yapam›yor.

Grafikerler, tasar›m ba¤›ms›zl›klar›n› reklam yazarlar›yla, planlamac›larla, foto¤rafç›larla, film yönetmenleriyle paylaflmay›, kararlar› birlikte vermeyi ajanslarda ö¤reniyorlar. fiimdi listelerine di¤er tasar›mc›lar› da dahil etmelerinin zaman› geldi.

Bir grafik tasar›mc›, bir restoran›n kurum kimli¤ini, yan›nda bir mimar olmadan, bir ambalaj› da endüstri tasar›mc›s›yla birlikte çal›flmadan tasarlayamaz.

Ambalaj tasar›m›: Çok disiplinli olmaya mahkûm bir alan.

Ambalaj, grafik tasar›mla endüstri tasar›m›n›n birbirine en çok yaklaflt›¤› alan.

Kaç›n›lmaz olarak hem iki hem de üç boyutlu çal›flmay› gerektiriyor.

Ambalaj tasarlamak için grafiker ve endüstri tasar›mc›s› birlikte çal›flmal›.

Ama onlardan önce markan›n ve onu yaratan kurumun kültürü tan›mlanm›fl, o kültüre göre bir kurumsal kimlik infla edilmifl, ürün kimli¤i saptanm›fl olmal›.

Bunlar yap›lmadan, marka alan› (markan›n fiziksel ve kavramsal olarak ne kadar esneyebilece¤i ve nerelere kadar uzanabilece¤i) tarif edilmeden, iletiflim stratejisi kesinleflmeden tasar›m çal›flmas›na bafllarsan›z belki güzel ve kullan›fll› biçimler yaratabilirsiniz ama o biçimler, markan›n geliflmesini hatta yaflam›n› sürdürmesine yetmez.

Marka oyunu bir ekip oyunudur.

Hayatta kalmak için kendi iflinizi çok iyi yapmal›s›n›z ama bu yetmez. ‹fllerini çok iyi yapan kiflilerden oluflan bir ekibin parças› olmal›s›n›z. O da yetmez; ekipteki herkes ortak hedefin ne oldu¤unu bilmeli ve oraya ulaflacak yetene¤e sahip olmal›.

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Ekip çal›flmas›, birden fazla insan›n yanyana çal›flmas›ndan çok daha fazla bir fleydir; farkl› bilgi ve beceriler gerektirir.

Birlikte çal›flma becerisini kazanman›n bir tek yolu vard›r: Birlikte çal›flmak.

Kendi bilginizi baflkas›n›n bilgisiyle tamamlamak, zay›f oldu¤unuz noktay› baflkas›n›n gücüyle doldurmak, ekip üyeleriyle empati kurabilmek, birlikte çal›flarak ö¤reniliyor.

Bir ortak e¤itim projesi Marmara Üniversitesi’nde Grafik Bölümü ile Endüstri Ürünleri Tasar›m› Bölümü aras›nda y›lda bir ortak proje yap›yoruz. Bu y›l dördüncüsünü tamamlad›k. ‹ki bölümün ö¤rencileri, alt›nc› yar›y›lda, bir ambalaj tasar›m› projesinde, birlikte çal›fl›yorlar.

S›n›flardaki ö¤renci say›s›na göre bazen 1+1, bazen 1+2 kiflilik ekipler kuruyoruz.

Ekip, hem iflleri hem sonuçlar› paylafl›yor. Orta¤›n›z sizden iyiyse, baflar›n›z art›yor, kötüyse düflüyor. Hayattaki gibi.

Burada önemli olan, çal›flman›n ard›fl›k de¤il, eflzamanl› olmas›. Her ortak iflin kendisine düflen bölümünü yap›p getiriyorsa, bu ortak bir proje de¤ildir; ekip üyeleri birbirlerinin gücünden yararlanm›fl olmazlar. Bu çal›flmada esas olan, tüm tasar›m kararlar›n›n birlikte al›nmas›. Yani ürün tasar›mc›s› logo tasar›m›na kar›fl›yor; grafiker de ürün tasar›m›na.

Projeyi bafllat›rken, nereye kadar gidebilece¤imizi biz de tam olarak bilmiyorduk. ‹lk y›l›n sonuçlar›, iki disiplinin, kendi ifllerini ayr› ayr› yapt›¤› duygusunu veriyordu. ‹kinci y›ldan itibaren, ö¤rencileri -hepsini de¤ilse de önemli bir bölümünü- birlikte tasarlamaya yöneltebildik.

Proje süresi ortalama 6 hafta. Bu sürenin ilk iki haftas›, ürünü ve markay› anlamak ve tarif etmekle geçiyor. Her ekip, kendi araflt›rmas›n› yap›yor, markas›n› nas›l konumland›raca¤›na karar veriyor ve bunu s›n›fta anlatarak tart›flmaya aç›yor.

Bu sunumlar her hafta mutlaka yineleniyor. Her ekip, çal›flma bitimine kadar 4 kez sunum yap›yor. Beflinci sunumda projeyi paftalar, maketler ve CD kay›tlar›yla teslim ediyor.

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Projeyi yönetirken nelere dikkat ediyoruz: Projenin hedefi, markan›n vaadini al›c›ya aktarmakt›r. Ekibin bunu yap›p yapamad›¤› önemli; nas›l yapt›¤› önemli de¤il.

Bazen yaln›zca logo tasar›m›, mesaj› aktarmakta yeterli olabiliyor. O zaman, ürün tasar›m›n›n geride durmas›, ayn› mesaj› formlarla yinelemekten kaç›nmas› gerekiyor. Bazen de tam tersi oluyor ve ürünün formu herfleyi anlat›yor.

O zaman da grafik çal›flman›n, olabildi¤i kadar nötr kalmas›n› istiyoruz.

Bu, tak›m çal›flmas›n› ö¤renmek için iyi bir f›rsat. Tak›m›n gol atmas› gerek; sizin de¤il. Az ama do¤ru hareketler yaparak, tak›m›n›z› gole ulaflt›rabilirsiniz.

Bir di¤er önemli nokta, kimsenin, kendisini orta¤›ndan önemli görmemesi.

Yaln›z çal›fl›rken her birimiz, kendi iflimizi herkesinkinden daha önemli görme e¤ilimindeyiz. Bu e¤ilim, ekip içinde törpülenmek zorunda. Projeyi yönetirken buna çok dikkat ediyoruz. ‹ki disiplinin hocalar›n›n konuflma süreleri bile dengeli olmal›. Biri daha çok konuflursa, o bölümün ö¤rencileri, kendilerini ortaklar›ndan daha güçlü ve daha önemli hissedebilir.

Dersleri bir hafta grafik bölümünde, bir hafta endüstri tasar›m› bölümünde yapmaya dikkat ediyoruz. Bu dengenin bozulmas›, bir taraf›n kendini ev sahibi -dolay›s›yla projenin de sahibi- gibi alg›lamas›na yol açabilir.

Projeyi yönetirken bizler de di¤er disipline müdahale ediyoruz. Grafik hocas› ürün tasar›m›n›, endüstri tasar›m› hocas› da grafik tasar›m› elefltirebiliyor. Yoksa “herkes kendi iflini yaps›n” demifl oluruz ki amac›m›z bunun tam tersi.

Ama burada da dengeyi bozmamak zorunday›z. Hangi ifli yaparsam yapay›m, di¤er tasar›mc›lardan iyi olmal›y›m ama burada endüstri tasar›mc›s› orta¤›m Ümit Celbifl’ten iyi olursam proje çöker. O benden iyi olursa, yine çöker. ‹kimiz de buna çok dikkat ediyoruz.

Bugüne kadar sistemi pekifltirmek ve olas› sorunlar› önceden görebilmek için bekledik ama art›k geniflleme zaman›m›z geldi. Önümüzdeki y›l en az bir disiplini daha projeye dahil edip, bafll›¤›m›z› “1+1+1~3” olarak de¤ifltirmeyi umuyoruz. ‹lhan Bilge Grafik tasar›mc›

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Ahu Özdemir - Perkan Ifl›ldar

Özgür Ozan Uzun - fienay Bulut

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Berk Okyay - Ayça Güven

Melis Basmac› - Emirhan Akyüz - Ufuk Ertem

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1+1~2 Talented individuals or talented institutions?

Graphic designers have a little importance in a design company founded for serving brands.

In such a place; product, textile, environment and urban designers, architects, market researchers, product planners work together.

Integrated marketing communication removed advertising from the core of communication and made it only a small part of the work. Even an organized advertising agency can not handle brand communication by itself.

Graphic designers learn, in agencies, to share their independencies with text writers, planners, photographers, film directors and to make decisions altogether. It is also time to add other designers to their lists.

A graphic designer can not design the corporate identity of a restaurant without a architect or a package without a industrial designer.

Packaging design: is a field that requires multidisciplinary Packaging is a field where graphic design and industrial design come closest to each other. It, inevitably, requires 2 and 3 dimensional work.

In order to design a package, a graphic designer and a industrial designer should cooperate. But before that, brand’s and institution’s culture should be defined, according to that culture a corporate identity should be built and product’s identity should be determined. If you start the design work without describing the brand area (physically and conceptually, how much the brand can stretch) and making the communication strategy definite, you may create beautiful and useful forms but those forms will never be sufficient to develop the brand- or even enough for the brand to live on.

Brand game is a team game.

You have to do your best in order to survive but this is not enough. You have to be a part of a team which consists of people who are the bests at their professions. Even that is not enough; every single person in the team should know and have the ability to reach the target.

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Team work is a lot more than couple people working together, it requires different knowledge and skills.

The only way to have the ability to cooperate is to cooperate.

To complete your knowledge with somebody else’s, to fill up your weak points with other’s power, to make empathy with team members- these are learned through cooperating.

A collaborative education project We have a collaborative project between the Graphic and Industrial design departments in Marmara University every year. This year, we have done the fourth. Students of the each department cooperate on a package design project during the sixth semester.

According to the number of students in the classes, we make teams of sometimes 1+1, sometimes 1+2. Teams share both the works and the results.

If your partner is better than you, your success increases; if not, it decreases.

Just like it is in life.

What is important in here is that the work is not consecutive but synchronic.

If every member carries out her/his part of the work, it is not a collaborative project; team members do not take advantage of each other’s abilities.

The fundamental principle of this study is to make all design decisions together.

In other words, product designer in the logo design and graphic designer gets involved in the product design.

We didn’t know how far we could go before the project. The results of the first semester gave the sense that both disciplines did their own jobs. Beginning from the second year, we managed to direct some -if not all- of the students to cooperate.

Project period is 6 weeks on average. The first two weeks of this period passes with describing the brand and the product. Teams make their own research, decide on how to locate their brand and discuss it in the classroom.

These presentations are repeated every week. Each team make four presentations till the end of the project. In the fifth presentation, projects are handed over as diestock, models and CD’s.

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What do we pay attention to while conducting the project: The aim of the project is to transfer the commitment of the brand to the customer. What is important is whether the team has done it or not; not how they have done. Sometimes the logo design by itself is enough to transfer the message. But then, the product design should remain silent and avoid repeating the same message through form. Sometimes, it is just the opposite.

The form of the product tells everything. Then, we want the graphic work to be as neutral as possible.

This is a good opportunity to learn the team work. Teams need to score, not you.

You can help your team score through small but appropriate moves.

Another important point is that nobody should see themselves more important than their partners. While working by ourselves, we have the tendency to perceive our work more important than the others. This tendency should be filed in a team. This is what we care while conducting the project. Even the lectures of the professors of both disciplines should be balanced. If one talks more, the students of that department may feel themselves more powerful than the other department’s students.

We try to conduct the sessions in each department every other week. The loss of this balance can lead one group to perceive themselves as the host consequently the owner of the project.

While conducting the project, we also intervene the other discipline. Graphic teacher may criticize the product design or industrial design teacher may criticize the graphic design. Otherwise, we would have said “everybody should mind their own business” which is exactly the opposite of what we are trying to say.

But also this should be balanced. I have to be better than the other designers in whatever job I am doing; but in here if I do better job than my industrial designer partner Ümit Celbifl, the project collapses. We are very careful about that.

Until this day, we waited to strengthen the system and to foresee the possible problems, but it is now time to spread out. Next year, we hope to change our title as “1+1+1~3” by adding at least one more discipline ‹lhan Bilge Graphic Designer

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Buket Diker - Bilal Çay

Ervin Esen - Hasan Özgür

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Fatih Baltafl - Cem Gündo¤du

Onur Ero¤lu - Kürflat Ünsal

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Ozan Karakoç - Evren Sar›flahin

Özmen Mermertafl - Teberdar Gürbey

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Ortak Disiplinler ve Ambalaj Tasar›m› Ortak çal›flma veya disiplinleraras› ortak çal›flma, gerek günlük yaflamda gerekse akademik yaflamda s›k s›k sözü edilen bir kavramd›r.

Bu aç›dan bak›ld›¤›nda ambalaj tasar›m›, bir çok farkl› disiplinin kesiflme noktas›nda, kavram›n içini hakk›yla dolduran, sözcü¤ün tam anlam›yla disiplinleraras› bir u¤raflt›r. Örne¤in, makine, kimya, g›da mühendislikleri, pazarlama, psikoloji, davran›fl bilimleri, sosyoloji, ekoloji, semiyotik gibi disiplinlerin yan› s›ra endüstriyel ve grafik tasar›m, ambalaj kavram›yla do¤rudan örtüflen iki yak›n tasar›m alan›d›r.

Bu iki tasar›m alan› günümüz tasar›m prati¤inde, endüstri kavram› ile do¤rudan iliflkili olmalar› nedeniyle, genifl bir uygulama ve etkinlik alan›na sahiptirler.

Dolay›s›yla ambalaj tasar›m›n›n d›fl›nda oldukça genifl bir alanda ortak çal›flma gereklilikleri vard›r. Sergileme, sat›fl noktas› tasar›m› gibi bildik, ortak alanlar›n d›fl›nda ürün grafi¤i konusu buna iyi bir örnektir. Özellikle son çeyrek yüzy›lda teknolojide yaflanan çok h›zl› ve büyük yenilikler, mikro prosesörlerin yaflant›m›zdaki bir çok endüstri ürününde neden oldu¤u örnekçe de¤iflimi, nesnelerle yaflad›¤›m›z geleneksel kullan›m iliflkilerinin ciddi boyutlarda de¤iflmesine neden olmufltur. Art›k birçok kullanma nesnesi - tufllar, ekranlar, ikonlar, arayüzler - arac›l›¤›yla iliflki kurmaktay›z. Bunun sonucu, iki tasar›m alan›n›n tümüyle örtüfltü¤ü arayüz tasar›m›, menü tasar›m› gibi yeni ve ortak tasar›m kategorileri ortaya ç›km›flt›r.

Bu gerçekler de ortak çal›flma alanlar›n›n ve disiplinlerinin her geçen gün daha da genifllediklerinin ve disiplinleraras› ortak çal›flman›n gereklilikten öte bir zorunluluk olarak karfl›m›za ç›kt›¤›n›n önemli göstergeleridir.

Ambalaj tasar›m›nda ortak çal›flma gereklili¤ine gelince; öncelikle bir endüstriyel tasar›mc›n›n konuya yaklafl›m›n› irdelemekte yarar var.

Endüstriyel tasar›mda amaç, kullan›c›n›n beklentilerine uygun, özgün sorun çözümleri veya baflka bir deyiflle özgün endüstriyel ürünler ortaya koymakt›r.

Tasar›mc›, ürünün temel teknik ifllevleri olan, kullan›c›n›n ürünle fiziksel iliflkileri ba¤lam›nda, tutma, kavrama, tafl›ma, açma/kapama eylemlerini, ürünün üretim band›nda veya rafta durma, üretim aflamas›nda doldurulma, kullan›mda boflalt›lma ve bu eylemlerin kontrol edilebilmeleri gibi ifllevleri ile ölçü, ergonomi, yasal ve ticari mevzuat gereklerinin yan›nda, endüstriyel tasar›mda ürün dili ifllevleri olarak bilinen ve grafik tasar›mc›lar› ile ortak çal›flman›n as›l alan› diyebilece¤imiz, gösterme, sembolik ve estetik ifllevleri de ürüne yans›tmak durumundad›r.

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Söz konusu ürün dili ifllevleri, ürünün ve kullan›m ifllevlerinin neler oldu¤unu kullan›c›ya aç›klamaya yönelik gösterme ifllevi, ürünün kullan›c›da ça¤r›flt›rmay› hedefledi¤i de¤erleri, ürün ve marka kimli¤i ile ilgili ipuçlar›n› ortaya koyan sembolik ifllev ve ürünün biçimsel ö¤eleri ile estetik alg›lanmas› ile ilgili estetik ifllevleridir. Ve bu ifllevler grubu, endüstriyel tasar›mc›lar ile grafik tasar›mc›lar›n›n ambalaj tasar›m›nda birbirleriyle kaç›n›lmaz bir flekilde iflbirli¤ini gerektiren ortak alan›d›r.

Tasar›mda ürün dili ifllevleri, tasar›m ürünlerinin kullan›c› ile ilk iletiflimi kurdu¤u ifllevlerdir. Ürün, tasar›m ve teknik kalitesi hakk›nda bilgi verirken kullan›c›n›n sat›n alma karar›n› da büyük ölçüde etkiler.

Günümüzde, ambalajdan, koruma, saklama, tafl›ma, bilgilendirme gibi temel ifllevlerinin d›fl›nda en büyük beklenti sat›fl art›r›c› özellikler tafl›mas›d›r.

Ticari baflar› yerel veya küresel pazardaki ac›mas›z rekabette rakiplerden farkl› ve özgün ürünler tasar›mlamakla ve üretmekle mümkündür.

Ambalaj tasar›m›nda farkl› ve özgün ürünler, teknik olarak kullan›c›n›n beklentilerine cevap verdi¤i kadar dikkat çeken, sat›n alma karar›n› etkileyen baflka bir ifadeyle kullan›c›n›n de¤erler sistemi ve estetik be¤enisiyle bir anlamda örtüflen ürünlerdir.

Bu temel yaklafl›mla ele al›nan ortak ambalaj tasar›m› projeleri, Marmara Üniversitesi Güzel Sanatlar Fakültesinde dört y›ldan beri Endüstri Ürünleri Tasar›m› ve Grafik Tasar›m› bölümlerinin 3. s›n›f ö¤rencileriyle yap›lmaktad›r.

Projelerde gerek e¤itim gerekse mesleki ba¤lamda üç önemli nokta özellikle vurgulanmaktad›r: 1. Ortak üretim 2. Efl zamanl› tasar›m 3. Karfl›l›kl› etkileflim Efl zamanl› tasar›m ve karfl›l›kl› etkileflimden kas›t, endüstri tasar›m› ve grafik tasar›m› ö¤rencilerinden oluflturulan ekibin her iki üyesinin de ayn› proje süresinde, projenin kendilerine ait sorumluluk alan›n d›fl›nda ortaklar›n›n sorumluluk alan›nda da söz ve inisiyatif sahibi olmalar›n›n sa¤lanmas› ve teflvik edilmeleridir. Bu yaklafl›m›n sonuçlar› y›ldan y›la net bir flekilde gözlemlenmektedir.

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Ambalaj tasar›m›n›n teknik ve üç boyutlu çözümleri ile a¤›rl›kl› olarak u¤raflan bir endüstriyel tasar›m ö¤rencisi, orta¤›n›n yaz›, logo, mijampaj gibi grafik önerileri hakk›nda fikrini aç›klayabilmekte veya grafik tasar›m ö¤rencisi orta¤›n›n üç boyutlu tasar›m önerileri hakk›nda benzer flekilde fikrini aç›klamakta, ürünün temel tasar›m bileflenleri bu ba¤lamda oluflturulmakta, gere¤inde revize edilebilmektedir. Ve bütün bu çal›flmalar efl zamanl› oldu¤u için proje süreci çok fazla sekteye u¤ramadan oldukça verimli bir flekilde geçmektedir.

Sonuç olarak flunlar söylenebilir: Günümüzde, ambalaj tasar›m› gibi bir çok disiplinin kesiflti¤i bir u¤rafl alan›nda tasar›m yapmak, yukar›da k›saca de¤inilen nedenlerden dolay› disiplinleraras› ortak çal›flmalar› zorunluluk haline getirmifltir. Tasar›m e¤itimi kurumlar›nda bu olgu gerek e¤itim gerekse meslek ba¤lam›nda ciddi olarak göz önüne al›nmal›d›r.

Kurumumuzda dört y›ld›r uygulanan ortak projeler, yukar›daki görüflleri destekleyen sonuçlar ortaya ç›karm›flt›r.

Ümit Celbifl Endüstri Ürünleri Tasar›mc›s›

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Canan Taner - Cihan Peçenek

Onur Ünal - Yi¤it Özer

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Esra Y›ld›r›m - Sad›k Sakin

Ça¤dafl Çeflmeci - Onur Gökalp - Sinem Kök

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Collaborative Disciplines And Package Design Collaborative or inter-disciplinary work is a concept frequently talked about both in daily and academic life.

From this point of view, packaging design, is a inter-disciplinary work which stands in the intersection of different disciplines.

Beside the disciplines mechanic, chemistry and food engineering, marketing, psychology, behaviour psychology, sociology, ecology, semeiology; industrial and graphic design are two close design areas that is directly involved in the packaging concept.

Because of their relation with the industry concept, these two design fields have a wide application and activity area in today’s design practice. On account of that, they have the necessity to cooperate in a wide area other than packaging design.

Other than exhibition and selling point design, product graphics is a good example. Especially fast and enormous technological innovations in the last quarter of the century and changes of the industrial goods of our daily lives that micro processors caused, led to the serious changes in the relation of the traditional use of the objects. We are communicating through things such as keys, screens, icons, interfaces. This resulted in the formation of new and common design categories such as interface design, menu design where two design fields intersect.

These truths show that collaborative work fields and disciplines expands and inter-disciplinary works become an obligation more than necessity every passing day.

As for the necessity of collaborative work in package design; it would be better to investigate the approach of an industrial designer to this subject.

The goal, in Industrial design, is to create things suitable for the user’s expectations, original solutions or in other words original industrial products.

Designer have to reflect functions, known as product language functions in industrial design, such as display, symbolic and aesthetic functions which is the main field of cooperation with Graphic designers; along with the basic technical functions of the product in the context of physical relation of the customer with the product such as grabbing, grasping, carrying, opening/closing, the look of the good in the production line or on a shelf, emptying during the usage, measurement, ergonomics, legal and commercial law necessities.

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Considered product language functions are functions related to the explanation of the product and its functions, its bringing up the clues of brand and product identity and the values product has aimed to remind to the customer, its symbolic function and formal components of the product as well as its aesthetic functions.

Product language functions are the first functions that designed goods communicate with the customers. While giving information about the product, design and the technical quality; it, to a great degree, affects the decision of the customer.

Today, the biggest expectation from a package is, along with the protection, preservation, transportation, information, its carrying characteristics that would increase the sales. Commercial success is only possible through designing and producing products different from those of rivals in this merciless competition in the local or global market.

Different and original products in the packaging design are the products that attracts attention, affects the decision to buy, in other words intersects with the customer’s standards and aesthetic tastes as well as the products that technically respond to the expectations of the customer.

Packaging design projects that are handled with this approach, have been done with third-year students of Industrial Product Design and Graphic Design departments at the Faculty of Fine Arts at the Marmara University for four years.

During the projects, in the educational and professional context, three important points are emphasized: 1. Collaborative Production 2. Synchronic Design 3. Mutual Interaction What I meant with synchronic design and mutual interaction is to provide and encourage the students of the both disciplines to be able to speak and have initiative in their partner’s responsibility area in the same project period.

The results of this approach is observed in every year.

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An industrial student who is responsible of the package design’s technical and three dimensional solutions can tell his/her opinions about his/her partners ideas about text, logo, layout. And at the same time, graphic design student can make suggestions about his/her partners 3 dimensional design ideas.

The fundamental design components are formed in this context and revised if needed. Since all these works are synchronous, the project process passes in a productive manner without any interruptions.

As a result, these can be said: Designing in the area of packaging design where various disciplines intersect made inter-disciplinary work obligations because of the reasons briefly mentioned above.

This fact, both in the education and profession context, should be seriously kept in mind in the design education institutions.

Projects that have been carried out in our institution for four years, have revealed results that support the opinions above. Ümit Celbifl Industrial Product Designer

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U¤ur Can - Müge Tan

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LEONARDO SONNOLI

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1962 y›l›nda Trieste’de do¤du. Istituto Superiore Industrie Artistiche di Urbino’dan diplomas›n› ald›. Profesyonel e¤itimini Trieste Tassinari / Vetta stüdyosunda ald›. 1990-2001 y›llar› aras›nda Pesaro’daki Dolcini Associati Studio’da kreatif yönetmen olarak görev ald›. Özel flirketler ve devlet kurumlar› için kimlik tasar›mlar› ve bilgilendirme tasar›m› çal›flmalar› gerçeklefltirdi.

2002’de Paolo Tassinari ve Pierpaolo Vetta ile birlikte CODEsign’› kurdu.

2005’te Tassinari / Vetta flirketine ortak oldu. Uluslararas› Grafik Birli¤i (AGI) üyesi olan tasar›mc›, ayn› zamanda bu kurumun ‹talya fiubesi Baflkan› olarak görev yapmaktad›r (2003). Ayr›ca AGI Uluslararas› Yönetim Kurulu’nun da üyesidir. Venedik Iuav Üniversitesi’nde ve Urbino Endüstriyel Sanatlar Yüksek Okulu’nda ders vermektedir. Çeflitli sergilerde yer alan afiflleri, uluslararas› koleksiyonlarda yer alan tasar›mc›n›n çal›flmalar›, önemli kataloglarda ve birçok uluslararas› yay›nda yer ald›. Uluslararas› yar›flmalarda ödüller ald›.

He was born 1962 in Trieste. He graduated from Instituto Superiore Industrie Artistiche di Urbino. He received his professional instruction and training at the Tassinari / Vetta Studio. In years 1990-2001, he worked as a creative director in Dolcini Associati Studio, in Pesaro. He made identity and information designs for private companies and government institutions. In 2002, along with Paolo Tassinari and Pierpaolo Vetta he founded CODEsign. In 2005, he became partner of the Tassinari / Vetta company. Sonnoli who is a member of Alliance Graphique Internationale, is also Italy President of the same institution (2003). He is a AGI International Executive Commitee member. He is teaching at the Luav University of Venice and High Institute for Industrial Arts of Urbino. His posters from various exhibitions and international collections have been published in respective catalogs and publications. He has been awarded in several international competitions.

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Bir Grafik tasar›mc› olarak sizce “fikir” nedir?

Bir hediye. Bafll›¤a göre düflünülmesi acayip bir fley ama çok uydu.

As a graphic designer, how would you define “idea” (Concept)?

A gift. Something unusual to think referred to the topic but that suit’s perfectly.

Günümüzde, grafik tasar›m ba¤lam›nda gücü nas›l tan›mlars›n›z?

Yumuflak bir ses tonuyla bile yüksek sesle konuflabilme kapasitesi.

How would you define “power” in the context of Graphic Design?

The capacity to speak louder even if with a soft tone of voice.

Grafik tasar›m›n gücü nedir?

Güçlü mü ki?

What is the power (Capacity) of graphic design?

Is it powerful?

“Sans-serif kulland›¤›mda kendimi daha iyi hissediyorum.” demiflsiniz.

Peki bir müflteri karfl›n›za geçer de, bu ifli bir de “Times New Roman” ile görelim derse, bafl›na neler gelir?

Cevap flöyle olurdu: "Lütfen bana çözümlerinizi de¤il problemlerinizi söyleyin.

Neden Times New Roman, bunun için bir sebebiniz var m›?"

You have said that using sans-serif fonts make you feel better.

But what happens if a customer tells you that he/she wants to see the work with a “Times New Roman”?

The answer could be: "Please tell me your problems, not your solutions.

Why Times New Roman , do you have any reason for it?"

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Leonardo Sonnoli Gözüyle Berlin, Etkinlik Afifli Berlin seen by Leonardo Sonnoli, Event Poster 2005, 70x100 cm.

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Atom, Etkinlik AfiямВi Atom, Event Poster 2005, 100x70 cm.

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Matthew Carter - Yaz› Sanat›, Etkinlik Afifli Matthew Carter - The Art of Type, Event Poster 1999, 70x100 cm.

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Mimar Lina Bo Bardi, Sergi AfiямВi Lina Bo Bardi Architect, Exhibition Poster 2004, 70x100 cm.

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Mimar Lina Bo Bardi, Sergi AfiямВi Lina Bo Bardi Architect, Exhibition Poster 2004, 70x100 cm.

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Diritti e Doveri (Haklar ve Görevler), Etkinlik Afifli Diritti e Doveri (Rights and Duties), Event Poster 1997, 70x100 cm.

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La Discarica (Çöplük), Kitap Tan›t›m› La Discarica (The Dump), Book Advertising 1998, 70x100 cm.

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Franco Grignani, Etkinlik Afii Franco Grignani, Event Poster 2001, 100x70 cm.

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Boflluk, Ningbo Poster Sergisi ‹çin Afifl Emptiness, Poster for Ningbo Poster Exhibition 2004, 100x70 cm.

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Soldan Sa¤a ve Geriye, Sergi Afifli From Left to Right and Back, Exhibition Poster 2005, 100x70 cm.

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Olimpiyatlar ve Propaganda, Ulusal Çin Sanat Müzesi ‹çin Afifl Olympic Games and Propaganda, Poster for National Art Museum of China 2006, 70x100 cm.

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Lettere dal Confine (S›n›rdan Harfler), Sergi Afifli Lettere dal Confine (Letters From The Edge), Exhibition Poster 2006, 70x100 cm.

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Udine, Udine fiehri ‹çin Afifl Udine, Poster for Udine City

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Fikirler Tarihten Gelir, Avustralya Tasar›m Akademisi ‹çin Tasar›m Ideas Come From History, Design for Australian Academy of Design 2006

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Tradurre, Tradire, Condurre, Condire (Tercüme Etmek, ‹hanet Etmek, Yol Göstermek, Lezzet Katmak), Etkinlik Afifli Tradurre, Tradire, Condurre, Condire (To Translate, To Betray, To Drive, To Season), Event Poster 2003, 70x100 cm.

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MAJID ABBASI

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1989’da Tahran Güzel Sanatlar Üniversitesi Görsel ‹letiflim Bölümü’nden mezun oldu. Çeflitli serbest ifller ald›ktan sonra ayn› sene orta¤› Firouz Shafei ile birlikte Did Graphics Inc.’i kurdu. Stüdyosundaki ekibiyle firma kimlikleri, ambalaj tasar›mlar›, reklam kampanyalar›, afifller, kitap ve web tasar›mlar› gibi genifl bir alanda bir çok tasar›m projesi gerçeklefltirdi. 1999’dan bu yana çok say›da ulusal ve uluslararas› sergiye kat›ld›. ‹flleri dünya çap›nda müzelerde, koleksiyonlarda ve galerilerde sergilendi. Morteza Momayez’in daveti üzerine Ocak 2003’ten itibaren Tahran Üniversitesi Güzel Sanatlar Fakültesi’nde e¤itim vermeye bafllad›. ‹ran’da yay›mlanan ve yeni giriflimlerden biri olan Neshan adl› grafik tasar›m› dergisinin editörleri aras›nda yer almas›n›n yan› s›ra yeni nesil grafik tasar›mc›lar taraf›ndan 2001’de kurulan ve ‹ran grafik tasar›m›nda dinamik bir atmosfer yaratmay› hedefleyen “The 5th Color”›n kurucular›ndand›r. Çal›flmalar› çeflitli dergi ve kitaplarda yay›nlanan tasar›mc›, çeflitli jüri üyeliklerinde bulunmufltur. Abbasi, ‹ran Grafik Tasar›mc›lar› Derne¤i (IGDS) üyesidir.

He graduated from the Visual Communication Department of the Faculty of Fine Arts at the University of Tehran in 1989. The same year, having worked as a free-lance designer, he founded Did Graphics Inc. with his partner Firouz Shafei.

With his studio team, he carried out numerous design projects in various areas such as corporate identity, package design, advertising campaign, poster, book and web design. He has participated in many national and international exhibitions since 1999. His works are exhibited in museums, colections and galeries all around the world. With Morteza Momayez’s invitation, he has started to give courses in Faculty of Fine Arts at the University of Tehran since january 2003. Besides being one of the members of the editorial board of a recent attempt, Iranian graphic design magazine, Neshan; he is a founder of “The 5th Color” formed by new generation Iranian graphic designers and whose aim is to create a dynamic atmosphere in Iranian Graphic Design. Designer, whose works are published in various magazines and books, participated in jury memberships. Abbasi is a member of Iranian Graphic Designers Society (IGDS).

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Sad›k Hidayet Foto¤raflar› (Orjinal Bask›lar›) Sergisi Afifli An Exhibition Poster of the Photographs (Original Prints) of Sadeq Hedayat 2001, 70x50 cm.

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Siz hem bir tasar›mc›, hem bir e¤itmen, hem de bir reklamc›s›n›z. Bu üç kimli¤inizin örtüfltü¤ü, birbirini destekledi¤i veya çat›flt›¤› zamanlar oluyor mu? Sizin için bu kimliklerden hangisi üstlenmesi en zor olan›?

Reklam endüstrisinde çok çal›flt›m ve bu tarz tasar›m›, ticari isteklere uygun çözümler bulabilece¤im bir alan olarak görüyorum. ‹stekler, ister ticari ister kültürel olsun, izleyici ile iletiflime geçebilecek, kabul edilir sonuçlar sunmak grafik tasar›mc›n›n görevidir.

You are a designer, an educator and at the same time working for the advertising industry. Are there times when these three identities overlap, support each other or collide. Which one of these identities is the hardest to undertake?

Apparently I have worked a lot in the field of advertising industry and I consider this kind of design as an arena in which I can find appropriate solutions to commercial orders. It is the mission of a graphic designer to present an acceptable result so as to communicate with the audience whether the orders are related to culture or commerce.

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Farsçan›n sözcüklerin görsel imgelere dönüfltürülmesine çok yatk›n bir alfabeye sahip oldu¤unu biliyoruz. ‹ran’›n kültür tarihine bakt›¤›m›zda sözcüklerin fliirde oldu¤u kadar kaligrafide de son derece etkin flekilde kullan›ld›¤›n› görüyoruz. Bir grafik tasar›mc› olarak bu durum sizin ifllerinize nas›l yans›yor? Bunun avantajlar›ndan yararland›¤›n›z ya da tersi bir durumla karfl›laflt›¤›n›z oldu mu?

Pers harfleri semantik olarak Latin harfleri kadar a¤›rl›k tafl›yabilir ve tasar›mda kullan›labilirler. Tasar›mlar›m›n baz›lar›nda harflerin gizli enerjisinden yararland›m. “Ensanam Arezoust” (Saf ‹nsan Olmak ‹stiyorum) bunlardan biridir.

Harfleri birbirine o kadar yaklaflt›rd›m ve yatay bir kutu içine öyle bir flekilde yerlefltirdim ki, daha ileri gidilemezdi. Bu Mevlana fliirinin ifade etti¤i fleydir.

Bu fliirin temas› insan olmak ve ‹ran müzisyenlerinin bak›fl aç›s› olan yüceltilmifl insanlara ulaflmakt›r. Kelimenin tam anlam›yla tasavvufi olan Melik Aslanian (1915-2003) flöyle demiflti: “Kifli müzi¤in içine girmeli ki, buna ulaflt›¤›nda kifli mükemmel insan olmufl olur.”

We know that Persian alphabet is very susceptible to transform words into visual images. And when we consider the Iran’s cultural background, we see that words are actively used both in calligraphy as well as in poetry.

As a graphic designer, how does this situation affect your works?

Have you ever taken advantage of this situation? Or the contrary?

Persian alphabetical letters can semantically carry just as much weight as the Latin ones and they can be used in design. In some of my designs the hidden energy of letters is clearly taken advantage of. For instance, in the poster “Ensanam Arezoust (I wish to be pure human)” I have brought all the letters so close to one another and placed them in such a horizontal box that it could not be magnified more and this is what Movlana’s poetry connotes. The theme of this design was to be human and to reach elevated human concepts which has been Iranian musicians point of view. Melik Aslanian (1915-2003) who was a mystic in the strict sense of the word said: “One should be entranced in music, and when this goal is achieved, one will have become a perfect man”.

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Grafik Tasar›m ‹ran 1, Sergi Afifli Graphic Design Iran 1, Exhibition Poster 2002, 120x84 cm.

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“Boof-e Kour” (Kör Baykufl), 1. ‹ran Tipografi Sergisi Afifli “Boof-e Kour” (The Blind Owl), The First Iranian Typography Exhibition Poster 2003, 70x100 cm.

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2001 y›l›nda kurulan “The 5th Color”›n ‹ran grafik tasar›m›ndaki yeri ve hedefi nedir? Siz bu iflbirli¤inde (belki de sadece “ekip” demek laz›m) kendinizi nas›l konumland›r›yorsunuz?

The 5th Color 2001 y›l›nda, profesyonel piyasaya, tarihsel-profesyonel gerekliliklerden dolay›, 1979 devrimi ve ‹ran-Irak savafl›ndan sonra giren yeni nesil tasar›mc›lar taraf›ndan kuruldu. Amac› ‹ran ça¤dafl grafik tasar›m›na h›z kazand›rmakt› ve ‹ran grafi¤inin gidiflat›n›, organizasyon ve model baz›nda, çok etkileyebilirdi. “The 5th Color”›n gerçeklefltirdi¤i projeler aras›nda ‹ran tipografisi hakk›nda üç sergi, ‹ran içinde ve d›fl›nda gerçeklefltirilen sergiler, birkaç katalog ve sergi yay›m›, e¤itim merkezlerinde çeflitli atölye çal›flmalar› ve konferans organizasyonlar› bulunmaktad›r. Ben de di¤erleri gibi tak›m›n bir üyesiyim.

What is the place and aim of the 5th Color, founded in 2001, in Iranian graphic design? How do you position yourself in this cooperation (maybe team)?

The 5th Color was established in 2001 by some new-generation designers who had studied and entered professional market after the 1979 revolution and the war between Iran and Iraq because of a historical-professional necessity. Its purpose was to give impetus to Iran’s contemporary graphic design and it could have a great influence on the trend of Iranian graphics as an organizer and a model. Among the activities of the 5th Color have been: holding three exhibitions of Iranian typography and other exhibitions inside and outside Iran, publishing several catalogs and books, organizing several workshops and numerous lectures in educational centers. I am a member like others in team.

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‹ran’›n geçmiflinden gelen minyatür, tezhip ve kaligrafinin etkisi ça¤dafl ‹ran grafi¤inde varl›¤›n› hissettiriyor mu, hissettirmeli mi?

Evet, ama son senelerde gelene¤in yapay ve geçici elemanlar›, fikir ve konsepti ne olursa olsun, ‹ran grafik tasar›m›nda haddinden fazla gözükmeye baflland›.

Kiflisel olarak ‹ranl› olman›n ve ulusal bir sese sahip olman›n yukar›daki elemanlara ba¤l› olmad›¤›n› düflünüyorum. Bu durum, kifli bu elemanlar›n geçmiflini bildi¤i, bunlardan do¤ru ve güncel bir flekilde yararland›¤› ölçüde gerçeklefliyor.

Are the presences of Iranian miniature (traditional Iranian art), gilding, calligraphy perceived in the contemporary Iranian graphic design, should they be?

Yes, but in recent years the presence of artificial and transient elements of tradition, irrespective of idea and concept, is noticed abundantly in Iranian graphic design. I personally believe that to be Iranian and to have a national tone do not depend on the above elements; it comes true when one knows the background of these elements and can take correct and up-to-date advantage of them.

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Kaveh Golestan’›n An›s›na, Afifl In Memoriam of Kaveh Golestan, Poster 2003, 84x120 cm.

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“K›rk Art› K›rk”, The 5th Color Aiap Grafik Tasar›m› Sergisi Y›ll›k Etkinli¤i “Forty Plus Forty”, The 5th Color Graphic Design Exhibition in Aiap Annual Event 2004, 70x100 cm.

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Dünyaca ünlü avangart, ça¤dafl ‹ranl› yazar Sad›k Hidayet için tasarlad›¤›n›z afiflin yaln›zca ‹ran grafik tasar›mc›lar›nca de¤il dünya çap›nda büyük be¤eni toplayarak “ça¤dafl ‹ran tasar›m›n›n klasi¤i” olarak de¤erlendirilmesini neye ba¤l›yorsunuz? Özgün, geleneksel malzemenin ça¤dafl grafik tasar›mda yeri sizce ne olmal›?

Bana sorsayd›n›z bunu bilemezdim. Ama bu sadece ‹ran gelene¤i noktas›nda bir yorumsa, önceden de söyledi¤im gibi övünmek istemem. Belki bu afifl, Do¤u ve ‹ran karakterleri tafl›d›¤› için bu kadar görülmüfl ve dikkat çekmifltir. Bu afifl hakk›nda Uwe Loesch’n›n aç›klamas› flöyleydi: “Bu poster o kadar popüler oldu ki ‹ran grafik tasar›m›n›n ikonu haline gelmeye bafllad›.”

The poster, you designed for the famous avant-garde and contemporary author Sadeq Hedayat, has won a world-wide appreciation and chosen as a contemporary Iranian designs classic. What could be the reason? What should be the place of original, traditional material in the contemporary graphic design?

I wouldnt know if you asked me, but if it is just for the sake of Iranian shades, I wouldn’t like to boast about it as I explained before. Maybe this poster has in general been seen and noticed a lot for its eastern and Iranian character.

About this poster Uwe Loesch remarked: “This poster has become so popular that it is becoming an icon of Iranian graphic design.”

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Bugüne dek, tasarlarken en büyük keyfi ald›¤›n›z ifliniz hangisi?

Bana göre iflin güzel taraf› do¤ru çözümü yaratmak için yeni ve farkl› bir sonuca ulaflabilmektir.

Which one of your works is the one that you enjoyed most while creating?

For me the charm of a work is to be able to reach the right solution and a new and novel result in order to create it.

Tasar›m anlay›fl›n›zda “olmazsa olmaz”lar›n›z neler? Çal›flmaya bafllarken en çok nelere ihtiyaç duyar, nelerden ilham al›rs›n›z?

Her fleyden önce ifl ile ilgili bilgileri toplamal›, gerekli verilere sahip olmal›y›m.

Bu süreç, geçmiflteki tecrübelerim ›fl›¤›nda do¤ru sonuçlara ulaflmam› sa¤lar.

Ama bana tasar›m konusunda yard›m eden en önemli ö¤eler çevrem, çal›flt›¤›m ve yaflad›¤›m yerdir.

What are your necessities in your perception of design? What do you need most while getting ready to start and what are your inspirations?

First of all I should gather the needed information about the order and acquire the required knowledge about it. This process helps me reach appropriate results in the light of my experience in the past. But the most important thing which helps me with design is the surroundings and the place where I live and work.

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Molavi, 2. ‹ran Tipografi Sergisi Afifli Molavi, The Second Iranian Typography Exhibition Poster 2004, 84x120 cm.

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Bem, Sonsuz Miras (‹ran Kültürel Miras ve Turizm Organizasyonu) Sergisi Afifli Bam, The Everlasting Heritage (Iranian Heritage and Tourism Organization) Exhibition Poster 2004, 70x100 cm.

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Grafik tasar›m›n ‹ran’daki de¤eri ve yerini nas›l görüyorsunuz? ‹ran grafik tasar›m anlay›fl›n›n Bat› grafik tasar›m›ndan ayr›lan noktalar› neler? ‹ran ve Bat› grafi¤inin farkl›laflt›¤› en önemli nokta, bir gelene¤in var olmas› ve bunun hemen fark edilmesini sa¤layan farkl› bir alfabenin olmas›d›r.

Son y›llarda, bir taraftan Morteza Momayez’in giriflimleri bir taraftan ise genç tasar›mc›lar›n varl›klar› sonucu ‹ran grafik tasar›m›, flafl›rt›c› ve h›zl› bir flekilde uluslararas› arenada gündeme geldi. Bunun gösterece¤i yol veya do¤uraca¤› sonuçlar bizim görümüze ba¤l›. Bir k›s›m sinemam›z›n gidiflat›na dair söylemlerimi yinelemek -ki bu gidiflat s›rf uluslararas› festival ve yar›flmalarda yer almak amaçl› yüzeysel bir kat›l›m- beni oldukça üzüyor. ‹ran grafik tasar›m› a¤›r ve sürekli olarak turist çeken bir tav›rdan uzak durarak yoluna devam etmeli ve kendine ulusal bir kimlik ve üslup belirlemeye çal›flmal›d›r.

How do you evaluate the value and the place of Graphic Design in Iran? In which points does the Iranian Graphic design is seperated from the Western Graphic Design?

The most important distinction between Iranian graphics and its western kind is the presence of tradition and our different alphabet which immediately distinguishes that. In recent years, Iranian graphic design has astonishingly and rapidly become mooted in international councils which is the consequence of the attempts made by Morteza Momayez on the one hand and the presence of some young designers on the other hand. Where this way will lead to and what it’s consequences will be depend on our wisdom. I am terribly worried about repeating the way part of our cinema has taken, that is, repetition and very superficial presence in international festivals and competitions just for the sake of participation. Iranian graphic design should proceed calmly and constantly without tourist-attracting aspects and it should try to transform into a national identity and style.

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Biz son 80 y›ld›r Latin alfabesi kullanan bir ülkeyiz, dolay›s›yla tipografimiz yeni yeni geliflmekte. Acaba siz bu de¤iflikli¤e maruz kalmaman›z› iletiflimde avantaj olarak m› görüyorsunuz yoksa dezavantaj m›?

Her ne kadar alfabemiz bize ait olsa da, biz de böyle bir büyüme evresinden geçiyoruz. Bu fark›n avantaj› daha çok dikkati çekmemizi sa¤lamas›d›r.

Ama di¤er taraftan uygun karakterlerin k›tl›¤› ‹ranl› grafik tasar›mc›lar› k›s›tlamaktad›r. Bunun sonucu olarak da kullanabilece¤iniz bir sürü uygun karakter varken ve de¤erli bat› iflleri ile karfl›laflt›r›lmak zorundayken, içeriksiz formlara s›k›fl›p kalm›fl tekrar iflleri ortaya ç›kmaktad›r.

We, as a country, have been using the Latin Alphabet for the last 80 years.

Therefore, our typography is still in the devoloping stage. Do you think it is and advantage or disadvantage in terms of communication that you haven’t been subject to such a change?

We are also passing our stage of growth although our alphabet belongs to ourselves. The advantage of this difference is that it can help us to be noticed more, but on the other hand, the paucity of a collection of suitable typefaces limits the Iranian graphic designers the result of which is repetitive works entangled in contentless forms while you have hundreds of appropriate typefaces at your disposal and you must be compared with a collection of precious western works.

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Morg-e-Sahar, Parvaneh Bahar’›n Hat›ralar›, Kitap Afifli Morg-e-Sahar, A memories of Parvaneh Bahar, Poster for Book 2005, 84x120 cm.

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Yolculu¤un fiafak Serinli¤i, Kitap Kapa¤› Coolness of Journey's Dawn, Book Cover 2001, 14.5x21.5 cm.

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‹yi Geceler Johannes, Kitap Kapa¤› Good Night Johannes, Book Covers 2002 14.5x21.5 cm.

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‹ran Halk Edebiyat›, Cilt I, Kitap Kapa¤› Folklore Literature of Iran, Volume I, Book Cover 2003, 16.5x23.5 cm.

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‹ran Halk Edebiyat›, Cilt II, Kitap Kapa¤› Folklore Literature of Iran, Volume II, Book Cover 2003, 16.5x23.5 cm.

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Samimiyet; Hanif Kureishi’nin Roman›, Kitap Kapa¤› Intimacy; A novel by Hanif Kureishi, Book Cover 2003, 14.5x21.5 cm.

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Bulutlu Y›llar; Ali Ashraf Darvishian’n›n Roman›, Kitap Kapa¤› Cloudy Years; A Novel by Ali Ashraf Darvishian, Book Cover 2004, 14.5x21 cm.

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O Y›llar›n Öyküleri, Kitap Kapa¤› Stories of Those Years, Book Cover 2005, 14.5x21.5 cm.

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Anna Akhmatova’dan Seçilmifl fiiirler, Kitap Kapa¤› Selected Poems by Anna Akhmatova, Book Cover 2005, 14.5x21.5 cm.

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Hussein Kurd-e Shabestari’nin Öyküsü, Kitap Kapa¤› Story of Hussein Kurd-e Shabestari, Book Cover 2006, 16.5x23.5 cm.

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Karanl›kta May›n Tarlas›nda Koflmak; Mostafa Mastour, Kitap Kapa¤› Running in The Darkness of Mines Field… by Mostafa Mastour, Book Cover 2006, 14.5x21.5 cm.

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Tecrübenin Sözleri; Morteza Momayez Makalaleleri, Kitap Kapa¤› Words of Experience; Articles by Morteza Momayez, Book Cover 2003, 16.5x23.5 cm.

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fiah Suikastinden Sepahbod Razmara Suikastine, Kitap Kapa¤› From Assassination of Shah to Assassination of Sepahbod Razmara, Book Cover 2003, 14.5x21.5 cm.

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ALAN FLETCHER ANISINA IN MEMORIAM ALAN FLETCHER

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Alan Fletcher 1931 y›l›nda Kenya’da ‹ngiliz bir ailenin o¤lu olarak dünyaya geldi.

1936’da ‹ngiltere’ye yerlefltikten sonra Merkezi Sanat ve El Sanatlar› Okulu ve Kraliyet Sanat Okulu’nda sanat ve tasar›m e¤itimine bafllad›. 1956’da ö¤renci de¤iflim program› ile Yale Üniversitesi’nde mimarl›k ve tasar›m e¤itimi ald›.

Amerika’da kald›¤› süre boyunca Fortune Dergisi için tasar›mlar yapt› ve Saul Bass’›n tasar›m stüdyosunda çal›flt›.

1959’da ‹ngiltere’ye dönerek serbest grafik çal›flmalar›na ve Central School’da ö¤retim görevlili¤ine bafllad›. 1962 y›l›nda daha sonra ismi Crosby / Fletcher / Forbes olarak de¤iflecek olan Fletcher / Forbes / Gill ortakl›¤›n›n kurucular›ndan oldu. 1972’de Theo Crosby, Colin Forbes, Kenneth Grange, Mervyn Kurlansky ile birlikte isim verdi¤i Pentagram’› kurdu.

Pentagram’dan ayr›ld›¤› 1992 y›l›na kadar Pirelli, Cunard, Penguin Books, BP, Olivetti, Shell, Reuters, Victoria ve Albert Müzesi, Kuveyt Ticaret Bankas› gibi kurulufllar müflterileri aras›nda yer ald›. 1992’den itibaren çal›flmalar›n› kendi atölyesinde sürdürdü. Bu dönemde Phaidon Press’in tasar›m dan›flmanl›¤›n› yürütmenin yan›nda Domus Magazine, Dentsu, London Transport, Shell, Knoll ve Toyota için tasar›mlar yapt›. Avrupa ve Kuzey Amerika’n›n grafik tasar›m geleneklerini sentezleyerek oluflturdu¤u özgün, esprili, yal›n ve son kiflisel görsel tarz› ile birçok önde gelen kurum ve kültürel kurulufllar için tasar›mlar yapt›.

Bu çal›flmalar› ile dünya çap›nda tan›nd›. Tasar›m› bir meslek ya da zanaat olarak de¤il, bir yaflam biçimi olarak tan›mlayan Fletcher, 2001 y›l›nda Grafist 5 kapsam›nda atölye çal›flmalar› yapt›, seminer ve afifllerini sergiledi.

Grafik tasar›m deneyimlerini Beware Wet Paint, Identitiy Kits, A Sign Systems Manuel, Pentagram - The Work of Five Designers, Living by Design, Ideas on Design, The Compendium, Graphic Design: Visual Comparisons, A Book of Matches, The Art of Looking Sideways ve 100 Maverick Postcards ile gelecek kuflaklara aktard›.

Alan Fletcher 21 Eylül 2006’da aram›zdan ayr›ld›.

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Alah Fletcher was born as a son of a British family in Kenya, in 1931.

After settling in England in 1936, he started his art and design education in Central School of Arts & Crafts and Royal College of Art. In 1956, he went to United States have architecture and design education in Yale University as a exchange student. In the period he spent in USA, he made designs for Fortune Magazine and worked in Saul Bass’s design studio.

In 1959, he went back to England and began his free-lance graphic works and his academic career in Central School. In 1962, he became one of the founders of the corporation Fletcher / Forbes / Gill whose name would later change as Crosby / Fletcher / Forbes. In 1972, he founded Pentagram with Theo Crosby, Colin Forbes, Kenneth Grange, Mervyn Kurlansky. Until the year 1992 in which he detached from Pentagram, corporations like Pirelli, Cunard, Penguin Books, BP, Olivetti, Shell, Reuters, Victoria and Albert Museum, Commercial Bank of Kuwait had been among his customers.

From 1992 on, he continued his works in his studio. In this period, beside working as a design advisor for Phaidon Press, he made designs for Domus Magazine, Dentsu, London Transport, Shell, Knoll and Toyota. He made designs for various leading associations and cultural institutions with his unique, humorous and simple visual methods formed by blending European and North American graphic design traditions. He won world-wide recognition with these works. Fletcher who describes design not as a profession or a craft, but as a life style; made workshops, gave lectures and exhibited his posters within the Grafist 5.

He passed his graphic design experiences to the future generations with publications: Beware Wet Paint, Identitiy Kits, A Sign Systems Manuel, Pentagram – The Work of Five Designers, Living by Design, Ideas on Design, The Compendium, Graphic Design: Visual Comparisons, A Book of Matches, The Art of Looking Sideways and 100 Maverick Postcards.

Alan Fletcher passed away on 21 September, 2006.

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Bas›nda...

“Onun ifllerini bu kadar güçlü k›lan ruhun cömertçe kullan›m›d›r. Alan, ‹ngilizlere bakmay› ve bir daha bakmay› ö¤retmifltir.”

Fiona MacCarthy, The Guardian (2006, Kas›m) “1950’lerden bu yana, gerçeklefltirdi¤i yarat›c› afifller, flirket ve çeflitli kurulufllar için görsel kimlikler ve Penguin ile Phaidon için kitap tasar›mlar› yoluyla görüntüyü modernize etti.”

Fiona MacCarthy, The Guardian (2006, Kas›m) “Önerileri parlak, berrak, iyimser, zekicedir ve bunlar, görsel belirsizli¤in ve cinas›n kar›fl›m› olan imzas›n›n sonucudur. Kendisiyse bunu ‘Kelimeleri resimlere çevirmenin yan›nda, z›rval›klar›n içindeki fliiri bulmak.’ olarak tan›mlar.”

Stephen Bayley, Review, Supp to The Observer (2006, Kas›m) “‹ngiltere’nin önde gelen tasar›mc›lar›ndan biri olan Alan Fletcher; reklam, illüstrasyon, sanat, felsefe, mimari gibi elemanlar›, tutarl› ve e¤lenceli bir ifller bütünü haline sokabilmeyi baflarm›flt›r.”

Ossian Ward, Time Out (2007, Ocak) “…‘‹ngiliz grafi¤inin babas›’ ve ‘tasar›m›n yar› tanr›s›’ olarak kabul edilmifltir.”

Ossian Ward, Time Out (2007, Ocak) “…Tasar›m› sadece bir meslekten çok yaflam tarz› olarak benimseyen adam.”

Alice Jones, The Independent (2006, Kas›m) “…Savafl sonras› ‹ngiliz grafik tasar›m›n›n babas›, 40 sene boyunca bu tasar›m aristokratl›¤›n›n bir parças›, ‹ngiltere’nin esprili, bafl›na buyruk, fakat zevkli olan marka ve reklam itibar›n› neredeyse tek bafl›na yaratan adam.”

Tom Dyckhoff, The Times (2006, Kas›m)

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Yüz, Icograda Ö¤renci Semineri Afifli Face, Icograda Student Seminar Poster 1997

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From Press “It was this generosity of spirit that made his work so powerful. Alan taught the British to look and look again.”

Fiona MacCarthy, The Guardian (November 2006).

“From the 1950s onwards, he modernized the landscape through his brilliantly inventive posters, visual identities for public companies and insitutions and his book design for Penguin and Phaidon.”

Fiona MacCarthy, The Guardian (November 2006).

“His proposals were bright, clear, optimistic, clever, relying, on his signature mixture of visual ambiguity and visual puns... By his own account, he turns words into pictures and finds poetry in rubbish.”

Stephen Bayley, Review, Supp to The Observer (November 2006) “Alan Fletcher who, as one of Britain’s foremost graphic designers, managed to distil elements of advertising, illustration, art, philosophy and architecture into a coherent and entertaining body of work.”

Ossian Ward, Time Out (January 2007). “…he has been hailed as ‘the father of modern British graphics’ and ‘a design demigod’…”

Ossian Ward, Time Out (January 2007). “…a man for whom design was never merely a profession, but a way of life.”

Alice Jones, The Independent (November 2006) “…a father of postwar British graphic design, part of its design aristocracy for four decades, the man who almost single handedly created the country’s reputation for witty, irreverent yet elegant branding and advertising.”

Tom Dyckhoff, The Times (November 2006)

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Maymun, Kolaj The Monkey, Collage 2004

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Domuz, Kolaj The Pig, Collage 2004

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Geers Gross, Davetiye Tasar›m› Geers Gross, Invite Design 1989

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Max Ponty’ye Sayg› Afifli Poster for Homage to Max Ponty 1992

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Tasar›mc›lar ve Sanat Yönetmenleri Kuruluflu’nun 21. Y›ldönümü Afifli Poster for 21st Anniversary of the Designers and Art Directors Association 1983

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Pentagram’la Bir Akflam, Afifl An evening with Pentagram, Poster 1990

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Horoz, Kolaj The Rooster, Collage

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Kรถpek, Kolaj The Dog, Collage

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Çevre Kirlili¤ine Karfl› Afifl A Statement Against Pollution Poster 1999

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Kitap Kapa¤› Book Cover 1994

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KENT REHBER‹ ANADOLU ÜN‹VERS‹TES‹ MIGRATION GRUBU SERG‹S‹ CITY GUIDE ANADOLU UNIVERSITY MIGRATION GROUP EXHIBITION

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Kent Rehberi Anadolu Üniversitesi Migration Grubu Sergisi Migration: Migration grubu çeflitli disiplinleri bir araya getirerek projeler üretmek amac›yla oluflturulmufltur. Bu projede; bir binay›, binaya ait mekanlar› bir kitap gibi tasarlayarak yeniden düzenlemek, yeni mekanlar oluflturmak, kitab›n öyküsünü farkl› medya uygulamalar› ile anlatmak ve projenin gerek fikir gerekse uygulama aflamalar›nda mimari, grafik tasar›m ve animasyon disiplinlerini dirsek temas› yapar hale sokmak hedeflenmifltir.

Proje Tasar›mc›lar›: Mehmet Ali Alt›n, Mimar / Ebru Baranseli, Grafik Tasar›mc› / Bengisu Keleflo¤lu, Grafik Tasar›mc› / ‹pek Torun, Grafik Tasar›mc› / Baflak Ürkmez, Animatör City Guide Anadolu University Migration Group Exhibition Migration: Migration group is formed with the aim of creating projects through combining various disciplines. With these projects, it is planned on to rearrange a building, spaces of the building like a book, to form new spaces, to tell the story of the book by different media applications and to make architecture, graphic design, animation disciplines contact with each other both in the idea and in the execution stages of the project.

Project Designers: Mehmet Ali Alt›n, Architect / Ebru Baranseli, Graphic Designer / Bengisu Keleflo¤lu, Graphic Designer / ‹pek Torun, Graphic Designer Baflak Ürkmez, Animator

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Kent Rehberi Projesi Hareketli görüntüler, etkileflimli ortam uygulamalar› ve ses art›k grafik tasar›m›n yeni araçlar›d›r. Grafik tasar›m mesajlar›n›, medya ve iletiflim teknolojilerinin geliflimiyle birlikte birbirinden farkl› kanallardan iletmektedir. Teknolojik geliflmeler pek çok disiplini de etkisi alt›na alm›flt›r. Özellikle tasar›m disiplinleri küreselleflen dünyada daha çok birbirine yak›nlaflarak, birbirleri ile daha çok etkileflime girmifl ve daha çok kesiflir hale gelmifltir. Mimarl›k ve grafik tasar›m böyle bir kesiflimin içindedir.

Kentin karmaflas›, çeflitlili¤i, farkl› elemanlar›n bir aradal›¤›, o kentin metnini oluflturur. Binalar›n yo¤unlu¤u, sokaklar›n karmaflas›, evler, odalar, odalarda yaflananlar, bu metnin içeri¤i, parçalar›d›r. Odalar birleflip binalar›, binalar yan yana gelerek yap› adalar›n›, onlar› birbirine ba¤layan sokaklar›, caddeleri, mahalleleri ve hepsi birleflip kenti ve kentin metnini oluflturur. Kelimelerden cümlelere, cümlelerden paragraflara ve bir metne, bir kitaba gidiflimiz gibi, odalardan bafllayarak bir kente do¤ru gideriz. “…Bir araya gelen kelimeler bir yap› dokusu oluflturarak metnin anlam›n› aç›klar ve destekler. Kelimelerin cümle ve deyifl haline gelmesini sa¤layan tav›r, bir kelime kümesi oluflturarak içeriksel bir anlam kazand›r›r. Kelimeler direkt ya da anl›k tan›mlanmalar›na göre veya daha yavafl ve daha temkinli bir flekilde ortaya ç›kan anlam katmanlar›ndaki belirsizlik için seçilebilir…”* Mekanlar birbirlerinden kimi zaman ses ya da ›fl›k hüzmesi gibi görünmez göstergelerle ayr›l›r. Bunlar mekan›n anlam›n› güçlendiren elemanlar olmakla beraber ayn› zamanda fiziksel olmayan duvarlard›r ve bunlar kent rehberi projesinin tasar›m parçalar›d›r. Odan›n fiziksel gerçekli¤i ile alg›lan›fl› farkl›l›k gösterir. Kelimelerin bir araya gelip bir anlam oluflturmas› gibi, alanlar odalar›, odalar binalar›, binalar kenti oluflturur, bir araya gelip bütünün kimli¤ini tan›mlar. Pencere çift yönü gösterir. Odan›n, evin, binan›n pencereleri kentin pencereleridir; kenti kentlere, kenti binalara, evlere ve odalara ba¤lar.

Kent, mesaj›n› bir kitap içinde grafik tasar›m ile verir. Kitap kenti anlat›r.

Grafik tasar›m kitab›, kitapsa kentin en küçük parças› oday› tasarlar.

Grafik tasar›m kenti anlat›rken bir taraftan da onun bir parças›n› de¤ifltirir. *Katherine F. Benzel

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City Guide Project Animated images, interactive media applications and sound are the new tools of graphic design. In conjuction with the developments of the media and communication technologies; graphic design is transmitting its messages through different means. Technological innovations effect various disciplines.

Especially design disciplines become close to each other, influence each other and intersect more in this globalized world. Architecture and graphic are in this kind of intersection.

Complexity, variety and its consisting numerous elements form the text of the city. The intensity of the buildings, the complexity of the streets, houses, rooms, what is happened in the rooms are the contents and the parts of this text. Rooms unite and form buildings, buildings come next to each other and form urban blocks, streets, avenues, districts that connect them and they all unite and form the city and its text. Just like our journey from words to sentences, sentences to paragraphs and to a text, to a book; we travel from rooms to a city. “…Words that come together explain and support the meaning of the text by forming the texture of the structure. Attitude, which changes words into a sentence and a statement, brings in denotation of the content through forming the word groups. Words are chosen for according to their direct or momentary definitions or for their ambiguities in denotation layers that appear slower and more sober…”* Places are differed from each other through invisible indicators such as sound or cluster of lights, these are, beside being elements that strengthen the effect of the place, also non-physical walls and they are parts of the city guide projects.

The physical reality of the room and the way it is perceived differ. Just like words coming together and forming a denotation, spaces form rooms, rooms buildings, buildings cities, they come together and define the identity of the whole.

Windows show both ways. Windows of the room, the house and the building are the windows of the city; and they attach the city to the other cities, to the buildings, houses and rooms.

City gives its message in a book through graphic design. Book tells the city, graphic designs the book and book designs the smallest element of the city-rooms. Graphic design, while telling the city, changes its part. *Katherine F. Benzel

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2007 MSGSÜ GRAF‹K TASARIM BÖLÜMÜ, MEZUN‹YET ‹fiLER‹NDEN B‹R KES‹T A FEATURE FROM THE GRADUATION PROJECTS OF 2007 MSGSÜ, GRAPHIC DESIGN DEPARTMENT

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Buket Uygur 1980 y›l›nda ‹stanbul’da do¤du. 1999-2000 y›llar› aras›nda Mimar Sinan Güzel Sanatlar Üniversitesi Geleneksel Türk El Sanatlar› Bölümü’nde okudu.

2000 y›l›nda MSGSÜ, Grafik Tasar›m Bölümü’ne girdi, 2007 y›l›nda mezun oldu.

Yurtiçinde ve yurtd›fl›nda birçok atölye çal›flmas›na ve sanatsal projeye kat›ld›.

Halen Alametifarika Reklam Hizmetleri’nde sanat yönetmeni olarak çal›flmaktad›r.

She was born in 1980 in Istanbul. She studied traditional Turkish handicrafts in Mimar Sinan Fine Arts University between 1999 and 2000. She enrolled in Graphic Design Department of MSGSU in 2000 and graduated in 2007.

She was involved in various national, international workshops and artistic projects. Uygur has still been working as an art director in Alametifarika Advertising Agency.

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Metin Odakl› Font Tasar›m› Bu projede; Italo Calvino'nun “Görünmez Kentler”de kurdu¤u, on bir ana model alt›nda, beflerli gruplar halinde tan›mlanan yap›y› tek bir fonttan yola ç›karak, her bir kent için onu tasvir eden metni, içinde bulundu¤u model ve metnin içeri¤ini de oluflturan tasvir do¤rultusunda ele alan, yap›y› baflka türlü okutacak bir font sistemi tasarlanm›flt›r. Bu proje bir font tasarlama anlay›fl› önermesidir.

Literally Customized Font Design This project aims to design a font system that will permit to read the structure defined in eleven principal models that Italo Calvino has set up in his book “Invisible Cities” in groups of five in a different way by considering each text which describing a particular city by taking into account the model and the depiction which is also the context of the text, starting from a single font.

This project is a proposal for a font design.

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Kaan Küçük 1981'de ‹zmir'de do¤du. 1999-2006 y›llar› aras›nda Mimar Sinan Güzel Sanatlar Üniversitesi, Güzel Sanatlar Fakültesi, Grafik Bölümü'nde e¤itim gördü.

2006 y›l›nda Alametifarika Reklam Hizmetleri’nde sanat yönetmeni asistan› olarak çal›flt›.

He was born in 1981. He attended the Department of Graphic Design, Fine Arts Faculty, Mimar Sinan Fine Arts University in 1999-2006. He worked as a junior art director in Alametifarika Advertising Agency.

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‹kon Font Tasar›m› Farkl› kategorilerde ikon fontlar tasarlad›m. Bu fontlar baflka ikon font kategorilerinin eklenebilece¤i bir sistem önerisi olarak tasarland›. ‹konlar› keserek, oranlar›na müdahale ederek, renk vererek, birlefltirerek fontlar›n kullan›m alan›n› gösteren illüstrasyonlar oluflturdum.

Ding Bat Font Sets I composed different categories of dingbat sets. These dingbats were designed as the part of a system that the other sets can be added on. I created illustrations that show the use of the fonts by cutting them, changing their colors, thicknesses and joining them together.

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Koray Doyran 1977’de ‹stanbul’da do¤du. Marmara Üniversitesi Güzel Sanatlar Fakültesi, Resim Bölümü’nde e¤itim gördükten sonra Mimar Sinan Güzel Sanatlar Üniversitesi, Grafik Tasar›m Bölümü’ne girdi. 2007’de bu bölümden mezun oldu.

Alametifarika Reklam Hizmetleri’nde üç sene sanat yönetmenli¤i yapt›.

Halen serbest reklamc›l›k, grafik tasar›m ve grafik sanat› çal›flmalar› gerçeklefltirmektedir.

He was born in 1977 in Istanbul. After having art education in Marmara University Faculty of Fine Arts, he enrolled in Mimar Sinan Fine Arts University, Graphic Design Department. He graduated from Graphic Design in 2007.

Doyran worked as an art director in Alametifarika Advertising Agency for three years. He has still been performing freelance advertising works, graphic design and graphic art projects.

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1965-2000 Indie Rock fiair Müzisyenler Antolojisi Kitap ad›: Bunu Daha Önce Duydu¤unu Düflünüyorsan Beni Durdur!* Proje Konusu: 1960-2000 y›llar› aras›nda Indie Rock Müzik tarihine ve felsefesine yön veren müzisyenler ve onlar›n flark› sözleri üzerine bir flair müzisyenler antolojisi.

Kitap içerdi¤i flark›lar›n metinlerini müzikten ay›r›p, bu metinlerin önemini vurgulamaktad›r. Metinleri müzi¤in yükünden kurtar›p kendileri yapmay› amaç edinmifltir. *Kitab›n ad› Morrissey'in The Smiths kadrosundayken yazd›¤› "Stop Me If You've Heard This One Before" flark›s›ndan al›nm›flt›r.

1965-2000 Indie Rock Poetic Musicians Anthology The name of the book: If you think you've heard it before, stop me!* The subject of the Project: Poetic Musicians Anthology upon the musicians that shape the Indie Rock Music history and its philosophy between years 1960-2000 and their lyrics.

The book detaches the lyrics from the music and highlights the importance of these texts. Its aim is to release these texts from the impositions of the music and make them exist by themselves. *The book is named after the song that Morrissey wrote in the The Smiths, "Stop Me If You've Heard This One Before"

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Ian Curtis, "Love Will Tear Us Apart"

"Ian McCulloch"

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"Lou Reed"

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"The Velvet Underground & Nico - Heroin"

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Bryan Ferry "Roxy Music - Out Of The Blue" 238 MSGSÜ 2007

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R›za Çankaya 1979 y›l›nda ‹stanbul’da do¤du. 2002 y›l›ndan Mimar Sinan Güzel Sanatlar Üniversitesi, Grafik Bölümü'nden mezun oldu. Çeflitli reklam ajanslar› ve tasar›m ofislerinde çal›flt›. Halen ayn› okulun grafik bölümünde yüksek lisans e¤itimi görmekte ve Hep ‹letiflim’de sanat yönetmeni olarak çal›flmaktad›r.

He was born in 1979 in ‹stanbul. He graduated from Graphic Design Department of Mimar Sinan Fine Arts University in 2002. He worked in various advertising agencies and design offices. He is a graduate student in the Graphic Design Department of the same school. He works as an art director in Hep Communications.

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Ba¤l› yaz› Bu proje, harfler aras›ndaki iliflkileri sorgulama ve bu iliflkilere yeni bir öneri getirme amac›yla haz›rlanm›flt›r. Projede, varolan yaz› karakterleri esas al›nm›fl ve harflerin parçalan›p tekrar bir araya gelmesi üzerine yeni bir önerme sunulmufltur. Yeni önerme "ba¤l› yaz›" ad›yla tan›mlanm›flt›r.

Ba¤l› yaz›n›n oluflmas› için, öncelikle harfler, anatomilerine uygun bir biçimde parçalanm›flt›r. Böylece harf olma özelli¤ini yitiren parçalar aras›nda yeni ba¤lant›lar kurulmufl ve arka arkaya gelen parçalar›n, anatomiye uygun bir flekilde birlikte kullan›lmas› sonucu ba¤l› yaz› ortaya ç›km›flt›r. Dolay›s›yla, ba¤l› yaz›da, kelimeler, harflerden de¤il, parçalar›n birbiriyle iliflkiye girmesiyle ortaya ç›kan yeni birlikteliklerden oluflmaktad›r. ‹flte bu yüzden, ba¤l› yaz›daki en küçük "tipografik bütün-birim" harf de¤il, kelimedir.

Projede kullan›lan yöntemi örneklemek ad›na, tipografide en fazla tercih edilen "Times" ve "Helvetica" karakterleri, kaynak olarak kullan›lm›flt›r. "Ba¤l› yaz›" tipografik elemanlar›n parçalan›p tekrar yap›land›r›ld›r›lmas› ile olufltu¤u için, bu yap›, farkl› bir yaz› dizme tekni¤ini de zorunlu k›lm›flt›r. Bu yüzden klavyede tufllanan karakter, ekranda hemen görüntülenemez. Karakterin nihai resmi, ancak bir sonraki karakter tuflland›¤›nda görüntülenir. Bu durum, her karakter için geçerlidir.

Ba¤l› yaz›da kullan›lan karakterlerde (Legato, Legato diminished) karakter seti, Latin alfabesindeki miniskül harflerin tüm olas›l›klar›n› kapsamaktad›r.

Buna göre klavyedeki bir tuflun atayabilece¤i flekil say›s› 29'dur. (Örne¤in “a” harfi “l” den önce dizildi¤inde alttan, “c”nin önüne geldi¤inde üstten ba¤lant› almaktad›r.)

Ba¤lant› parçalar›, kaynak harflerin form karakterine sad›k kal›narak tasarlanm›flt›r. Tüm harfler kendilerinden önce ya da sonra gelen karakterlere göre de¤iflken ba¤lant› parçalar› alabildi¤i için, ortaya ç›kan yaz›, de¤iflken ve beklenmedik bir resim sunar. Varolan karakterlerden varolmayan iliflkiler türeten bu proje, sonradan tasarlanacak di¤er karakterler için bir "yol açma önerisi" olarak görülebilir.

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Linked Typography Unlike other typeface design, "the linked typography" is not interested in new departures in traditional form of typography. This project has been designed to change the universal recognition of the relations between the letters as well.

What it aimed is "new proposal" in which forms and letters would be completely interwined. The new letterforms are to be arranged not by the conventional way they demonstrated but rather the new terms with which have been depicted by their apperances. Thus, the linked typography is quite an occasion: text is not simply consists of letters; together with letter forms themselves whole text might be depicted in a systematic way. It is often part of the spectacle.

On the basis of the linked typography, a typeface has been divided in its dividends. In this case, each dividends become particulars which are determined by in terms of their anatomy. Then between these two particulars which already lost the capability of percieved as a letter are defined by unusual linking of these forms tail to tail. As they link within the text, all characters establish unpredictable relationships between themselves and their setting. This means that someone could only describe the form at the end of a word. Therefore, on the linked typography, each word is the minor unit not a letter.

Two typeface elements warrant special attention to depict the structure of linked typography: Helvetica and Times. Both these typefaces may be more generic on structural elements. Due to the fact that linked typography is based on reconstructed letter forms, distinct type setting should be used. Therefore it is not possible to see typed-letter on the computer right away. Final picture only could appear after the second typed-letter. This is relevant for all kind.

Legato and Legato Diminished character sets contain all posibilities of lowercase character combination. Therefore all typed-characters are consist of 29 characters. (For example when you type "a" before "c", it gets a link from the shoulder. When you type "a" before "l", it gets a link from the tail.)

Linking dividends have been designed according to the main character settings for both typefaces (Helvetica and Times). Since all letterforms can take different dividens according to the words coming before or after, the created text shows an unexpected picture. The project which creates nonexisting relations from existing characters can be seen as a "pioneer proposal" for characters to be designed later.

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KIRMIZI - BASINDA EN ‹Y‹LER REKLAM ÖDÜLLER‹ SERG‹S‹ RED - BEST IN PRINT ADVERTISING AWARDS EXHIBITION

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“K›rm›z› – Bas›nda En ‹yi Reklam Ödülleri” Düzenleyenler: Hürriyet Gazetesi ve Reklamc›l›k Vakf› “K›rm›z› – Bas›nda En ‹yi Reklam Ödülleri” Bas›n reklamlar›nda yarat›c›l›¤› teflvik etmeyi, reklamverenlerin, reklam ajanslar›n›n ve reklam sektörü çal›flanlar›n›n baflar›lar›n› belgeleyip ödüllendirmeyi amaçlamaktad›r. Dördüncü y›l›nda, K›rm›z› Ödülleri'ne 30 farkl› kategoride baflvuru kabul edilmifltir. 2005-2006 y›l› ödülleri için 120 reklam ajans›ndan 905 baflvuru kabul edilmifl ve toplamda 1.454 reklam yar›flmaya kat›lm›flt›r. Bu sergide ödül kazanan ilanlara yer verilmifltir.

“Red – The Best in Print Advertising Awards” Organized by Hürriyet Newspaper and Advertising foundation “Red – The Best in Print Advertising Awards” It’s aims are to promote creativity in print advertisements and to document and reward the successful works of the advertising agencies and their employees. In its fourth year, applications from 30 different categories are accepted to Red Awards. For 2005-2006 awards, 905 applications from 120 advertising agencies are accepted and overall 1.454 advertisements participated in the competition. The exhibition consists of awarded advertisements.

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K›pk›rm›z› Ödülü K›pk›rm›z› Prize, RPM Radar

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En ‹yi Dergi Reklam Kampanyas› Best Magazine Advertisement Campaign, RPM Radar

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En ‹yi E¤itim Reklam› Best Education Advertisement, Alice BBDO

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En ‹yi G›da Reklam› Best Nutrition Advertisement, DDB&Co

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En ‹yi Kozmetik, Kiflisel Bak›m & Güzellik Ürünü Reklam› Best Cosmetic, Personal Care And Beauty Aid Advertisement In Print, RPM Radar

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En ‹yi Perakende Reklam› Best Retail Advertisement, DDB&Co

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En ‹yi Reklam Foto¤raf› Best Advertisement Photography, TBWA \ ‹stanbul

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En ‹yi Sayfa Kullan›m› Best Use of Media, DDB&Co

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"LEVI'S® PROJES‹" SERG‹S‹ "THE PROJECT LEVI'S®" EXHIBITION

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MSGSÜ, Grafik Bölümü ile haz›r giyim üreticisi Levi’s kuruluflu ve JWT Manajans ortak bir e¤itim projesi gerçeklefltirmeye karar verdiler.

Proje, Levi’s “New from the original” bafll›kl› 2007 kampanyas›n›n temel konsepti üzerine oturtuldu. Atölye çal›flmas› ve atölyeler aras› çal›flma biçimiyle iki haftal›k bir zaman dilimi içerisinde tamamlanan çal›flma, bir dersler aras› iflbirli¤i projesidir.

Projeyle; Levi’s 2007 kampanyas› kapsam›nda, ajans›n verdi¤i “yarat›c› sunum” do¤rultusunda, sonuçlar›yla kampanyaya PR getirisi de sa¤layabilecek bir e¤itim etkinli¤i gerçeklefltirmek; proje süreci içinde, bölümde verilen dersler aras›nda iflbirli¤i sa¤lamak; ö¤renen, ö¤reten ve ifl yapt›ran kesimlerin, baflka bir deyiflle, e¤itim, sanayi ve tan›t›m kurumlar›n›n birlikte çal›flacaklar› bir ortam yaratmak; ö¤rencileri e¤itimde karar verme sürecine aktif olarak kat›lmaya teflvik etmek ve araflt›rma, tasar›m fikri bulma, tasarlama, uygulama ve gerçeklefltirme aflamalar›n› mümkün olan en k›sa zamana s›¤d›rmak amaçland›.

Mimar Sinan Fine Arts University, Graphic Department and ready wear manufacturer Levi’s firm and JWT Manajans decided to realize a collaborative educational project.

Project is based on the main concept of the Levi’s 2007 campaign entitled “New from the original”. The project that is fulfilled in 2 weeks time by works in and among the workshops is an inter-disciplinary cooperation project.

With this project, it is aimed to realize an education activity whose results can ensure PR yield to the campaign according to the “creative presentation” that the agency offers, to provide cooperation among the courses in the department during the project time, to create a space for the instructors, students and customers, in other words a space where the institutions of education, industry and publicity can work together, to encourage the students to participate in the process of deciding about instruction and to finish up the stages research, creating a design idea, designing, application and implementation within the shortest possible time.

Kat›lanlar Participants Ahmet Emin Gençerk, Ahmet Özdo¤u, Arif Yalç›n, Aykut Genç, Buket Taflk›ran, Burç Tuncer, Cüneyt Özalp, Elif Ergür, Emin Yükünç, Erdem Dülge, Evrim Aktepe, Fatma Cansu Uslu, Ferit Güleç, Gizem Vural, Gökçe Baki, Günefl Uysal, Hatice Pamuk, Hilal Özçelik, Hilay Varnal›, Hüseyin Sand›k, Ifl›k Dikmen, ‹brahim Karaer, ‹rem Erol, Korgün Akgün, Mehmet Özen, Merve Morkoç, Mine ‹pek U¤urlu, Müge Pekçetin, Murat Göçmen, Murat fiahin, Özge Güven, Serkan Avar, Süleyman Utku Bozkurt, fiule Sezer, Umut Çokça¤layan, Yi¤it Uyraç.

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Ahmet Emin Gençerk

Ahmet Özdo¤u

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Arif Yalç›n

Aykut Genç

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Buket Taflk›ran

Burç Tuncer

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Cüneyt Özalp

Elif Ergür

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Emin Yükünç

Erdem Dülge

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Evrim Aktepe

Fatma Cansu Uslu

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Ferit Güleç

Gizem Vural

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Gökçe Baki

Günefl Uysal

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Hatice Pamuk

Hilal Özçelik

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Hilay Varnal› - Mine ‹pek U¤urlu

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Hüseyin Sand›k

‹brahim Karaer

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Ifl›k Dikmen - Korgün Akgün - Süleyman Utku Bozkurt

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‹rem Erol - Özge Güven

Mehmet Özen

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Merve Morkoç

Müge Pekçetin

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Murat Göçmen

Murat fiahin

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Mustafa Karakurt

Serkan Avar

fiule Sezer

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Umut Çokça¤layan

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Yi¤it Uyraç

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“K‹TAP YAPMAK?” BÜLENT ERKMEN SERG‹S‹ “MAKING BOOK?” BÜLENT ERKMEN EXHIBITION

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Tasarlad›¤› 16 kitab›n yer ald›¤› “Kitap Yapmak?” bafll›kl› sergide, tasar›mc›n›n kitap/tasar›m iliflkisini sorunsallaflt›rd›¤› iflleri bulunuyor. Sergiyi bir tasar›m nesnesine dönüfltüren Erkmen, kitaplar› her biri karfl›t e¤imli iki yüzeyden oluflan masalar üzerinde sergiliyor. Her masan›n bir yönünde kitap kapal› bir biçimde yer al›rken, öteki yönde ayn› kitap izleyicinin dokunmas›na ve kar›flt›rmas›na olanak veren bir düzende sergileniyor. 16 kitab› sergileyen 6 masa, sergi yerini iflaretleyen 16 k›rm›z› daire üzerinde konumlanarak mekâna da¤›l›yor ve farkl› tarihlerde tasarlanm›fl kitaplar eflzamanl› bir kurgu oluflturuyor.

His exhibition which has 16 books he designed, is entitled “Making Book?”.

It consists of the works in which he makes a problematic out of the relation between the book and the design. Erkmen, who changes the exhibition into a design object, shows the books on tables that are formed from two opposite pitched levels. On one side of the tables lay the books in a closed format, on the other side books are exhibited in an arrangement that enables the audience to touch and to thumb through. 16 tables that display 16 books are spread in the space, positioned on 16 red circles. And books that are designed on different dates form simultaneous installations.

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Sponsorlar Sponsors

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Simge Ka¤›t’a katk›lar›ndan dolay› teflekkür ederiz.

Thanks to Simge Paper for its assistance.

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Print Speed’e katk›lar›ndan dolay› teflekkür ederiz.

Thanks to Print Speed for its assistance.

Print Speed Soporcel firmas›n›n Portekiz'de bulunan fabrikas›nda üretilen yüksek kaliteli 1.Hamur k⤛d›d›r. Düz metin, foto¤raf ve hassas çizimlerde mükemmel bir ofset bask›ya olanak veren yüzey parlakl›¤›na sahiptir.

K⤛d›n gramaj› ne olursa olsun, ideal kal›nl›¤› ve ›fl›k geçirmezli¤i sayesinde her türlü bask›da mükemmel sonuç al›n›r.

Print Speed is a high quality Wood Free Uncoated Paper; produced in the Portugal mill of Soporcel. It has a surface brightness that enables a perfect press with plaint texts, photographs, and even with delicate drawings. No matter what the grammage of the paper is; every press with Print Speed is perfect because of its ideal thickness and light proof texture.

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Bu kitab›n bask›s›n› gerçeklefltiren Matafl Matbaas›’na teflekkür ederiz.

Thanks to Matafl Matbaa for printing this book.

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Sponsorlar Sponsors Ajans Ultra, Alametifarika, Alice BBDO, BGV Bikem B. Özsunay Grafik Tasarım Sanatı Vakfı, Bilge Adam, Euro RSCG Klan, ‹stanbul Hollanda Baflkonsoloslu¤u, ‹stanbul ‹talyan Kültür Merkezi, Manajans/Thompson, Medina Turgul DDB, RPM/Radar, Yorum Tanıtım, Y&R Reklamevi Grafist Dostları Grafist Friends Arma Teknoloji, Artı Bilgisayar, Epson, Görsel, Graphis, Matafl Matbaa, Photoshop Magazin, Sappi, Simge Antalis, 3 Sistem ‹flbirli¤iyle In Collaboration With BGV Bikem B. Özsunay Grafik Tasarım Sanatı Vakfı, Anadolu Üniversitesi, GMK Grafikerler Meslek Kuruluflu, Hürriyet Gazetesi ve Reklamcılık Vakfı, Marmara Üniversitesi Güzel Sanatlar Fakültesi Grafik Bölümü, Levi’s® Katkılarıyla With Contribution of BGV Bikem B. Özsunay Grafik Tasarım Sanatı Vakfı, GMK Grafikerler Meslek Kuruluflu ICOGRADA'n›n Katk›lar›yla 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 11, ICOGRADA, Grafik Tasar›m Dernekleri Uluslararas› Konseyi taraf›ndan desteklenmektedir.

Grafist 11 is endorsed by ICOGRADA, International Council of Graphic Design Association.

Mimar Sinan Güzel Sanatlar Üniversitesi Rektörü Rector of Mimar Sinan Fine Arts University Prof. Rahmi Aksungur Güzel Sanatlar Fakültesi Dekan› Dean of Fine Arts Faculty Prof. Zeki Alpan ICOGRADA Baflkan› President of ICOGRADA Jacques Lange Organizasyon Komitesi Baflkan› Head of the Organizing Committee Prof. Ayflegül ‹zer MSGSÜ Grafik Bölümü Baflkan› Head of Graphic Design Departmant Prof. Ayflegül ‹zer Proje Yönetmeni Project Manager Sad›k Karamustafa Organizasyon Komitesi Organizing Committee Ayflegül ‹zer, Baflak Ürkmez, Burcu Dündar, Canan Suner, Dilek Bektafl, Ebru Ayto¤, Elif Yalç›nkaya, ‹lker Coflkun, Leyla Ersin Ekmekçiler, Melis Tuncay, Nilüfer Tönel, Sad›k Karamustafa, Semra Güler Ak, Sinan Niyazio¤lu, T. Melih Görgün, Umut Südüak. ‹letiflim Koordinatörü Communication Coordinator Melis Tuncay

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