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GRAF‹ST 9 / 9. ULUSLARARASI ‹STANBUL GRAF‹K TASARIM GÜNLER‹ 9TH INTERNATIONAL ISTANBUL GRAPHIC DESIGN WEEK 2 - 7 MAYISMAY 2005

GRAF‹ST 9 / SERG‹LER GRAFIST 9 / EXHIBITIONS

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9. Uluslararas› ‹stanbul Grafik Tasar›m Günleri 02-07 May›s 2005 9th International Istanbul Graphic Design Week 02-07 May 2005 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 Semra Güler Ak, ‹lker Coflkun Grafik Tasar›m Graphic Design Semra Güler Ak Uygulama Artwork Didem Uraler Son Okuma Prof Reading Dilek Bektafl, ‹lker Coflkun Çeviri Translation Oya Çitçi Renk Ayr›m›, Bask› ve Cilt Colour Separation, Printing and Binding Stil Matbaac›l›k Ka¤›t Paper 120gr/m Print Speed Kapak Ka¤›d› Cover Paper 300gr/m Mondi Ofset ‹stanbul 2005 ISBN 975-6264-05-5 Bu Kitap 02-07 May›s 2005 tarihlerinde düzenlenen “Grafist 9” 9. 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 9, the International Istanbul Graphic Design Week hold on May 02-07 2005

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ERKAL YAV‹ 9 - 39 ODED EZER 41 - 71 REZA ABEDINI 73 - 103 ROBERT APPLETON 105 - 135 JULIUS VERMEULEN 137 - 153 THOMAS MÜLLER 155 - 167 GELECEK KUfiAK / NEXT GENERATION 169 - 223

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ÖNSÖZ

PREFACE

GRAF‹ST 9’UN ANLAMI

THE MEANING OF GRAFIST 9

Grafik ve ‹stanbul sözcüklerinden türetilmifl olan, ‘GRAF‹ST’ k›sa ad›yla an›lan ‘Uluslararas› ‹stanbul Grafik Tasar›m Günleri’, bu y›l dokuzuncu kez gerçeklefltiriliyor. Yüksek ö¤retimdeki ö¤rencilerin tasar›m e¤itimine önemli katk›larda bulunan bu etkinlik, yurt çap›nda oldu¤u kadar yurtd›fl›nda da her y›l daha genifl bir ö¤renci kitlesinin ilgi alan›na girmeyi baflar›yor.

This year the ninth “Istanbul International Graphic Design Week” is being held. It is shortly called “GRAFIST” combining Graphic and Istanbul words. This activity which contributes a lot to the graphic design education, draws attention of wider number of students every year nationally and internationally.

Bir haftaya yay›lan GRAF‹ST, öncelikle çal›flma atölyelerine yer veren, ayn› zamanda ünlü konuk tasar›mc›lar üzerine oldu¤u kadar, önemli tasar›m konular› üzerine de sergiler açan, tasar›mc›lar›n tasar›m yaklafl›mlar›n› kendi sözleriyle dile getirdikleri ve bir gün boyunca tasar›m kuram› veya tasar›m tarihinden seçilmifl konular üzerine çeflitli konferanslar›n yer ald›¤› bir etkinlik.

1996’da Uluslararas› Grafik Tasar›m Konseyi ‘ICOGRADA’n›n, ‘Bölgesel Tasar›m ‹flbirli¤i Program›’yla bafllatt›¤› ortak projeler üretme sürecinde, ‹stanbul’da GRAF‹ST ve Tel Aviv’de FEST‹V‹TAL bu program›n pilot projeleri oldular. O y›ldan bugüne GRAF‹ST, disiplinli ve özverili bir tutumla, hiçbir kesintiye u¤ramadan, her y›l ayn› heyecanla gerçeklefltirildi.

Böylesi etkinliklerin farkl› ülkelerde düzenlenmesi, günümüzde küreselleflen dünyan›n gereksinim duydu¤u ülkeler aras› iletiflime büyük katk›larda

GRAFIST is an activity that lasts for a week in which priority is given place to workshops, exhibitions are held not only about famous guest designers but also about important design subjects, and it is an activity in which designers explain their approach with their own words and where various conferences are held about design theory or design history.

In 1996 International Graphic Design Council ‘ICOGRADA’, began the process of creating new projects with ‘Regional Design and Educational Collaboration Programme”. In Istanbul GRAFIST and in Tel Aviv FESTIVITAL became the pilot projects of this programme. Since that year GRAFIST is held every year, with a disciplined attitude, without any interruption, and with the same enthusiasm. Similar activities held in different countries, contributes to the international communication between countries which is needed in today’s globalising world, besides, feeds the creative

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bulundu¤u gibi, tasar›m e¤itimine oldu¤u kadar, tasar›m yaklafl›m› etkileflimine de yeni pencereler açarken, yarat›c› süreci de beslemekte.

GRAF‹ST’in profesyonel bir düzenleme görüntüsü sergilemesinde, organizasyon grubunda yer alan ö¤retim elemanlar›ndan ö¤rencilere kadar herkesin bu etkinli¤i amatör bir ruhla sahiplenmesinin büyük rolü var kuflkusuz.

D‹LEK BEKTAfi

Etkinli¤in haz›rl›klar›, her y›l eylül ay›nda, konuklar›n saptlanmas›na karar verildikten sonra, elektronik postayla davet edilmeleri, e-posta iletiflimine yak›n olmayan kesimle iletiflim kurma konusunda farkl› kanallar›n denenmesi ve bu yolla engellerin afl›lmas› fleklinde bafll›yor. Daha sonra o y›l›n görsel kimli¤inin belirlenmesi ve duyuru elemanlar›n›n tasarlanmas› için bir araflt›rma görevlisi seçilmesi, kurulufllar›n sponsorluk konusunda kararlar›n› bir önceki y›l bitimine kadar oluflturduklar› için, gerekli dosyan›n haz›rlanmas›, atölye çal›flmalar›, seminer ve sergiler için mekanlar›n seçimi ve organizasyonu, konuk tasar›mc›lar›n konaklama ile ilgili programlar›n›n yap›lmas› ve daha bir çok sorun y›llar içerisinde sistematik bir hale gelmekle birlikte, büyük bir çal›flmay› gerektiriyor haliyle.

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process while it opens new horizons to design education and to design approach interaction.

GRAFIST has a professional organizational image, thanks to everyone in the organization group from lecturers to students, who have great roles in acquiring this activity as their own with an amateur spirit.

The preparations of the activity begins, inviting selected guest in September every year with e-mail, and if necessary other means of communication. After that, we appoint a research assistant to design the visual identity of the year.

Still a great work has to be done, for preparing the files to sponsor companies, finding locations and organization of workshops, seminars and exhibitions, arranging the accodomation programs of the guest designers and many more aspects are held systematically as years pass by.

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Sonuçta, her GRAF‹ST etkinli¤inden sonra ö¤rencisinden ö¤retim elemanlar›na, yaflananlar›n ve elde edilen kazan›mlar›n yarar› göz önüne getirilince, tüm yorgunluklara deydi dememek mümkün de¤il galiba.

At the end of every GRAFIST activity, after considering the benefit of the facts of experiences and the achieved advantages for the students as well as for the lecturers, one always says it was wort it.

Her y›l haz›rlanan GRAF‹ST kitab›nda bu y›l bir yenilik yaparak, konuk tasar›mc›lar› tan›tmak için mevcut yaz›l› kaynaklardan yararlanmak yerine, kendilerine e-postayla sorular yönelterek, özgün metinler oluflturmay› hedefledik. Böylece belki de konuk tasar›mc›lar›n flimdiye kadar tasar›m konular› hakk›nda dile getirmedikleri baz› görüfllerini ö¤renme olana¤› da bulaca¤›z.

In our traditional GRAFIST book which is prepared every year, this year we aimed to involve authentic e-mail communications, with the guest designers. This way, we believe we will have the oppurtunity of finding out some opinions that are not expressed in written documentations.

‘GRAF‹ST 9’, tüm bu çal›flmalar› yap›labilmesini mümkün k›lan baflta ana sponsorumuz AKBANK olmak üzere, de¤erli reklam kurulufllar› ve Grafist Dostlar›’n›n, ayr›ca her y›l iflbirli¤ini esirgemeyen BGV ‘Bikem Özsunay Grafik Tasar›m Vakf›’n›n, etkinli¤in de¤erini ve anlam›n› kavrayarak, katk›larda bulunmalar›yla gerçekleflebilmektedir. Bu ba¤lamda, uluslararas› ortamda bile nadir etkinliklerden biri olan ‘GRAF‹ST 9’un gerçekleflmesini sa¤layan herkese en içten teflekkürlerimi sunar ve konuklar›m›z›n yak›n ilgisiyle her y›l daha köklü bir yap›ya ulaflmas›ndan duydu¤umuz mutlulu¤u ifade etmek isterim.

‘GRAFIST 9’, is realizing this activity, thanks to its major sponsor AKBANK and its valuable publicity agents and Grafist friends, specially BGV “Bikem Ozsunay Graphic Design Foundation”.

They all together gave us the opportunity for all this work and contribute to the value and concepts of this activity. In this context, we convey our sincere gratitude to everyone who contributed to the realization of “GRAFIST 9” which is one of the rare international activities and we want to express our happiness as the activity gets more and more established thanks to increasing interests of our guests every year.

Prof. Dilek Bektafl MSGSU Faculty of Fine Arts, Head of Graphic Design Department

Prof. Dilek Bektafl MSGSÜ, Güzel Sanatlar Fakültesi, Grafik Bölümü Baflkan›

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ERKAL YAV‚

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Kitap Kapa¤› Book Cover 2003

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1942’de Diyarbak›r’da do¤du. ‹stanbul

He was born in 1942 in Diyarbak›r. He

Devlet Güzel Sanatlar Akademisi

has completed his education at State

(bugün, Mimar Sinan Güzel Sanatlar

Fine Arts Academy of Istanbul (today,

Üniversitesi), ‹ç Mimarl›k Bölümü’nde

MSGSU; Turkey), He is graduated from

ö¤renim gördü. Okulla eflzamanl› olarak

Internal Architecture Faculty. Yavi, who

grafik tasar›m çal›flmalar› yapmaya

has begun his grafic design studies at

bafllayan Yavi, 1963’te foto¤raf

university, also begun his photograph

çal›flmalar›na bafllad›. 1968’de

studies in 1963. In 1968 he joined to

Sinematek Uluslararas› Film Afiflleri

Sinematek International Film Posters

Sergisi’ne (‹stanbul) ve I. Varflova Afifl

Exhibition (Istanbul) and I. Warsaw

Bienali’ne (Polonya), 1970’te II.

Poster Biennial (Poland), and in 1970

Varflova Afifl Bienali’ne ve IV. Brno

II. Warsaw Poster Biennial and IV. Brno

Grafik Sanatlar Bienali’ne (Çek

Grafical Arts Biennial (Czechoslavakian

Cumhuriyeti) kat›ld›. “Kesit” adl› kiflisel

Republic). The Designer who opened

foto¤raf sergisini de bu dönemde açan

his personal photograph exhibition

tasar›mc›, 1971’de ‹stanbul Devlet

called “Kesit” at the same period, in

Opera ve Balesi’nin sahne foto¤raflar›n›

1971 begun to take scene photographs

çekmeye bafllad›. Ayn› y›l Mimarlar

of State Opera and Ballet. In the same

Odas›’n›n düzenledi¤i “fiehir ve ‹nsan”

year, he obtained the first position

konulu foto¤raf yar›flmas›nda birincilik

award of the photograph competition

ödülü kazand›. Daha sonraki y›llarda

with “City and Human Being” subject

kitap kapa¤› tasar›m› çal›flmalar›na

organised by the Chamber of

a¤›rl›k verdi. 1964-2004 aras›nda

Architectures. In the following years, he

bas›lan Aziz Nesin kitaplar›n›n

mostly worked on book cover design.

kapaklar›n› tasarlad›. Efl zamanl› olarak

Between 1964-2004 he designed the

reklam sektörü çal›flmalar›n› sürdüren

covers of Aziz Nesin books. Erkal Yavi

Erkal Yavi, San Grafik, Radar Reklam,

who simultaneously continued his

Repro Ajans, Merkez Ajans, Par Ajans

studies at the advertisement sector, he

ve Ax Ajans’ta sanat yönetmeni olarak

worked for San Grafik, Radar Reklam,

görev yapt›. Çal›flmalar›n› 1996’dan

Repro Ajans, Merkez Ajans, Par Ajans

itibaren kendi ofisinde yürütmeye

and Ax Ajans as Art Director. Beginning

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bafllad›. Birçok yay›nevine kitap kapa¤›

from 1996 he carried on his studies in

ve süreli yay›n çal›flmalar› yapt›. Farkl›

his own office. He gave book cover and

sektörlerden firmalar›n kurum

periodic publication studies to

kimliklerini tasarlad› ve faaliyet

numerous publishing house. He

raporlar›n› haz›rlad›. Grafik tasar›m›n

designed company identity and

birçok dal›nda ürün veren tasar›mc›,

arranged activity reports for companies

çeflitli vitrin tasar›mlar›na da imza att›.

of different sectors. The Designer who

Erkal Yavi, 1967’de TRT Amblem

has given many works in grafical

Yar›flmas› Birincili¤i’ne ve Rizzoni –

designs various branches, has also

Premio Europeo Rizzoli Pubblicita

signed vitrine designs. Erkal Yavi, in

“Gümüfl Pres” arma¤an›na lay›k

1967 won first position in TRT Emblem

görüldü. Grafikerler Meslek Kuruluflu,

Competition and “Silver Press” of

Grafik 82 Sergisi’nde illüstrasyon ve

Rizzoni – Premio Europeo. In 1982 he

kitap kapa¤› dallar›nda birincilik, afifl

won first position of Designers

dal›nda ikincilik ödüllerini (1982);

Professional Institute (GMK), on the

Grafik 83 Sergisi’nde illüstrasyon ve

branches of Grafic 82 Exhibition

kitap kapa¤› dallar›nda baflar› ödüllerini

Illustration and Book Cover, on poster

kazand› (1983). 1984-1986 aras›nda,

branch second position; in 1983 GMK,

ayn› kurumun düzenledi¤i yar›flmalarda

he won the success award of Grafic 83

çeflitli ödüllere lay›k görüldü. 1991’de

Exhibition Illustrastion and Book Cover.

‹stanbul Büyükflehir Belediyesi

Between1984-1986, on the

Televizyonu (BRT) Kurum Kimli¤i

competitions organised by the same

Yar›flmas›’nda birincilik ödülü kazand›.

Institute he won various awards. In 1991 The Television of Metropoltian Municipality of Istanbul (BRT) at the Competition of Company Identity he was appreciated for first position

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award.

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Katalog Kapa¤› Catalog Cover 2004

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Sergisi Afifli Exhibition Poster 2004

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Türk grafik tasar›m›yla, Bat› grafik tasar›m›n› karfl›laflt›r›r m›s›n›z bizim için?

Can you compare Turkish and Western Graphic Design?

D›flar›ya çok aç›lm›fll›¤›m yok; ama yay›n

abroad. But I kept up with them on

baz›nda sürekli takip ettim. Tasar›m

publication basis. In terms of design we

konusunda çok yeni bir ülkeyiz. Bat›dan

are a new country. It would be wrong to

etkilenmedi¤imizi söylemek yanl›fl olur ki

say that we are not influenced by the

zaten Tatbiki Güzel Sanatlar, Alman

West that Tatbiki Güzel Sanatlar

hocalar›n e¤itim verdi¤i ve Avrupa

Akademisi (Academy of Practical Fine

ekolünün hakim oldu¤u bir e¤itim

Arts) was an institution where Germans

kurumuydu.

educators were working and where

I don’t have very much experiences

German style was dominant.

Türkiye’deki grafik tasar›mla bat›dakini karfl›laflt›rmak ve bizim bulundu¤umuz

I do not want to do an injustice to where

noktaya haks›zl›k etmek istemiyorum

we stand by comparing graphic design in

asl›nda. Bizim onlardan hiç de afla¤› kal›r

Turkey and in the West. We are at least as

yan›m›z yok.

good as them.

Bat› tasar›m anlay›fl›, bat› kültürünün yani

Western design understanding emerged

kendi orijininin üzerinde yeflermifl ve

and developed on its own origin, western

geliflimini sürdürmüfltür. Bizde ise, ‹slam

culture. But in our country except the

dini eserleri d›fl›nda -ki onlar istifleriyle,

Islamic works of art-though they are

bezemeleriyle, tipografileriyle, do¤a ve

excellent designs with their neatly

insan tiplemeleriyle mükemmel

arranged piles, typographies, nature and

tasar›mlard›r- cumhuriyetle birlikte

human typecastings-design stepped into

yaflam›m›za girmifltir. ‹lk örnekleri, ‹hap

our worlds with republicanism. Its first

Hulusi gibi bat›da e¤itim görmüfl kifliler

examples were given by people like ‹hap

taraf›ndan verilmifltir. Yani tamamen bat›

Hulusi who had been educated in the

anlay›fl›n›n bir adaptasyonudur. Kendimize

West. In other words, it is an adaptation

has ve özgün tasar›mlar de¤illerdir. Türk

of Western understanding. They are not

grafi¤i daha sonralar›, bireyler baz›nda,

unique and original designs. Later on, on

yani kifliye has özgünlüklere sahip ürün-

personal basis that is products that has

lerle, kiflilik kazanmaya bafllam›fl ve uygu-

originalities that are peculiar to

lama alanlar›n›n ço¤almas›yla geliflimini

individuals, Turkish graphic began to gain

evrensel boyutlara tafl›m›flt›r.

an identity and transported its developments to universal dimensions with increasing its application fields.

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Bir iletiflim arac› olarak grafik tasar›m› nas›l konumland›r›yorsunuz?

How do you place graphic design as a communication tool?

Bence grafik sanat›, di¤er iletiflim

technological developments of other

araçlar›ndaki giderek h›zlanan teknolojik

communication tools, Graphic art

geliflmelere ra¤men her zamankinden çok

importance keeps on increasing. Because

daha fazla önem kazan›yor. Çünkü grafik

the need for graphic arts increases

sanat›na gereksinim, tüm sektör ve

parallel to the developments of other

uygulama alanlar›ndaki geliflmeler

sectors Graphic Arts has a direct

paralelinde giderek art›yor. En önemlisi,

connection to the society through various

çeflitli medyalar kanal›yla do¤rudan

medias. Graphic arts is one of the most

topluma ulaflmas›. Grafik sanat›, toplum

important tools of common

bireyleri aras›nda kurdu¤u iletiflimle, ortak

consciousness with the communication it

bilinçlenmenin en önemli araçlar›ndan biri.

creates among the individuals of a

I think even though the fastly growing

society.

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“yes, but!” genç kuflak tasar›mc›lar›m›z›n bu seneki tasar›m konusu. Bu cümle size ne hissettirirdi?

“yes, but!” is this year’s topic of new generation designers.. What do you feel about this sentence?

‹fli bitirip müflterinin önüne koydu¤unuz

front of the client, there is no doubt they

zaman karfl›laflaca¤›n›z de¤ifliklik talepleri

would come up with alteration requests.

kaç›n›lmaz. Bir tarafta siz vars›n›z, di¤er

Client demands something from the

tarafta müflteri. Müflteri sizden,

designer and designer’s job is to carry out

tasar›mc›dan bir talepte bulunuyor,

that demand. But through which ways?

tasar›mc›n›n görevi bu talebi yerine

Of course through his/her own ways.

getirmek. Ama hangi çizgilerde? Tabi ki

Before client comes to you with a

kendi çizgilerinde. Müflteri size gelirken

knowledge of your works. You make the

zaten sizin ifllerinizi biliyor ve bunun için

designing with the relief of being a

sizi seçiyor. Seçilmifl kifli olarak siz de

chosen person.

When you finish the work and set it in

bunun rahatl›¤›yla tasar›m›n›z› I never put a single work in front of my

yap›yorsunuz.

clients. I always have alternatives. The Ben hiçbir zaman müflterinin önüne tek

most important of all is to be in direct

bir ifl koymam. Alternatifli çal›fl›r›m. En

contact with the client. I do not give a

önemlisi müflteriyle birebir diyalog

start to my works without establishing

oluflturmakt›r. Ben bunu sa¤lamadan ifle

that. But if there is no connection,

bafllamam. Kitab› okumadan kapa¤›n›

dialogue from the begining, it is obvious

tasarlamamam gibi. Ama müflteriyle

that some problems will occur. Of course,

diyalog bafltan kopuksa problemler

clients would have certain demand but its

yaflanaca¤› bellidir. Tabi ki taleplerde

limits are very important. If the client

bulunacak müflteri, ama dozaj› ayarlamak

comes up with demands that would

da çok önemli. Bu talep, benim tasar›m›m›

change my design from bottom to the

bafltan afla¤› de¤iflikli¤e u¤ratacaksa

top, then it is hard to come to an

uzlaflamay›z. Bu, o tasar›m› kendi ifli

agreement. This makes that design

haline getirmesi olur. Benim için de bir

somebody else’s work. But if both parts

baflkas›n›n iflidir o art›k. Orada dururum

start the work knowing each other very

zaten. Ama müflteriyle oturup tart›flmak

well, results would be excellent. There

çok önemli. ‹ki taraf›n birbirini çok iyi

sure will be reasonable demands from the

tan›yarak o ifle bafllamas›, sonucun çok iyi

clients. He may notice something I miss.

olaca¤› anlam›na gelir. Tabi müflteriden gelen makul istekler de olacakt›r. Benim

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göremedi¤im bir fleyi yakalam›fl olabilir.

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Kitap Kapa¤› Book Cover 2005

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Faaliyet Raporu Annual Report 1997

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Son dönemdeki en büyük tart›flmalardan biri, üretilen ifllerin kalitesinin giderek düflmesi. Sebep olarak da h›zl› ve özensiz ifl üretimi gösteriliyor.

Bir iflin ç›k›fl h›z›yla kalitesi aras›nda bir

The biggest discusses in recent years are about the decreasing quality of the works. What they point out as its reason is the fast and carelessly done production process?

ba¤lant› aramak yanl›fl olur. “H›zl› ifl eflittir

It is very wrong to look for a connection

kötü ifltir!” demek yanl›fl olur. Aksine ben

between its quality and its speed of being

h›zl› çal›fl›r›m. Zaman iflin türü, içeri¤i ve

completed. It is wrong to say “Quick work

kapsam›yla orant›l›d›r. Örne¤in bir kurum

is equal to bad work” On the contrary I

kimli¤i tasar›m›, 3-5 günde ç›kamaz.

work fast. Time is proportional to works

Neden? Çünkü bu bir kurum kimli¤i!

type, content and its extent. For example

Üç günde ç›kacak fley bir ömür boyu

a design of corporate’s identity does not

kullan›lacak.

come out in 3-5 days. How come?

Because it is a corporate identity! The

Ortal›kta özensiz ve kötü diye tabir edilen

results of that 3 days would be used for a

ifllerin dolaflmas›n›n sebebi sadece zaman

lifetime.

faktörü de¤il. Zaten bilgisayar kullan›lmaya baflland›¤›ndan beri, zaman

Time is not the only factor of the

gideri asgari hale geldi. Ama bunun

existence of carelessly and poorly done

korkunç tehlikeleri var. fiimdi onlarla karfl›

designs. Moreover with computers the

karfl›yay›z. En önemlisi çok fazla özgün ifl

time expenses became minimal. But it is

göremiyoruz. Bilgisayar ifli oluyor art›k bu

has some risks that we face now. The

ifller. Tasar›mc› olabilmek için birtak›m

most important of all there is not many

programlar› çok iyi bilip, onlar› çok iyi

original works. They are all computer

kullanmak, fontlar› çok iyi bilmek yeterli

works. In order to be a designer one

görülüyor. Böyle olunca bu tasar›mc›l›k

needs to know and use some programs

de¤il, bir nevi operatörlük oluyor.

very well, it is not enough to know fonts.

Bilgisayar operatörlü¤ü oluyor. E¤er siz

When this is the case, it is not designing

bilgisayar› kullanaca¤›n›z bir alet olarak

but operating. If you do not percieve

görmüyorsan›z, onu bir malzeme olarak

computers as a tool or a material to use,

görmüyorsan›z, hata ediyorsunuz

than you are making a mistake.

demektir. T›pk› suluboya, guaj, pastel,

Computers have the same functions as

karakalem nas›l tasar›m için gerekli

watercolors, pastels and charcoals.

malzemelerse, bugün bilgisayar›n da ifllevi odur.

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Ben böyle görüyorum durumu. Böyle

This is how I percieve the whole situation.

görürseniz, bilgisayar›n esiri olmaktan

And you may be rescued from becoming

kurtulabilirsiniz.

slaves of the computers if you see the situation like that.

Bilgisayar› tasar›m›n›za, kiflili¤inizle ve tarz›n›zla uyumlu olacak kadar

You should let computers in your works

sokmal›s›n›z. Hakim siz olmal›s›n›z. Birçok

to an extent where they are harmonious

ifl görüyoruz; fabrikasyon üretim gibi, tek

with your character and style. You should

elden ç›km›fl gibi duruyorlar. Eskiden bir

be dominant. Most of the works are alike,

kitap kapa¤› ya da duvarda bir afifl

like factory-made products. We used to

gördü¤ümüzde, tasar›mc›s›n› hemen

recognize the designer of a book-cover or

tan›rd›k. Yani tasar›mlar kimlik tafl›rd›.

a poster design. I mean, designs used to

Salt görsellik olarak da konuflmuyorum.

have an identity. This identity issue is not

‹çerik olarak da söylüyorum bu kimlik

only related to visuality but also to

meselesini. Dünden bugüne bakt›¤›mda

content. But today except couple experts,

birkaç usta insan hariç özgün çal›flmalar

I cannot see original works. It has social

göremiyorum art›k. Bunun toplumsal

results. It is a situation of deformation

sonuçlar› da var. T›pk› gazetelerdeki,

just like it is in television and newspapers.

televizyonlardaki gibi bir deformasyon

The works graphic designers produce are

durumu bu. Grafik tasar›mc›n›n yapt›¤›

the works that guide the society. For a

ifller topluma do¤rudan ulaflan ifller,

designer this means to have responsibility

topluma yol gösteren ifller. Bu tasar›mc›

and to be educational.

için sorumluluk sahibi olmak demek.

ERKAL YAV‹ 16

Ö¤retici olmak demek.

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Faaliyet Raporu Annual Report 1992

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Kitap Kapa¤› Book Cover 2001

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Kaliteli ürünler sunabilmenin yolu nereden geçiyor? Bu konudaki olmazsa olmazlar›n›z neler?

What is the way to present qualified products? What are they that you cannot give up related to this issue?

‹fl disiplini çok önemli. Tasarlanacak ürün

Dicipline is very important. If an art book

bir sanat kitab›ysa, sanatç›s›yla ya da

is going to be designed, there is a need to

editörüyle görüflmek gerekir. Bir romansa

talk with the artist or the editor. If it is a

okumak gerekir. Konu bir ressamsa,

novel, it should be read. If it is about an

atölyesine gidip eski ve yeni ifllerini, nas›l

artist, her/his workshop and old and new

çal›flt›¤›n› görmek gerekir. Sohbet etmek,

works should be seen. More importantly,

içki içmek, yaflamak gerekir yani. Daha da

if I design an Ergin ‹nan book, it really has

önemlisi ben bir Ergin ‹nan kitab›

to be an Ergin ‹nan book not an Erkal Yavi

tasarl›yorsam, o kitap gerçekten Ergin

book. Anybody who opens up the book

‹nan kitab› olmal›d›r. Erkal Yavi kitab›

should see him not me. The book should

olmamal›d›r. Kitab› aç›p bakan onu

tell him not me. If I use Ergin ‹nan as a

görmeli, beni de¤il. Kitap onu anlatmal›,

tool to satisfy myself and present myself,

beni de¤il. Ben sadece kendimi tatmin

then that is a masturbation. That is really

etmek için Ergin ‹nan’› malzeme olarak

important.

kullan›rsam, kendimi sunarsam, bu bir mastürbasyondur. Bu çok önemli bir

Sometimes I come across with such art

konu.

books that I become struck with terror.

What you see is only conception? There

Bazen öyle sanat kitaplar› görüyorum ki

is no evident subject nor material. You

dehflete kap›l›yorum. Yaln›zca tasar›m

can’t get whose book that is nor what its

görüyorsunuz. Konu ya da materyal ise

subject. When you take the book in hand,

ortada yok. Onun kitab›, bunun kitab›,

conception is excellent but it does not

konusu flu; hiçbirini alam›yorsunuz. Elime

give any idea concerning the artist. ‹t is

al›yorum kitab›, ressam hakk›nda bana

senseless than both for me and for the

fikir vermiyor, ama tasar›m harika! Hiçbir

publication.

anlam› yok bunun; ne benim ne de o yay›n için.

Nobody buys a book for its cover but to read it. Won’t she/he buy his/her favourite

Kimse kapa¤› için kitap almaz. O kitab›

author’s book just because its cover is

okumak için al›r. Çok sevdi¤i bir yazar›n

poorly designed? No, he/she will. Maybe

kitab›n› kapa¤› kötü diye almayacak m›?

he/she won’t even see the cover. But after

Hay›r, yine de alacak. Belki gözü

reading the book, cover need to mean

görmeyecek bile kapa¤›. ‹smi okuyup

something.

alacak. Ama kitab› okuduktan sonra kapak onun için bir fley ifade etmeli.

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Kitab›n içine bakmadan, yaln›zca ismini

There are people who make designs

okuyup tasar›m yapanlar var. Bu çok

without reading the book, just by its

yanl›fl. Hem yazar için, hem kitap için. En

name. That is such a mistake. Both for

önemlisi kendim için do¤ru olan›

the book and the author. But most

yapmal›y›m. Kitaba karfl› namuslu

importantly I have to do the right thing for

olmal›y›m yani.

myself. I have to be honorable towards the book.

Aziz a¤abeyin ayn› kitab›na on befl farkl› kapak çal›flt›¤›m› biliyorum. Kitab›n

I’ve designed fifteen different cover for

kapa¤›n› birkaç bask›dan sonra yenilemek

Aziz’s one book. He would want to renew

isterdi. Önceleri birinci, ikinci kapaktan

the cover after several presses. At first I

sonra, daha ne yap›labilir diye garip bir

didn’t know what to do after first, second

duyguya kap›l›yordum. Ama tasar›m

covers. But in designing stages, I have

aflamas›nda, Aziz a¤abeyin öykülerindeki

seen that Aziz’s richness in terms of

malzeme zenginli¤inin ne kadar büyük bir

materials in this stories is a huge

avantaj oldu¤unu gördüm.

advantage.

Aziz a¤abeyle müthifl bir diyalog kurduk,

We’ve established a nice dialogue,

dost olduk. Bende, haz›rlad›¤›m kitap

become friends. I have his letters

kapaklar›yla ilgili fikirlerini içeren

concerning his ideas about the book

mektuplar› var. Bir mektubunda:

covers I have designed. In one of his

“Bak di¤er kitap kapaklar›na bak›yorum,

letters, he reproaches “I get upset when I

benim kitap kapaklar›mdan daha güzel

look at the other book covers and see that

yapm›fls›n, bozuluyorum görünce.”

you have made better jobs on them..”

diye sitem ediyordu. Baflka birinde:

In another one he says “Sometimes you

“Harika kapaklar yap›yorsun ama bazen

create wonderful covers but sometimes

de çok çirkin kapaklar yap›yorsun.”

bad covers..”

diyordu.

Moreover, there is no such thing that a Ayr›ca bir grafik tasar›mc›s› sadece kitap

graphic designer only designes books. A

kapa¤› ya da kitap tasar›m› yapar diye bir

graphic designer should be able to

fley yok. Bir grafik tasar›mc›, faaliyet

produce in every branch of graphic from

raporundan tutun da kurum kimli¤ine

activity reports to corporate identity.

kadar grafi¤in her dal›nda ürün

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verebilmeli.

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Kitap Kapaklar› Book Covers

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Kitap Kapa¤› Book Cover 2005

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Tabi sektörün yönlendirmesi de çok

Of course, sectors oriantation is also very

önemli. Bir dönem yo¤un olarak kitap

important. As I had been concentrated on

kapa¤› çal›fl›rken, ard›ndan gelen birkaç

book-cover designs in period of time,

sene boyunca tekstil sektörü için ifl

coming couple years I started to works

üretmeye bafllad›m. Bu sektörden sürekli

for textile sector. Corparate identity offers

kurum kimli¤i talepleri geliyordu. Ama bu

were coming from that sector. But this

sektör benim karar verip girdi¤im bir

sector is not a sector that I consciously

sektör de¤ildi. Direkt olarak, piyasan›n

got involved in, it was the orientation of

yönlendirmesiyle o sektörle ilgili

the market.

çal›flmalar üretmeye bafllad›m.

After textile years, an era in which I was Tekstil y›llar›n›n ard›ndan, hala yo¤un

doing art book designs came and this era

olarak devam eden, sanat kitaplar›

intensivly goes on. That is what I mean.

tasar›m› yapt›¤›m dönem geldi. ‹flte tam

You don’t know which door opens what.

olarak kastetti¤im bu; nereden ne iflin

That’s why a graphic designer should be

gelece¤i belli olmuyor. Bu yüzden bir

able to prepare an activity report, design

grafik tasar›mc› faaliyet raporu da

identities of corporations or make

haz›rlayabilmeli, kurum kimli¤i de

package designs. The advantages of

tasarlayabilmeli, ambalaj tasar›m› da

working among the diciplines comes out

yapabilmeli. Disiplinleraras› çal›flman›n

at this point. I have seen the advantages

veya farkl› alanlara e¤ilmenin art›s› da bu

of my interior design education while

noktada ortaya ç›k›yor. Ald›¤›m iç mimari

desiging places, vitrines and stands in

e¤itiminin bana katt›¤› art›lar› mekan

fairs.

tasar›m›, vitrin tasar›m› ve fuarlarda stant tasar›mlar› yapt›¤›m s›rada gördüm.

Of course I prefer art book or magazine designs to a company that produces

Tabi sanat kitaplar› ya da dergileri

otomobile tires. Because it is much more

tasarlamay›, otomobil lasti¤i üreten bir

pleasuring to do art works. But I repeat

firma için ifl üretmeye tercih ederim.

a designer should be succesful in every

Sanat ifli yapmak çok daha keyif verici

field.

çünkü. Ama tekrarl›yorum, tasar›mc› her dalda baflar›yla ürün verebilmeli.

Yaln›zca birinde ya da ikisinde de¤il.

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Özgürlük, tasar›m deyince, insanlar›n akl›nda ilk beliren kavramlardan biri. Sizce de özgürlük, tasar›mc› için çok iddial› bir imge de¤il mi?

Freedom is one of the first concepts that appear in people’s minds when the word “design” is used. Don’t you think that freedom is such an assertive image for a designer?

Bir grafik tasar›mc› hiçbir zaman s›n›rs›z

A graphic designer never has limitless

özgürlü¤e sahip de¤ildir. ‹flte bu nedenle

freedom. That’s why he/she has to create

flartland›r›lm›fl kifli olma durumunda dahi

the best products even in the cases of

en iyi üretimi yapabilmelidir. Çünkü elinize

being conditioned. Because your work

gelen iflin çeflitli parametreleri var. Sizden

that you recieve has various parameters.

önce de birileri, fikir baz›nda da olsa, bir

People before you had planned

fleyler tasarlam›fl. Bu zaten sizi belirleyen,

somethings, even though on a idea basis.

flartland›ran bir fley. Verilenler ›fl›¤›nda bir

In fact that is what designates and

fleyler yapmak zorundas›n›z. Tabi bugün

conditions you. You got to do something

verilenin çok d›fl›nda ifller de üretilebiliyor.

according to the data. Of course today it

Soyut çal›flmalar yap›l›yor. Örne¤in

is possible to produce things outside of

bilgisayar teknikleri yard›m›yla, çarp›c›

data. Abstract works can be done. For

renkler, vurucu imajlar kullan›larak ifller

example with the help of computer

üretiliyor. Ama bu benim tarz›m de¤il ve

technology works can be created by using

hofluma da gitmiyor. Okur kitab› eline al›p

striking colors and images. But that is not

bakt›¤›nda içine dair bir fleyler alabilmeli o

my styles and also I don’t like it. When

kapaktan. Hiç de¤ilse kitab› okuduktan

reader looks at the book-cover, he/she

sonra kapa¤› çevirip bakt›¤›nda, gördü¤ü

should sense things related to books

ile okudu¤u bütünleflmeli.

inner parts, its subject. At least after the reading, what is seen at the cover and

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what is read should match.

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Dergi Kapa¤› Magazine Cover 2001

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Dergi Kapa¤› Magazine Cover 1998

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Kurumlar dönem dönem revizyona gidiyorlar. Bu noktada devreye tasar›mc› giriyor. Ancak bu kez zihinlere yer etmifl bir imaj› de¤ifltirmek üzere…

‹nstitutions are sometimes revisioned. At this point designer become a part of this. But this time in order to change a streotyped image..

Tasar›mc› için en zoru, varolan bir fleyi

To cure an existing thing is the toughest

iyilefltirmektir. En az›ndan benim için

thing for a designer. At least for me. I

böyle. Bu konuyla en son bir yay›nevi

came across with this subject recently in

iflinde karfl›laflt›m. Kapak tasar›mlar›n›

a publishing house work. They wanted to

de¤ifltirmek istediler. Talepleri de flöyle:

change their book-cover designs. Their

Bizim kapak tasar›m›m›z senelerden beri

demands are like this: Our book-cover

ayn›, çok eskidi. Okuyuculara farkl› ve yeni

design has been the same for so long, it

bir fleyler göstermek istiyoruz. Ama

got old. We want to show different things

eskisinden çok da farkl› olsun istemiyoruz.

to our readers. We want to show new

Okur bak›nca bizim yay›nevimizin kitab›

things, though we do not want much

oldu¤unu anlas›n, yad›rgamas›n.

more differences from the old one.

Reader should recognize that it is our

Benden yeni bir tasar›m, yeni bir konsept

press and not find it odd.

isteseler hiç problem de¤il. Ama onlar benden on kat daha zor bir fley istiyorlar.

No problem when they ask a new concept

Beni inan›lmaz s›n›rland›r›p, yine de

and a design from me. What they want is

memnun kalacaklar› bir ifl ç›karmam›

10 times harder than that. They set

bekliyorlar. Birçok fleyi yerinden

unbelieveable limits and still expect to

k›p›rdatmadan yeni bir ürün yaratmak

receive pleasing results. Revision is like

gibi bir fley bu. Ama tasar›mc›n›n ustal›¤›

creating a new product without moving

bu gibi durumlarda daha da önem

most of the things. The proficiency of the

kazan›yor.

designer gains importance in these kind of situations.

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Sizce grafik tasar›mc›n›n tarz› olmal› m›?

Do you think graphic designers need to have a certain style?

fiüphesiz. Ama tarz dedi¤imiz fley iki türde

Certainly! But people should perceive two

alg›lanmal›. Birincisi içerik, ikincisi ise

kinds of style. First of them is content,

görsel. Bu ikisi bir araya geldi¤inde, grafik

second of them is visual. When these two

tasar›mc›n›n kiflili¤i ya da tarz› çok daha

come together, the character or style of

belirginleflir. ‹çeriksiz görsellik, son

the designer is more clear. Visuality

zamanlarda s›kça rastlad›¤›m›z standart ve

without content increases the existence of

bilgisayar kokan ürünlerin giderek

the standart, computer-based products.

ço¤almas›na neden oluyor.

Tasar›mc›lar›n topluma karfl› sorumlu oldu¤undan bahsettiniz.

Bir komflusu ABD taraf›ndan özgürlefltirilen, di¤er ikisinin ise özgürlefltirilmek üzere oldu¤u art›k yüksek sesle konuflulan bir ülkenin tasar›mc›s› olarak sorumlulu¤unuzun ne boyutta oldu¤unu düflünüyorsunuz?

You said that designers are responsible towards the society.

What are the dimensions of your responsibility as a designer of a country one of whose neighbor has been freed by U.S.A and where it is now talked out loudly that other two is about to be freed?

If the tragedy in the Middle East spreads to Iran and Syria, there sure will be

Orta Do¤u’da olan facia ‹ran ve Suriye’ye

reflections in our country, too. Like all

de s›çrarsa bizde de yans›malar›n›

other institutions, Graphic designers will

bulacakt›r. Tüm kurumlar harekete

bring uo their reactions. But the situation

geçece¤i gibi grafik tasar›mc›lar da

is not like that now. There has to be a

tepkiselliklerini ortaya koyacaklard›r. Ama

demand for that. If somebody comes and

flu anda böyle bir durum yok. Talep

says “Come, We will protest USA’s

gelmesi gerekir bunun için. Biri gelip de,

Middle East policy”, I support them. Of

“Gel kardeflim! ABD’nin Orta Do¤u

course by designing.

politikas›na karfl› eylem gerçeklefltirece¤iz.” derse kat›l›r ve

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desteklerim. Tabi ki tasar›m yaparak.

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Kitap Kapa¤› Book Cover 2001

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Tasar›ma bak›fl›n›zda ya da tarz›n›zda zaman içinde bir de¤iflim gerçekleflti mi?

Have you gone through any changes in your perception of design or in your style with time?

De¤iflim mutlaka oluyor ama bu daha çok

There is always a change but it is mostly

kulland›¤›m malzemede ç›k›yor karfl›m›za.

related to the materials I use. For example

Bilgisayar mesela; tasar›m noktas›nda

computers. Once computers began to be

hayat›m›za girdi gireli ben de

used for designing purposes, I started

kullan›yorum. Tabi bu illüstrasyonu

using them as well. Of course that does

kald›r›p bir kenara koydu¤um anlam›na

not mean that I put away the illustration.

gelmiyor. Çünkü öyle bir tasar›m söz

Because such designs do need

konusu oluyor ki illüstrasyon gerekli

illustration.

oluyor.

Sizce grafik tasar›m, sanat olgusuna ne kadar yak›n, ne kadar uzak?

How is graphic design reloted to the concept of art?

The nearness and remoteness of design

Tasar›m›n sanat olgusuna yak›nl›¤› ya da

to art fact changes proportionally to

uzakl›¤›, grafik tasar›mc›s›n›n yarat›c›l›¤›

designers creativity.

ERKAL YAV‹ 30

ile orant›l› olarak de¤iflir.

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1972’de ‹srail’de do¤du. Bezalel Sanat

He was born in 1972 in Israel. He was

ve Tasar›m Akademisi (Kudüs, ‹srail),

graduated from Bazalel Academy of

Görsel ‹letiflim Tasar›m› Bölümü’nden

Arts and Design (Jerusalem), Faculty of

1998’de mezun oldu. 2000 y›l›nda

Visional Communication Design in

‘Oded Ezer Tipografi’ ad›yla, ba¤›ms›z

1998. In the year of 2000 he founded

stüdyosunu kurdu (Givatayim). 2002’de

his autonomous Studio with the title

“Ha’Gilda” isimli ‹srail font tasar›mc›lar›

‘Oded Ezer Typography’ (Givatayim).

kooperatifinin kurulmas›nda rol oynad›.

In 2002 he played a roul in founding

Bezalel Sanat ve Tasar›m Akademisi

font designers cooperation titled

(Kudüs), Shenkar Mühendislik Koleji (Tel Aviv yak›nlar›), Wizo Tasar›m Koleji (Haifa) gibi birçok ö¤retim kurumunda tipografi ve grafik tasar›m üzerine dersler veren Ezer, eflzamanl› olarak reklam tasar›mc›s› olarak çal›flmakta, ‹branice tipografisi için s›radan olmayan, farkl› çözümler arad›¤› deneysel sanat projelerini de sürdürmektedir. Resimle ilgilenen, posterleri ve grafik iflleri dünya çap›nda

“Ha’Gilda”. He worked as instructor on the typographic design and graphical design branches at many educational institutes like Bazalel Academy of Arts and Design (Jerusalem), Shenkar College of Engineering and Design (near Tel Aviv), Wizo Neri Bloomfield College of Design (Haifa), contemporarily he was working as advertisement designer and he was studying on experimental projects searching for different, unusual

birçok yay›nda yer alan ve sergilenen

solutions for Hebrew typography. The

tasar›mc›, Nagoya Tasar›m Merkezi

Designer who is interested in Painting,

Uluslararas› Tasar›m Yar›flmas›’nda

and that his poster and graphical works

Alt›n Ödül (Japonya, 2000), 4. New

have found place on numerous

York Font Tasar›m› Yönetmenleri

publications, won Golden Award of

Kulübü Tasar›m Yar›flmas›’nda

International Design Competition of the

Mükemmellik Ödülü (2001) ve ‹srail

Nagoya Design Center (Japan, 2000),

E¤itim Bakanl›¤› Tasar›m Ödülü (2003)

the Perfection Award of New York Type

baflta olmak üzere çeflitli ulusal ve

Directors Club's 4th Annual

uluslararas› ödüller almaya de¤er

Competition (USA, 2001) and The

görüldü.

Israeli Education Ministry Prize for Design (2003) are among the numerous national and international awards that he was appreciated for.

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E¤itimci kimli¤iniz ile deneysel tasar›mc› kimli¤iniz aras›nda nas›l bir etkileflim var?

Grafik ve tipografik tasar›m ö¤retmemin

What kind of an interaction is there between your identity as an educator and your empirical designer identity?

as›l amac›, mesle¤in teknik kanunlar›n› ve

I think that my main goal in teaching

problem çözmek için kavramsal ve görsel

graphic and typographic design, beyond

araçlar› vermenin ötesinde ö¤rencilerimi

delivering technical principles of the

yarat›c› özgürlü¤ün -ileri entelektüel

profession and conceptual and visual

özgürlü¤ü kullanma ile karakterize

tools for problem solving, is to educate

edilmifl- isteklerinin sorumlulu¤unu alma

my students to take the responsibility of

konusunda e¤itmektir. Tipografik temeller,

what creative freedom (that is

kimlik ve dergi tasar›m› kurslar›nda

characterized by the ability of using

ö¤rencilerimden istedi¤im en önemli fley,

maximal intellectual freedom) demands.

var olan ak›mlara direkt veya dolayl›

What I actually ask from my students is

olarak ba¤l› olmayan, taze ve içeri¤e

one main thing (whether it is a

uygun çözümler getirmeleridir. Bu demek

typographic foundation, identity design

oluyor ki belli görsel, “içeriksel gerçekleri”

or magazine design courses) which is to

arayan tipografi sanatç›s› olarak kendimin

bring about a solution that will not be

fark›nda olmamla e¤itim aktivitelerim

based on existing trends, either directly

aras›nda direk bir ba¤lant› var.

or as a kind of a fashionable ‘retro’, but

Bununla birlikte bir deneyci olarak

on a fresh and relevant-to-context point

kendimi müflterilerin varl›¤›ndan

basis. By this means, there is a direct link

kurtard›¤›m gerçe¤ini göz ard› edemeyiz;

between my own self awareness as a

ki bu gerçek daha çok bilimsel bir

typographic artist who looks for a certain

laboratuara veya sanat stüdyosuna

visual and conceptual “truth”, and my

benzeyen bir çal›flma ortam› yaratmama

educational activities. However, we cannot

yard›m ediyor.

ignore the fact that, as an experimenter I have released myself from the presence of clients, something that helps me create working environment that is more like a scientific laboratory or an art studio.

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Kendinizi yeni, plüralist bir ortam yaratmak üzere sorumlu görüyorsunuz diyebilir miyiz?

E¤er böyleyse bu sorumlulu¤un tetikleyicisi nedir?

Can we say that you feel yourself responsible to create a new pluralistic environment?

What alerts this responsibility?

Kendimi, yeteneklerini do¤am›z›n

abilities to change and reshape the visual

görünüflünü ve gerçe¤ini saklamaktan çok

appearance of our environment in a way

yans›tacak flekilde de¤ifltirecek ve farkl›

that will reflect the reality instead of

hale sokacak biri olarak görüyorum. Bunu

hiding it. I see this not only a visual or

sadece görsel ve profesyonel bir hareket

professional act, but also a political one.

olarak de¤il; ayr›ca politik bir hareket

My work is composed of commercial,

olarak da görüyorum. ‹fllerim ticari,

typeface and experimental design. As a

karakteristik ve deneysel tasar›mlardan

commercial designer I serve the needs of

olufluyor. Reklam tasar›mc›s› olarak

my clients; as a typeface designer, I’m a

müflterilerimin ihtiyaçlar›na karfl›l›k

sort of a meditator; creating the

veriyorum. Yaz› karakteri tasar›mc›s›

typo/artistic images is, for me, running

olarak bir nevi ‘araç’ gibiyim. Benim için

away from the banal, predictable

tipografik sanatsal görüntüler yaratmak,

demands of the market, as if playing

alt› yafl›ndaki bir o¤lan çocu¤u gibi, ciddi

seriously a game like a six year old boy.

bir flekilde oyun oynamak gibidir. Pazar›n

In this last category, the silliest, most

banal ve tahmin edilebilir isteklerinden

absurd, politically incorrect and

kaçmakt›r. Bu son kategoride sonuçlar ne

shameless the results are, the more

kadar aptalca, absürd, politik olarak yanl›fl

successful I feel.

I see myself as someone who uses his

ve utançs›z oluyorsa kendimi o kadar baflar›l› hissediyorum.

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Bize göndermifl oldu¤unuz, sizinle ilgili bir dergide yay›nlanm›fl yaz›da “Yarars›z Parça” projeniz için kulland›¤›n›z “Fars yaz› tasar›m› için s›ra d›fl› çözümler üzerine incelemeler” ifadesini açabilir misiniz?

Can you be a little more specific about the expression “which investigates unconventional solution in Hebrew type design” that you used about your project called “Non Profit Item” in one of the magazines you sent to us?

Fikir, deney yaparken oynamak, oynarken

The idea is always to play while

deney yapmakt›r. ‹flim için gerekli olan

experimenting, to experiment while

ilham mimari, müzik, fen ve felsefe gibi

playing. The inspiration for my work

çeflitli modern alanlardan gelir. ‹srailli

comes from variety of contemporary

olarak tabi ki ülkemin kültürel, ulusal ve

fields, such as architecture, music,

politik do¤as›ndan etkileniyorum.

science and philosophy of our time.

Tipografik tasar›m›n ‹srail’deki ve di¤er

As an Israeli, I’m, of course influenced by

ülkelerdeki s›n›rlar›n› bulma, bunlar›

the cultural, national and political

sorgulama ve alternatif çözümler sunma

environment of my country. I see myself

konusunda kendimi yükümlü

obligated to find out and question the

hissediyorum. Tipografi farkl› durumlarda

borders of typographic design as they are

nas›l davran›r? Harfler mutluyken ne

in Israel and in other countries and to

yapar? Utanm›flken nas›l gözükürler?

suggest alternative solutions. Some of the

Bir harf dayak yedi¤inde veya

questions I often ask myself while

dövüldü¤ünde nas›l davran›r?

creating are: How does typography

Bundan 10, 20, 50 veya 100 sene sonra

“behaves” in different situations?

tipografik tasar›m nas›l olacak?

What do letters “do” when they are

Bir yandan okunakl›l›¤›n, di¤er yandan

happy? How do they “look” when they are

tipografik anlaml›l›¤›n s›n›rlar› nelerdir?

shy? How will a letter “act” when it is

Tipografik ifllerin kelime anlam› ile görsel

slapped, Kissed? How will typographic

anlam› aras›ndaki gerilim, etkileflim nas›l

design look in 10, 20, 50 or 100 years

kullan›lmal›d›r? Bunlar, yarat›rken

from now? What are the borders of

kendime sordu¤um sorulardan sadece

readability on the one hand, and

baz›lar›d›r.

typographic expressiveness on the other hand? How can one use the tension between literal meaning and visual meaning in typographic work?

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Özellikle “odan›zda”, “yarat›k türlerini” nas›l hissediyorsunuz ve sonra bunlar› nas›l görüyorsunuz?

“Odalar” projesinde bir ad›m öne gitmeye

How do you feel your “kind of creatures” especially in your “rooms” and how do you see them after?

ve kendimi iki boyutlu formattan

In the “Rooms” project I have tried to go

kurtarmaya çal›flt›m. Niyetim hem

one step further and “release” myself

tipografik hem de tensel olan bir çevre

from the two dimensional format. My

yaratmakt›. Bafllang›ç noktam kendimi,

intention was to create such a

boflluktaki kompozisyonlar›, renkleri,

surrounding that it was both typographic

araçlar› birlefltirerek tensellikler yaratan bir

and sensual at the same time. My starting

tipografç› olarak görmekti. ‹lk eskizler

point was to see myself as a typographer

sadece fikirlerdi; fakat gerçek olunca

who was creating sensations by

de¤ifltiler ve gelifltiler. Harflerin rollerinin

combining materials, colors

oldu¤u, karakterler gibi davrand›klar›,

and compositions in space. The initial

canl› ve neredeyse sinema tarz› durumlar

sketches were ideas only but they

yaratmay› umdum. Bunlar›n sonucu

changed and developed when they

genellikle belgeselimsi bir duygu yaratt›.

became real. I hoped to create live, almost cinematic situations where the letters act as “characters” that had their roles. In most cases, the final shot of these spaces created a “documentarian” feeling.

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Font Tasar›m› Font Design

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REZA ABEDINI

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Enstalasyon Sergisi Afii Installation Exhibition Poster 2001

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1967’de Tahran’da (‹ran) do¤du.

He was born in 1967 in Tehran’da

Tahran Üniversitesi, Güzel Sanatlar

(Iran). He was graduated from

Fakültesi, Grafik Tasar›m Bölümü’nden

University of Tehran, Faculty of Fine

1985’te mezun oldu. Yüksek lisans›n›

Arts Department of Graphic Design in

1992’de ayn› üniversitede yapt›.

1985. In 1992 he has taken his

1989’da grafik tasar›m alan›nda

master’s degree from the same

profesyonel olarak çal›flmaya bafllayan

university. In 1989 he began to work

tasar›mc›, 1993’te Tahran’da özel

professionally in the graphic design

atölyesini kurdu. Görsel sanatlar

field. In 1993 he founded his private

alan›nda, 1990’dan itibaren yazar ve

workshop in Tehran. In the field of

elefltirmen olarak yer ald›. Bir süre

vision arts he has taken place as

Visual Section of Sureh adl› ayl›k bir

a writer and critic since 1990. For a

derginin editörlü¤ünü ve Chief of

while, he worked as the editor of the

Manzar adl› resim dergisinin editör ve

monthly magazine called Visual Section

direktörlü¤ünü yapt›. 1997’de ‹ran

of Sureh and the editor and the director

Grafik Tasar›m Toplulu¤u ve 2001’de

of the drawing magazine called Chief of

Uluslararas› Grafik Birli¤i (AGI) üyesi

Manzar. In 1997 he became the

oldu. ‹ran Grafik Tasar›m Toplulu¤u’nda

member of Iran Graphic Design Society

1999’dan itibaren Kültür Komitesi

and in 2001 member of Alliance

Baflkan› olarak görev ald›. ‹ran’da

Graphique International. The Designer

birçok kiflisel sergi gerçeklefltiren

who held many personal exhibitions in

tasar›mc›, 1993’ten bu yana ‹ran, Çek

Iran, since 1993 participated various

Cumhuriyeti, Kore, Fransa, Japonya,

organizations in countries like Iran,

Polonya, Çin, Ukrayna, ABD, Almanya

Czechoslovakian Republic, Korea,

gibi ülkelerde düzenlenen çeflitli

France, Japan, Poland, China, Ukraine,

organizasyonlara kat›ld›. Khalil Jibran’›n

USA, Germany. His books The Prophet

The Prophet (Peygamber) adl› kitab›

by Khalil Jibran (Iran, 1997), Manzar

(‹ran, 1997), Manzar Pictorial Book

Pictorial Books (Iran, 1999), The Art of

(Manzar Resimleri Kitab›; ‹ran, 1999),

Print (Iran, 2000), Qeseye Kutuleha va

The Art of Print (Bask› Sanat›; ‹ran,

Deraza (A Tale of Dwarfs and Lankier;

2000), Qeseye Kutuleha va Deraza

Iran, 2000),

(Cücelerin ve Develerin Öyküsü; ‹ran, 2000),

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Autobiographic (Otobiyografi; ‹ran,

Autobiography, In the Beginning (Iran,

2002), In The Beginning... (Bafllangݍ;

2003), Reza Abedini, Desing and

‹ran, 2003), Reza Abedini, Design and

Designers (France, 2004) are

Designers (Reza Abedini, Tasar›m ve

published. He worked in Iran Graphic

Tasar›mc›lar; Fransa, 2004) adl›

Design Society as Culture Comittee

kitaplar› yay›nland›. Çin Uluslararas›

President since 1999. He won

Poster Bienali Özel Ödülü (2003), Çek

numerous awards in many national and

Cumhuriyeti Görsel Sanatç›lar Birli¤i

international competitions like China

Ödülü (Brno, 2004), Hong Kong

International Poster Biennial Special

Uluslararas› Poster Trienal Alt›n Ödülü

Award (2003), Czechoslovakian

(Çin, 2004) ve 8. Meksika Uluslararas›

Republic Vision Artists Society Award

Poster Bienali Birincilik Ödülü ve Alt›n

(Brno, 2004), Hong Kong International

Madalya (2004) baflta olmak üzere

Poster Triennial Golden Award (2004)

birçok ulusal ve uluslararas› yar›flmada

and 8th. Mexican International Poster

ödüle de¤er görüldü. 1996’dan bu yana

Biennial First Postion Award and

‹ran, Fransa ve Hollanda’da çeflitli

Golden Medal (2004). He is giving

üniversite, akademi ve atölyelerde

courses of lectures since 1996 in

grafik tasar›m, görsel tasar›m, bask› ve

different universities, academies and

poster tasar›m›, tipografi ve görüntü

workshops in Iran, France and

dersleri vermektedir.

Netherland, on graphic design, visional

REZA ABEDINI 6

design, typography and image fields.

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Konferans Afii Conferance Poster 2003

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Bu y›l ki tasar›mc›lar›m›zdan Erkal Yavi de sizin gibi baflka bir disiplini terk edip, tasar›m› seçmifl. Onun iç mimarl›¤› b›rakmas›na sebep olan, daha çok günün öznel flartlar› olmufl. Sizin için sebep neydi? bunun için çok mutluyum. Ama

Erkal Yavi, who is one of our designers this year, has quitted another branch of knowledge and chosen designing just like you.

His reasons to quit interior design (interior architecture) were the subjective conditions of the day.

What was your reason?

üniversitede ö¤renci oldu¤um s›rada,

I’ve never been interested in painting, and

grafik tasar›m yerine resim okumak bana

I’m very happy about that. But at the time

daha cazip göründü. Bunun yan› s›ra iyi

when I was a university student, it was

bir tasar›mc› olmak için çok iyi çizim

more likely for me to study painting than

yapabilmenin gerekli oldu¤una hep

graphic design. Besides, I’ve always

inand›m. Ama bu arada bir süre grafik

believed that in order to be a good

tasar›m ve sinema aras›nda, grafik

designer, one must know drawing very

tasar›m› seçene kadar gidip geldim ve

well. Though there had always been

verdi¤im karardan çok memnunum.

a doubt for me between graphic design

Hiçbir zaman resimle ilgilenmedim ve

and cinema until I picked graphic design.

‹ran’da, iletiflimde grafik tasar›m›n yeri nedir?

Kendi potansiyelleriyle karfl›laflt›r›ld›¤›nda grafik tasar›m, hareket seviyesine hala ulaflamad›. fiu ana kadar birçok devlet grafik tasar›m ve onun engin kabiliyetlerine tam olarak güvenmifl de¤il; ama reklam, kitap ve gazete gibi baz› yerlerde grafik tasar›m›n gereklili¤ini bir ölçüde de olsa hissediyorlar. Fakat grafik tasar›m, hala sosyal konularda ciddi roller üstlenmifl de¤il.

And I’m glad for this decision as well.

What is the place of graphic design in communication in Iran?

Compared to the potentials of graphic design, graphic design has not yet found its very level of action. So far, many states do not fully trust graphic design and its vast abilities, but in some parts they have felt the necessity of graphic design: in advertisement, books, news papers but it still does not play any serious role in social issues.

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20 senedir ‹ran’da tasar›m yapmaktas›n›z. Bu süre içerisinde ‹ran grafik tasar›m dünyas›nda ne gibi geliflmeler ve de¤iflmeler oldu?

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‹ran grafik tasar›m›, devrimden önce

You have been designing for 20 years in Iran by now. What kind of developments and changes occurred in the Iran’s Graphic Design world within these years?

çal›flm›fl olan tasar›mc›lar ve halen

Graphic design in Iran can be divided into

çal›flmakta olan, benim kufla¤›m›n da

two separate periods: designers that

dahil oldu¤u, devrimden sonraki

studied before the revolution, and those

tasar›mc›lar olmak üzere iki ayr› döneme

who studied after the revolution, including

ayr›labilir.

my generation till now.

‹ran’daki grafik tasar›m, ayn› durumdaki

Graphic design in Iran has a much more

di¤er ülkelerden daha parlak bir geçmifle

brilliant background than other countries

sahip; ki bu bizim jenerasyonumuzu daha

of the same situation, which will lead our

fleffaf basamaklara tafl›yacakt›r. Bu durum

next generation to more clear steps. This

benim tecrübe etti¤im bir olayd›r.

is the occurrence that I myself have

20 sene önce grafik tasar›m›na

experienced. 20 years earlier when I

bafllad›¤›mda az say›da, ama kaliteli

started graphic design, there were some

kaynaklar vard›. Devrimden sonra ‹ran’da

magnificent sources for me, not too

görsel sanatlar›n her alan›nda on y›ll›k bir

many, but at a high level of quality. After

durgunluk oldu; ama ondan sonraki on

the revolution there was about a decade

y›lda grafik tasar›m alan›nda güçlü

of stagnation in any fields of visual arts in

hareketler yaflanmaya bafllad›. Üniversite

Iran, but in the next ten years, there has

ö¤rencileriyle olan ba¤lant›lar›ma

started such powerful movement in

dayanarak, önümüzdeki on y›lda daha

graphic design in Iran, and as to my

büyük geliflmeler bekliyorum.

connections with university students, we may expect even greater incidents for

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the coming decade.

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‹ran’›n uzun süre dünyadan izole edilmifl olmas› durumunun son senelerde de¤iflmeye bafllamas›yla birlikte ülkenizde grafik tasar›m alan›nda de¤ifliklik yafland› m›?

Did any kind of changes occur in the area of graphic design in your country along with the changes of Iran’s isolated situation from the rest of the world?

Bu durumun, ‹ranl› tasar›mc›lar› geliflim

I think this situation is an opportunity that

ad›na zorlayan bir f›rsat oldu¤unu

compelled Iranian designers in the name

düflünüyorum. Grafik tasar›m›m›z› bizim

of development. As I compare our graphic

seviyemizdeki di¤er ülkelerle

design to other countries at our level,

karfl›laflt›rd›¤›mda, onlar›n daha çok genel

I recognize that they are more and more

bat›l› metotlar› uygulad›¤›n› ve ifllerinde bir

acquiring general, western methods and

kimlik kayb› yaflad›klar›n› görüyorum.

experience a loss of identity in their

‹ran’da, o özel dönemdeki iletiflim ve

works. Lack of communications and

dan›flma malzemelerinin eksikli¤i ve

informational materials in Iran and

görsel kodlar›m›z›n de¤iflimi, kendi görsel

variations in our visual codes during that

kaynaklar›m›za yönelmemizi sa¤lad› ve bu

specific period of time, resulted in a

mutluluk verici bir olayd›.

relapse to our very own visual basis and

Ülkenizin di¤er ülkeler taraf›ndan yeterince tan›nam›yor olmas›ndan kaynaklanan önyarg›lar ile karfl›lafl›yor musunuz?

this was a pleasant incident.

‹ran’›n Irak’tan farkl› oldu¤unu sürekli

Do you face a prejudice that is caused by the lack of acknowledgements of your country by other countries?

hat›rlatmam veya ‹ran’›n Arap bir ülke

There was a time when I always had to

olmad›¤›n› söylemem gereken zamanlar

mention that Iran is different from Iraq, or

oldu. Bugünlerde, en az›ndan grafik

had to acknowledge that Iran is not an

tasar›m› konusunda söyleyebilirim ki

Arabic country. Nowadays, at least in

neredeyse tüm profesyonel grafik

graphic design, I can say that almost

tasar›mc›lar›n ‹ran hakk›nda bilgisi var.

every professional designer knows about

‹ranl›lar›n sergilere, yar›flmalara ve

Iran, and as Iranians participate more and

seminerlere kat›l›mlar› artt›kça, ö¤renciler

more in exhibitions, competitions and

ve di¤erleri ‹ran hakk›nda daha fazla bilgi

seminars, students and others get to

sahibi olmaya bafll›yor.

know more about Iran than before.

Tabi bir de nükleer konularla ilgili

And of course there are news about

haberler var. CNN ve BBC sayesinde ‹ran

nuclear matters and thanks to CNN and

manfletlerden inmiyor!

BBC, Iran remains at the headlines!

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Küreselleflme nedeniyle dünyada tasar›m alan›nda tek bir dile do¤ru gidilirken, tarihsel kültürünü de üzerinde tafl›d›¤›ndan, bir nifl oluflturan ‹ran grafik tasar›m›n›n gelece¤i hakk›nda neler düflünüyorsunuz?

While world start to use a single language in design area because of the globalization, what do you think about Iran’s graphic design’s future that forms a niche because of carrying its historical culture with itself?

Küreselleflme dehflet verici bir fley. Bazen

Globalization is such a horror! Sometimes

anlams›z bazen de tamamen politik bir

meaningless, and sometimes thoroughly

kelime. S›n›flar›mda ö¤rencilerimi

political word. In my classes I always tend

“küreselleflme” ve “dünya ile iletiflimin”

to enlighten my students about

fark› konusunda ayd›nlatmaya

differences between “globalization” and

çal›fl›yorum. San›r›m grafik tasar›m

“communication with the world”. I guess

“dünyayla iletiflim kurma” ve ayn›

graphic design has the potential to

zamanda bir ‘bölgeye’ ait olma

“communicate with the world” and belong

potansiyeline sahip; Fars sanat›n›n bu

to “a region” at the same time, just as

zamana kadar yapt›¤› gibi.

Persian art has acted till now.

‹fllerinizdeki genel e¤ilim, tipografi üzerine kurgulanm›fl. Bu ba¤lamda tipografik dilinizden bahsedebilir misiniz?

Your general tendency in your work is based upon typography. In this respect can you talk about your typographic language?

Resim ö¤rencisiyken, ‹ran modern grafik

While I was studying painting I used to

iflleri ve resimleri üzerinde çal›flt›m.

work on Iranian contemporary graphic

Dönem tasar›mc›lar›n›n, grafik ifllerimizde,

works and painting’s. I found that in our

ba¤lant›lar›m›z ve tarihsel geçmiflimiz

graphic works because of our

nedeniyle illüstrasyonu tasar›mdan ve

connections and somehow historical

tipografiden daha çok kullanmaya meyilli

background designers of that era were

olduklar›n› gördüm. Ayr›ca flunu da

more tended to use illustrations than

gördüm ki, grafik ifllerimizin ço¤u tasar›m

design and typography. I also found that

ve enerjiden yoksun. Bunun yan› s›ra

our graphic works mostly lack design and

kaligrafinin dosyalar› incelendi¤inde el

energy. On the other hand when our

yaz›m›z›n farkl›l›k yaratabilecek durumda

documents of calligraphy were examined,

oldu¤unu gördüm. Bu konu hakk›nda

I came to a conclusion that our scripts

daha fazla enerji harcad›kça, yaz›lardan ve

were able to make a difference. As I spent

görsel enerjilerden oluflmufl yeni bir

more energy on the case, I encountered a

dünya ile karfl› karfl›ya geldim. Onlar›

brand new world of types and visual

keflfetmenin yan› s›ra, ifllerimde modern

energies. I tried to up-to-date using them

ve günümüze uygun bir flekilde

in my works as well as discover them.

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kullanmaya da çal›flt›m.

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Yaz›n›n çok önemli oldu¤u bir ülkeden geliyorsunuz. Laurence Madrelle ile yapm›fl oldu¤unuz bir röportajda, geçmifl y›llarda ‹ran yaz›s›n›n bozulmufl oldu¤unu ve grafik tasar›mda ‹ran yaz›s› için en uygun kullan›m yollar›n› gelifltirmeyi ve onu eski parlak günlerine döndürmeyi hedefledi¤inizi söylemifltiniz.

Bu bozulma durumun nedenleri ve sizin bu konudaki çal›flmalar›n›z nelerdir?

You are coming from a country in which the act of writing is very important. In an interview with Laurence Madrell you mentioned that Iranian writing was damaged and that your aim is to develop the most suitable usage styles for Persian writing in graphic design and to turn Persian writing back to its old, bright days. What are the causes of this damage and your studies about this subject?

Hat Sanat›, Fars-‹slam kültüründe önemli

in Persian-Islamic culture. Persian

bir yere sahiptir. ‹ranl› hattatlar öyle

calligraphers have created such great

eserler vermifllerdir ki bu eserler sonsuza

masterpieces that will last forever.

kadar yaflayacakt›r. 1870’lerde Fars tipini

In about 1870 the first efforts to create

yaratmak için ilk çabalar kutsal kitab›

Persian types were made by missioners

Farsça yazmak ve basmak isteyen

in order to print and publish the holy bible

misyonerler taraf›ndan gösterilmifltir.

in Farsi. There were also English-Persian

Ayr›ca ‹ran’daki ‹ngiliz konsey üyeleri için

dictionaries that were to publish for the

de ‹ngilizce-Farsça sözlükler vard›.

sake of English councilors in Iran.

Calligraphy has an important position

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Önemli olan nokta, Fars el yaz›s›n›n

The point is that at that time they

karakteristik özelliklerini görmezden gelip,

neglected the characteristics of Persian

onlar› Latin karakterlerde oldu¤u gibi

scripts and tried to prepare them for

bas›ma uygun hale getirmeleridir.

printing systems just as they did for Latin

Bu yüzden Fars harflerini matbaa hurufat›

characters. Therefore, they adopted and

olarak, bloklar fleklinde ayarlay›p

adjusted Persian letters in blocks and

benimsemifl ve tekrar birleflmeli olarak

transformed them in order to make them

kullanmaya uygun hale getirmifllerdir.

suitable to be used repetitively and in

Bu ifl profesyonel bir ifltir ve

junctions. This issue is a bit professional

diyagramlar ile görüntülerin

and needs diagrams and images to be

tamamlanmas›n› gerektirir. Ama bu olay

completed. But the incident was just the

Fars yaz› karakterinde ortaya ç›kacak

beginning of numerous problems in

çeflitli sorunlar›n bafllang›c›d›r; çünkü bu

Persian types, for it opposes the very

Fars yaz› karakterinin özelli¤ine ve ruhuna

spirit of Persian types; the problems are

terstir. Bu problemler görmezden gelinmifl

being ignored and many questions are left

ve birçok soru cevaps›z b›rak›lm›flt›r.

unanswered for their regularity. But

Ama Fars yaz› karakteri, bizim el yaz›m›z›n

Persian types have never obtained the

güzelli¤ini hiçbir zaman ele

beauty of our scripts, and have to be

geçirememifltir ve gözden geçirilip

revised.

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düzeltilmesi gerekmektedir.

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‹fllerinizde alfabe farkl›l›¤› nedeniyle yaz›y› okumam›z mümkün olmad›¤› halde, yaz›n›n bazen kendi bafl›na illüstrasyon haline gelerek, bazen de di¤er görsel elemanlarla birlikte oluflturdu¤u bütün, iflin kendisi ile rahat bir iletiflim kurmam›z› sa¤l›yor.

Bu evrensel dile nas›l ulaflt›n›z?

Although we are not able to read your works because of the alphabet differences, the writing’s sometimes becoming an illustration on its own or sometimes forming a whole with the other visual components let us communicate with the work without any difficulties. How did you reach such a universal language?

Bunlar Fars el yaz›s›n›n sahip oldu¤u ve

These are the potentials that Persian

bizim kaç›rd›¤›m›z potansiyellerdir.

scripts have on their own and that we

Kavisleri, flekilleri, pozitif ve negatif

have missed. Their curves, forms, the

boflluklar› ve noktalar› bir uyum içinde

positive and negative spaces and points

tasarlanm›fl ve tasar›mc›lar› bu iliflkiler

are harmonically designed, and their

üzerinde dikkatle durmufltur. Ben sadece

designers have carefully worked on these

onlar› keflfetmeye çal›flt›m. fiunun da

relationships. I only tried to discover

söylenmesi gerekir ki bat›l› tasar›mc›lar›n

them. It should be said that experiences

tecrübeleri ve çabalar› da benim için çok

and efforts made by western designers

önemliydi. Bana harflerden yararlanmay›

and typographers were also of a great

ö¤rettiler. En basit haliyle ifl metine

deal of importance for me. They taught

geldi¤inde, onun daha çok kifliyle iletiflim

me to make use of types. Basically, when

kurmas› için görüntünün de eklenmesi

it comes to types, one should add to its

laz›m.

image in order to help it communicate

Güncel hareketleri takip ederken bir yandan da kendi kültürel ba¤lar›n› koparmadan üretim yapan bir tasar›mc› olarak bat› grafik tasar›m›n› nas›l yorumluyorsunuz?

with more viewers.

Bir kiflinin kendi kültürünü ö¤renirken

How do you interpret Western graphic design as a designer who does not tear off his own cultural bonds but at the same time keeps up with current movements?

yapmas› gereken en önemli fley baflka

One of the most important points that one

kültürleri de araflt›rmakt›r. Grafik tasar›m

should concern while studying his culture

teknolojik bir sanatt›r ve teknoloji çok

is to thoroughly investigate other cultures

boyutlu bir konudur. Teknoloji ile uyumlu

as well. Graphic design is a technologic

olabilmek için onunla alakal› tüm konular›

art, and technology is a multidimensional

araflt›rmal›y›z. Bu vahfli bir at gibidir;

subject. To deal with technology we must

at› dizginlemeyi bilmezseniz sizi

inspect every related issue. It’s more like

istemedi¤iniz yerlere götürecektir.

a wild horse, will take you to wherever it desires if you don’t know how to harness.

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Sizin ö¤rencilik döneminizden bugüne, ‹ran’da grafik tasar›m e¤itiminde nas›l de¤iflimler yafland›?

What kind of alterations have been experienced on graphic design education in Iran from your period of education until today?

Ne yaz›k ki fazla bir fley de¤iflmedi (Grafik

Unfortunately it has not changed very

tasar›m okumama ra¤men!). Kurslar›n

much (although I have not studied

birkaç küçük k›sm›n› ç›kar›rsak, neredeyse

graphic design!). Excluding some tiny

tüm sistem bat›daki sanat okullar›ndan

parts of the courses, almost all of the

yanl›fl olarak kopya edilmifl durumda ve

system is wrongly copied from western

hala kullan›lmaya devam ediyor. Fakat

schools of art, and still is being used.

geçen y›ldan beri baz› meslektafllar›m ve

But since last year, a number of my

ben, büyük bir araflt›rma konusu olarak,

colleagues and I are working on the

e¤itim metotlar› üzerinde çal›fl›yoruz.

teaching methods as a comprehensive

Ö¤rencilerinize nas›l bir e¤itim sunuyorsunuz?

research project.

Grafik tasar›mla ilgili kaynak kitaplar›n

What kind of an education do you offer to your students?

yan›nda ‹ran tarihinin, ‹slam felsefesinin,

Other than source books on graphic

Fars fliirinin, Bat› medeniyeti tarihinin,

design, I should mention books about

Fars-‹slam hattatç›lar›n›n ve onlar›n

history of Iran, Islamic philosophy,

ifllerinin bulundu¤u kitaplar› sayabilirim.

Persian poetry, history of civilization in

Di¤er tasar›m disiplinlerinden nas›l etkileniyorsunuz?

the west, Persian-Islamic calligraphers and their works…

geliflmedi. Ama pratik olarak baz›

How do you get affected by other designing disciplines?

projelerde iflbirli¤i yap›yoruz.

Unfortunately other disciplines of design

Tüm dünyadaki tasar›m haberleri

haven’t yet promoted much.

konusunda kendimi sürekli güncelliyorum

But practically we occasionally cooperate

ve bunlar›n baz›lar› ifllerim konusunda

in some projects. I keep myself up to date

bana ilham veriyor. Di¤er alanlardaki

about news on design all over the world,

tasar›m, üretime çok daha ba¤l› ve bu

some of which inspire me in my works.

sonucu da ayn› flekilde etkiliyor.

Design in other fields is much related to

Ne yaz›k ki di¤er disiplinler henüz fazla

production and the result depends on this

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process as well.

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Pek çok afifl, dergi vb. bas›l› ürünler tasarlad›n›z. Geliflen yeni teknoloji ile iliflkileriniz nas›l?

Bu teknolojilerin görsel dilinize katk›lar› nas›l oluyor?

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Teknoloji hakk›nda bilgi sahibi olmal› ve

You have designed a great deal of printed products such as posters, magazines etc. How do you get along with developing technology?

Does these technologies assist your visual language?

onun yeteneklerini kullanmal›y›z.

We have to know about technology and

Kültürel durumumdan dolay› iflimin genel

use its abilities. While I consider the total

atmosferini göz önüne ald›¤›mda, en yeni

atmosphere of my works due to my

aksesuarlardan yararlanmaya çal›fl›yorum.

cultural situation, I try to get use of the

Geçmifl senelerde web siteleri, yeni

latest accessories. During the past years

medya iflleri ve animasyonlar tasarlad›m

I have designed a number of websites,

ve tüm görsel kodlar›m› korumaya

multimedia and motion graphics and tried

çal›flt›m.

to maintain all my visual codes.

Kökleri çok derine giden bir kültürün içine do¤up, genel normlar›n› baflka bir kültürün belirledi¤i bir meslekle u¤rafl›yorsunuz. Bat›l› meslektafllar›n›zdan daha flansl› oldu¤unuzu söyleyebilir miyiz?

Dünyan›n di¤er taraflar›ndaki

Although you have born in to a culture that has roots deep down, you are engaged in a business whose general norms are decided by another culture. Can we say that you are luckier than your colleagues from the West?

meslektafllar›mdan daha m› iyi yoksa daha

I’m not sure if I am in a better or worse

m› kötü bir durumday›m emin de¤ilim.

position than my colleagues in other parts

Ama bildi¤im flu ki benzersiz, yegane bir

of the world, but I know that I’m having

durumday›m. Bu flartlar›n bat›daki bir

a unique situation. Such condition could

tasar›mc›da görülme flans› çok azd›r.

hardly occur to a designer in west.

Bazen düflünüyorum da benim

I sometimes think that new codes should

durumumdaki bir tasar›mc› için yeni

be made-up for a designer in my

kodlar bulunmal›. Yeni kodlar›n genifl

situation. Working in the space of new

hareket alan›nda çal›flmak benim için

codes is very elegant and unique for me.

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benzersiz ve zarif bir zevk.

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Konferans Afii Conferance Poster 2003

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AfiямВ Poster 2002

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Tiyatro Festivali Afii Theater Festival Poster 2002

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ROBERT APPLETON

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‹skoçya’da do¤du. 1973’te St. Martins

He was born in Scotland. In 1973 for

Sanat ve Tasar›m Üniversitesi’nde

taking fine arts education at Saint

(Londra, ‹ngiltere) güzel sanatlar

Martins College of Art and Design

e¤itimi almak için Saatchi&Saatchi’deki

(Londra, UK) he worked in advertising

sanat direktörlü¤ünü b›rakana kadar

agnecies for 10 years until he left the

‹ngiliz reklam ajanslar›nda on y›l kadar

Saatchi&Saatchi Art Director postion.

çal›flt›. Bu dönemde vurmal› çalg›lar

During this period he took lectures

üzerine besteci Tony Oxley’den e¤itim

from percussion instruments composer

ald›. Ayn› zamanda ressam olan

Tony Oxley. Being an artist Appleton,

Appleton, BBC kanal› için foto muhabiri

he worked as a photographer for BBC

olarak Belfast, Kuzey ‹rlanda,

channel in Belfast, Nord Ireland, and in

‹ngiltere’de evsizler için yap›lm›fl olan

England, and worked for 3 years in

bar›naklar ve Londra’n›n tedavi

asylums for homeless people and in

merkezlerinde üç y›l çal›flt›. 1979’da

Londra Theraphy Centers. In he moved

Amerika’ya yerleflti. 1983’te,

to America. In 1983, he founded

Connecticut’da Appleton Tasar›m’›

Appleton Design in Connecticut. In

kurdu. 1991’de Hartford

1991 he began working at Hartford

Üniversitesi’nde çal›flmaya bafllad›.

University. In 1994 he moved to New

1994’te New York’a, 2001’de

York, in 2001 to Minnesota. Appleton’s

Minnesota’ya tafl›nd›. Appleton’›n iflleri

works were recognised and published

birçok ulusal ve uluslararas› tasar›m

by many national and international

organizasyonu taraf›ndan tan›nd› ve

design organization. His works were

yay›mland›. Çal›flmalar›, Congress

included in Library of Congress

Kütüphanesi Ulusal Arflivi, San

National Archives, San Francisco

Francisco Modern Sanatlar Müzesi,

Museum of Modern Arts, Finland Lahti

Finlandiya Lahti Müzesi

Museum collections and were exhibited

koleksiyonlar›na dahil edildi ve Lowell

at Lowell University, Institute of Aetna

Üniversitesi, Aetna Enstitüsü,

University of Minnesota, California

Minnesota Üniversitesi, California Sanat

College of Art, and in Helsinki, Beijing,

Koleji, Helsinki, Beijing, Paris ve

Paris and Munich.

Münih’te sergileri gerçeklefltirildi.

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‘Uluslararas› Umut Kad›n›’ adl› kiflisel

His personal exhibition met the

sergisi, Birleflmifl Milletler Merkezi,

audience with ‘International Hope

Lortlar Kamaras› ve Hague Bar›fl

Woman’, United Nationas Center,

Konferans›’nda izleyiciyle bulufltu.

House of Lords and Hague Peace

Tasarlad›¤› ve yard›mc› editörlü¤ünü

Conference. The book which he

yapt›¤› kitab›, WEB Design Now

designed and edited as vice editor,

(fiimdi Web Tasar›m›, 1998) Graphis

WEB Design Now (1998) was published

taraf›ndan yay›mland›. Etkileflimli

by Graphis. Appleton who worked as a

kavramlar›n oturmas›nda öncü olan

leader of entrenching Interactive

Appleton, klasik modern bask› ve

concepts, became one of the designers

etkileflimli çoklu ortam tasar›m›

who filled out the blank between

aras›ndaki bofllu¤un dolduran

classical modern stamp and interactive

tasar›mc›lardan biri oldu. Bilgisayar ve

multimedia design. The Designer who

yaz›l›m üzerine çal›flan birçok flirkete

gave advisory service on technology,

teknoloji, tasar›m ve ürün gelifltirme

design and product development, to

dan›flmanl›¤› yapan tasar›mc›, birçok

many companies that were working on

konferansta konuflmac› olarak yer ald›

Computer and Software, took place in

ve çeflitli yar›flmalarda jüri üyeli¤i yapt›.

many conferences as lecturer and

Amerika Grafik Sanat› Enstitüsü (AIGA)

worked as jury member for many

taraf›ndan, 10. sergi y›ll›¤›n›n kapa¤›n›

competitions. He was chosen to design

tasarlamak üzere seçildi. AIGA/NY’de

10. exhibition yearbook by America

yard›mc› baflkan olarak görev ald›.

Institute of Graphic Art (AIGA).

Uluslararas› Grafik Birli¤i (AGI)

He worked as vice president at

üyeli¤ine seçildi (2001). Halen

AIGA/NY. He was chosen as a member

Minnesota Üniversitesi, Grafik Tasar›m

for the Alliance Graphique

Bölümü’de görev yapan Appleton,

Internationale (2001). Appleton who is

birçok üniversitede grafik tasar›m,

still giving lectures Minnesota

multimedya ve tipografi konular›nda

University, has given lectures of graph-

ders verdi. Connecticut, Boston, Los

ic design, multimedia and typography

Angeles ve New York Sanat

at many different universities. Between

Yönetmenleri kulüpleri taraf›ndan,

1982-94 he was appreciated for many

1982-1994 aras›nda, çok say›da ödüle

awards by Connecticut, Boston, Los

de¤er görüldü.

Angeles and New York Art Directors

ROBERT APPLETON 6

Clubs.

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Resim Sergisi Afii Painting Exhibition Poster 1983

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Klasik modern bask› ile etkileflim çoklu ortam tasar›m› aras›ndaki bofllu¤u dolduran ABD’deki ilk tasar›mc›lardan biri olarak kendinizi nas›l görüyorsunuz?

How do you point yourself as one of the first designers in USA to bridge the gap between classical contemporary print and interaction design?

ABD’ye 1979 y›l›nda ‹skoçya’dan göç

I immigrated to the US from Scotland in

ettim. 1982’de kendi tasar›m flirketimi

1979. In 1982 I started my own design

kurdum ve ilk müflterilerimden biri Lotus

business, and one of my first clients was

Development Corporation oldu. Lotus,

Lotus Develoment Corporation. Lotus was

yaz›l›m sektöründe y›ld›z› parlayan bir

the hot new name in software, and they

isimdi. Ayn› zamanda Amerika’daki en

had the fastest growing share price in

h›zl› büyüyen hisseye sahipti. Cambridge

America. I visited their offices in

Massachusetts’deki ofislerini ziyaret ettim

Cambridge Massachusetts, and for the

ve ilk kez yeni teknoloji kültürünü ifl

first time I saw the new culture of

üstünde gördüm. 30 yafl›n›n alt›nda, genç,

technology at work. I wandered around

kot pantolon ve spor ayakkab› giyip küçük

watching hundreds young people under

gri bilgisayarlara kararl›ca bakan insanlar›

the age of 30 wearing jeans and sneakers

izleyerek ortal›kta dolaflt›m. Bu insanlar›n

and gazing intently into small grey

ço¤u, orada çal›flt›klar› için verilen

computers. Many of these people became

hisselerle, zengin olmufllard›. Y›ll›k

wealthy with the shares they were given

raporlar›n› ben tasarl›yordum; ama ne

as employees. Unfortunately I wasn’t one

yaz›k ki o insanlardan biri de¤ildim. Ama

of them. But I was designing their Annual

bu sayede birçok programc›yla konuflma

Report. So I got to talk to a lot of

f›rsat› buldum ve bu bana kiflisel bilgisa-

programmers and this gave me a really

yarlara ve bunlar›n yapabilceklerine daha

close look at the personal computer and

yak›ndan bakabilme f›rsat› verdi. Yapmak

what it could do. And the first thing I

istedi¤im ilk fley bu bilgisayarlarla tasar›m

wanted to do was design with it.

yapmakt›. Lotus’un y›ll›k raporlar›, bilgisa-

Lotus’ Annual Report was my conscious

yarla tasar›m yapmaktan ziyade ‘bilgisayar

attempt to design “like” a computer,

gibi’ tasar›m yapman›n ilk bilinçli

rather than with one. I didn’t own a

giriflimiydi. O zamanlar bir bilgisayar›m

computer at the time, because like

yoktu çünkü di¤er insanlar gibi

everyone else, my design was made by

tasar›mlar›m› elle yap›yordum. Fakat yeni

hand. But I began to see that many of our

tipografik geleneklerimizin ço¤u bu

new typographic conventions were

makineye ve hesap etmeye ba¤l›yd›.

connected to this machine and the nature

Bu metoda yöneldim ve onunla deneyler

of computing itself.

yapmaya bafllad›m.

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Weingart’›n deneylerinden bilgisayarla

And I gravitated to this vocabulary and

birlikte zevk ald›m ve onlar›n içinde her

began experimenting with it.

zaman hayranl›k duydu¤um birfley

I’d enjoyed Weingart’s experiments with

gördüm; hareket duygusu. Herfleyin

the computer and saw in them something

göründü¤ü gibi olmas›. Kayg›s›zl›k ve

I’d always admired – a sense of play.

dayan›kl›l›k. Britanya’da ilk bilgisayar

A casualness and grittiness in the way

sanat›n›n karfl›l›¤› daktilo sanat›yd› çünkü

things looked. In Britain the equivalent to

ayn› bitmemifl kaliteye ve onunla gelen

early computer art was Typewriter art

içtenli¤e sahipti. Y›llar sonra Chuck

– it had the same unfinished quality –

Close’un ‘dijital sözlügü’nü bilgisayardan

and a sincerity that went along with that.

de¤il de Life Magazine’de gördü¤ü bir

Years later I was very interested to hear

foto¤raftan etkilenerek oluflturdu¤unu

Chuck Close say that his “digital

duymam, konuyla ilgilenmeme

vocabulary” was inluenced by a

sebep oldu.

photograph he’d seen in Life Magazine and not by the computer.

Öncü bir sanat organizasyonu olan Real Art Ways adl› firmada bilgisayarla çal›flma

I also worked on the computer with

imkan› buldum. Geliflmemifl taray›c›lardan

Real Art Ways – an Avant Garde arts

ald›¤›m›z foto¤raflar ve ilk kuflak Mac

organization. We had very crude

Plus’lardan ald›¤›m›z dizgiler çok

“thunderscans” made from photographs

kalitesizdi. Sonra ben bunla biraz oynad›m

and got very cheap typesetting from the

ve hepsini s›radan bir tasar›m gibi

first Mac Plus computer. Then I played

yap›flt›rd›k. Lotus’dan sonra Interleaf`le

around with it and we pasted it all up just

çal›flmaya bafllad›m ve “y›ll›k raporlar›”

like conventional design. After Lotus there

için gereken tüm illüstrasyonlar›

was Interleaf – and I got to do all the

bilgisayarda yapt›m. Bana biraz oynamam

illustrations for their Annual report on

için bir bilgisayar verecek kadar naziktiler.

computer. They were nice enough to give

‹flte böyle bafllad›. Lou Gerstner, iflin

me one for a couple of years to play

bafl›na geçince IBM in yeni kurum

around on. And that’s how it began.

kimli¤inin bir k›sm›n› ben tasarlad›m ve

Eventually I got to design part of a new

firman›n uzman ve kat› görüntüsünü,

look for IBM as Lou Gerstner was taking

esnek ve arkadafl canl›s› olarak tekrar

over and we set out to reinvent the

yaratt›k.

company as flexible and friendly, rather than expert and monolithic.

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Smithsonian Bilgisayar Dünyas› Ödülleri

The Smithsonian Computerworld Awards

tasar›m projesi, teknolojinin yenilikçi

design project was the first time awards

kullan›m›na verilen ilk ödüldü. IBM’den

had been given for the innovative use of

Apple’a kadar tüm bilgisayar firmalar›

technology. And it was supported by all

taraf›ndan destekleniyordu.

the computer companies from IBM to Apple. And then came the Internet – when

Graphis baflka bir ilk tasarlamam› istedi¤i

Graphis asked me to curate and design

zaman internet ortaya ç›kt›. Beni websitesi

another first – the book Graphis Web

tasar›mlar›na iten ise Graphis’in Web

Design Now, which led me into designing

Design Now (fiimdi Grafik Tasar›m) kitab›

websites. I’ve always been interested in

oldu. Sosyal konularda ve halk›n yarar›na

social issues, and the idea of design for

tasar›m yapma fikrine her zaman ilgi

the public good. And I’d become

göstermiflimdir.

something of a Photoshop fiend. And Esther Cohen asked me to make digital

Bir süre sonra ise Photoshop tiryakisi

portraits and a poster series about

olacakt›m; çünkü Esther Cohen, Nobel

women who’d won the Nobel Peace Prize

Bar›fl Ödülü’nü kazanan kad›nlar›n

– International Women of Hope.

(Uluslararas› Umut Kad›nlar›) dijital

So the next year was spent with now me

portrelerini ve posterlerini yapmam› istedi.

gazing intently into a fairly large

Bu yüzden sonraki y›l›m büyükçe bir

computer, and getting all my reference

bilgisayara bak›p tüm kaynak

material from the Internet. I began to see

malzemelerini internetten almakla geçti.

the pixels themselves as paintings.

Piksellerin kendilerini resimler olarak

The luminous color from the screen and

görmeye bafllam›flt›m. Ekrandan gelen

the various kinds of image distortion

fosforlu renkler, çeflitli görüntü

and noise I could combine into layered

çarp›tmalar› ve tabaka etkileri haline

effects made me very aware of the energy

sokabilece¤im sesler, hissetti¤im enerjinin

of I felt. And I tried very hard to capture

fark›na varmam› sa¤lad›. Bu enerjiyi

it in the posters. I was never completely

posterlerde yakalamak için çok u¤raflt›m.

satisfied – because the computer itself

Hiçbir zaman tam olarak tatmin

(and it’s built-in anti-aliasing, which

olmam›flt›m çünkü bilgisayar ve onun

works against being able to capture the

gerçek ekran görüntüsünü

true screen image) became problematic.

yakalayabilmenin karfl›t› olarak çal›flan

But they’re a work in progress. And

parametreleri problem yaratiyordu.

technology is still changing very fast.

Ama geliflme içindeler ve teknoloji hala

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Konser Afii Concert Poster 1996

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En yeni iflim, baz› parçalar›n›n geçen Eylül

My newest work is interactive research,

Beijing Ulusluraras› Grafik Birli¤i

some of which first was presented at the

Kongresi’nde sunuldu¤u, etkileflimli

Alliance Graphique Internationale

araflt›rmalar. Bunun alt›nda müzik ve

Congress in Beijing last September.

teknolojiyi sanat ve tasar›m ile birlefltiren

Underneath it, is a theory of

do¤açlamada ortaya ç›kan yarat›c›l›k

creativity – expressed in improvisation

teorisi var.

which combines music and technology with art and design.

“fiu anki iflleri, etkileflimli ve yeni “His current research is at the leading

bulunmukta. Bunlar, ortak teknoloji ile

edge of interaction and new media.

birlefltirilmifl dijital görüntü ve tipografiyle,

It combines musical improvisation and

müzikal do¤açlama ve teoriyi birlefltiren

theory with digital imagery and

çal›flmalar. Appleton’›n iflleri sezgisel ve

typography combined through common

analitik olan›n hareket güdüsüyle

technologies. This work looks towards

birlefltirildi¤i ve iletiflimin motive edici bir

a new creative theory – of the visual and

güç oldu¤u çal›flmalard›r. Bu ifller, yeni

aural create, the intuitive and the

ve yarat›c› bir teoriye görsellik ve

analytical - with the play instinct and

iflitsellikle bakmaktad›r. Müzikle on bir

communication as a motivating force.

yafl›ndan beri ö¤renim ve üretim

To this end he has studied and played

noktas›nda iç içedir. fiu an ise caz müzik

music since the age of 11. He currently

bestecisi George Russell’›n “Tonal

studies George Russell’s Lydian

Organizasyonda Lidya Yar›m Tonlar›”

Chromatic Concept of Tonal

üstünde çal›flmaktad›r.” (...)

Organization.” (...)

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medyan›n yönlendirici köflesinde

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AfiямВ Poster 1985

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AfiямВ Poster 1990

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Tiyatro Afii Theater Poster 1990

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Hala yeni ve eski jenerasyon tasar›mc›lar aras›nda bir boflluk oldu¤unu düflünüyor musunuz?

Do you still belive that there is a gap between new generation and an older generation of designers?

Evet.

Yes.

Tasar›mc› olarak yaflam›n›zda paralel disiplinler yer ald›. Önce güzel sanatlar, daha sonra teknoloji geldi.

Peki tasar›mc› nedir?

Ressam, tipografç›, düflünce adam›,

You have made connections between your background as a designer, studying fine arts and then technology. So, what is a designer?

yazar, planlamac›, müzisyen, film

An artist. A typographer. A thinker. A

yap›mc›s›, taray›c› teknisyeni ve bilgisayar

writer. A planner. A musician. A film

tutkunu.

maker. A scanner operator. A typesetter.

Yeni görsellik estetikleri çok disiplinleraras› bir okuma oluflturuyor. Yaflam›m›zda daha genifl bir iletiflim rolü üstlenen “yeni görsel” dil hakk›nda ne düflünüyorsunuz?

And a computer geek.

inan›yorum. En ilginç görsel dillerin,

I believe we’re still at the beginning of the

bizim kavrama ve hissetme yetilerimizle

Information Age. And I think the most

çal›flmas› gerekti¤ini düflünüyorum.

interesting visual languages must work

Teknolojinin daha iyi, daha ilginç ve daha

with our existing abilities to comprehend

dolu hayatlar yaflamam›z› sa¤layacak bir

and feel. I think there’s a huge future for

gelece¤e sahip oldu¤unu düflünüyorum.

technology that really does help us live

Ayn› zamanda, bunda ›srar etmenin

better, more interesting and fulfilling lives.

ve teknolojiyle tasar›m›n daha çok kifliye,

But I also think it’s up to us to somehow

daha çok fley satma anlam›na gelmesine

insist on that – and not merely allow

izin vermemenin de bizim elimizde

technology and design to be about selling

oldu¤unu düflünüyorum. Tabi ki

more things to more people.

nesnelerin nas›l göründü¤ü bizim ne

And of course what things look like is

yapt›¤›m›za ba¤l›. Sürekli güzelli¤in yeni

central to what we do, and we’ll always

ve farkl› flekillerini yaratmak zorunday›z.

need to invent new forms of beauty.

Bu da tasar›m›n veya herhangi bir sanat

That’s the pleasure of designing, or

ile u¤raflman›n zevkidir.

making any art form.

ROBERT APPLETON 18

Hala bilgi ça¤›n›n bafl›nda oldu¤umuza

The new screen aesthetics forms such an interdisciplinary reading.

What do you think about the new visual language as it plays more comprehensive communication part in our lives?

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Festival Afii Festival Poster 1985

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Paralel disiplinler insan tecrübesiyle vücut buluyor.

Buna ba¤l› olarak kalitenin üstünde olan miktar, çoklu ortam›n de¤erini de¤ifltirir mi?

Parallel disciplines get stated to human experience. So does the quantity over quality change the value of multi media?

Kesinlikle. Miktar, bilgisayarlar için basit

computer – repetition ad infinitum. And

bir tekrarlama ve sonsuzluktur.

our lives are diminished by too much of

Hayatlar›m›z› daraltan, birfleyin çok fazla

anything. Quality on the other hand deals

olmas›d›r. Di¤er taraftan da kalite de¤erle

with value. The values we want to see in

ilgilidir. Hayat›m›zda görmek istedi¤imiz

our lives are the ones we need to put into

de¤erler iflimize koydu¤umuz de¤erlerdir.

our work. And then Design becomes both

Böylelikle tasar›m araç olman›n yan›nda

a tool and a valuable experience.

Certainly. Quantity is easy for the

de¤erli bir tecrübe haline gelir.

Responsibility, care and love are things Sorumluluk, itina ve aflk, benim de¤er

that I value.

verdi¤im fleylerdir.

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AfiямВ Poster

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“Grafik Tasar›m bir reklam sanat›d›r ve bu ifli yapanlar onun de¤erini sadece konuflarak de¤il göstererek kan›tlayana kadar grafik tasar›m, müflteriler taraf›ndan sahiplenilecek, sanat dünyas› taraf›ndan ise d›fllanacakt›r.”

Robert Appleton, USA ‹nsanl›¤›n yegane iletiflim arac› olan “dili”, üstelik onun yans›s› olan iflaretleri yapt›¤›n›z iflte araç olarak kullan›rken, yads›mak neden?

“Graphic Design is a Commercial Art. It will always be owned by clients and disowned by the Art World - unless its practitioners can prove its value - not just by talking, but - by doing.” Robert Appleton, USA. While using “language”, the only means of communicating and the signs of its reflection in your work, why rejecting?

Bu al›nt›y› internette bulmufl olmal›s›n›z.

belief that Graphic Design (on the level

Bu tavr›m, grafik tasar›m›n -benim

I’m really interested in) needs to be

ilgilendi¤im seviyede- sanat olmas›

an Art. Anything less than that isn’t good

gere¤ine duydu¤um inançtan

enough. Often, our greatest difficulty as

kaynaklan›yor. Bundan daha az hiçbir fley

designers is to persuade our clients that

yeteri kadar iyi de¤ildir. Genellikle

we can create beauty which accomplishes

tasar›mc›lar olarak karfl›laflt›¤›m›z en

and transcends usefulness at the same

büyük zorluk müflterilerimizi, iyi sonuçlar

time. Gaining the trust to accomplish this

veren ve onu aflan güzellikler

requires special qualities in both the

yaratabilice¤imiz konusunda ikna

designer and the client. But when it

etmektir. Buna ulaflmak için gerekli güveni

happens – it’s a wonderful experience.

kazanmak hem tasar›mc› hem de

The Commercial Art reference is from

müflterinin özel niteliklere sahip olmas›n›

Paul Rand – who we have all revered.

gerektirir. Bunun gerçekleflmesi ise çok

The only change I’d make to that now is

güzel bir tecrübedir. “Reklam sanat›”

that Commercial Conceptual Artist might

al›nt›s› Paul Rand’dendir; ki hepimizin çok

be a better term today.

You must have found this quote on the Internet. I remember it. It’s about my

sayg› duydu¤u bir kiflidir. Bu terimde yapaca¤›m tek de¤ifliklik fludur; ki bugün yerini daha iyi bulacak bir terim olabilir: Kavramsal Reklam Sanatç›s›.

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Uluslararas› Umut Kad›nlar› Afifl Serisi 3 International Hope Women Poster Series 3 1998 - 1999

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Uluslararas› Umut Kad›nlar› Afifl Serisi 4 International Hope Women Poster Series 4 1998 - 1999

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CD Kapa¤› CD Cover 1995

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CD Kapa¤› CD Cover 1999

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JULIUS VERMEULEN

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JULIUS VERMEULEN 4

Pul Tasar›m› Stamp Design Anthon Beeke, 2001

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1953 y›l›nda Amsterdam’da (Hollanda)

He was born in 1953 in Amsterdam

do¤du. Arnhem Güzel Sanatlar

(Netherlands). He was graduated from

Akademisi, Grafik Tasar›m

Arnhem Fine Arts Academy, Faculty of

Bölümü’nden mezun oldu (Hollanda,

Graphic Design (Netherlands,1986).

1986). 1989’da TPG Post’da (eski ad›,

In 1989 at TPG Post (formerly, Dutch

Hollanda PTT) görsel kimlik ve sanat

PTT) he was responsible for the visual

koleksiyonundan sorumlu grafik

identity and art collection as advisor

tasar›m ve sanat dan›flman› olarak

on graphic design and art. He worked

görev ald›. Londra Tasar›m Müzesi’nde

as Co-curator for the exhibition ‘Design

gerçekleflen “Kamu Sektöründe

in the public sector’ for Londra Design

Tasar›m” adl› sergide yard›mc› küratör

Museum (1990). He was the Curator

olarak görev ald› (1990). “MoMa

of TPG Post design icons for ‘Dutch

Cafe’de Hollanda Tasar›m›” (New York,

Design in MoMa Cafe’ (New York, USA;

ABD; 1995) ve “Genç Grafik

1995) and Curator of the exhibition

Tasar›mc›lar›” adl› sergilerin

‘Young Graphic Designers’ (La Hague,

küratörlü¤ünü yapt› (La Hague, Fransa;

France; 1996). He worked many times

1996). Çeflitli jüri üyelikleri ve komite

as member of the jury and member of

üyeliklerinde bulundu. 2000-2003

comittee. Between 2000-2003, he

aras›nda, hükümet müfettifli yard›mc›s›

worked as Deputy Government

olarak Rietveld (Amsterdam), Arnhem,

Examiner in Rietveld (Amsterdam),

Den Bosch ve Utrecht Güzel Sanatlar

Arnhem, Den Bosch and Utrecht

Akademi’sinde görev yapt›. Efl zamanl›

Academy of Fine Arts. He desgined

olarak birçok posta bask›s› tasarlad›.

numerous postage stamps

Rietveld Güzel Sanatlar Akademisi,

contemporaneously. He has given

Arnhem Güzel Sanatlar Akademisi,

lectures at institutes like Rietveld

Hauge Kraliyet Güzel Sanatlar

Academy of Fine Arts, Arnhem

Akademisi (Fransa), Mimar Sinan

Academy of Fine Arts, Hauge Royal

Üniversitesi (bugün, MSGSÜ; ‹stanbul,

Academy of Fine Arts (France),

1993), Norveç Grafik Tasar›mc›lar›

University of Mimar Sinan (today,

Birli¤i (Oslo, 1994) ve Tipografik

MSGSU; Istanbul, 1993), Norwegian

Tasar›mc›lar Birli¤i (Londra ve

Society of Graphic Designers

Edinburgh, ‹ngiltere; 1996) gibi

(Oslo, 1994) and Society of

kurumlarda ders verdi.

Typographic Designers (Londra and Edinburgh, UK; 1996).

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Pul Tasar›m› Stamp Design Erik Kessels, 2000

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“fiirket Tasar›m›”n›n özgünlü¤ünü nas›l tan›mlars›n›z?

How do you define the originality of “corporate design”?

fiirket kimli¤i, bir flirketin yüzüdür. Ayn›

Corporate’s identity is the face of a

zamanda motivasyon ve misafirperverlikle

company. At the same time it is about

ilgilidir. fiirketin iç ve d›fl imaj› ile

motivation, hospitality. One of the most

zihniyetini güzellefltiren çok önemli bir

important factors that beautify the exterior

etken de flirketin tasar›m çehresidir.

and interior image of the company and its

TPG Post, genifl kapsaml› iletiflim

mentality is the designing appearance of

hizmetleri sa¤layan bir hizmet

the company. TGP Post is an organization

kurulufludur. 1989’da devlet taraf›ndan

that provides comprehensive

yönetilen bir kurumken (Hollanda PTT),

communication services. In 1989, it was

özel bir flirkete devredilmesiyle (TPG

a foundation (Holland PTT) that was

Post) yeni ve net bir görsel kimli¤e ihtiyaç

managed by the government. After having

duyuldu. Bahsetti¤im kimlik, güven

been transfered to a private company

verecek ve TPG Post’un yeni duruflunu

(TGP Post), a need for a new and clear

belirtecek bir kimlik olmal›yd›. Bizim için

visual identity occured. That identity had

özgünlük, flirket tarz›, logo, renkler ve

to be an identity that is trustworthy

görsel unsurlar aç›s›ndan ikna edici;

and that shows TGP Post’s new posture

ancak di¤er aç›dan çeflitlili¤e izin veren

clearly. Accoording to us originality has to

belirli bir aç›kl›¤a sahip olmal›yd›. Bunun

be persuasive in terms of logo, colors and

için tüm imaj çal›flmalar› profesyonel bir

visual components; on the other hand it

flekilde, say›s›z grafik tasar›mc›s› ve

has to have a space that gives permisson

sanatç›s› taraf›ndan yürütüldü ve hala da

to variety. Therefore all image works have

yürütülüyor. Ulusal ve uluslararas› ticaret

been carried out professionally by

dünyas›nda sanat ve tasar›m, öncelikle

countless graphic designers and artists

flirket promosyon imaj› olarak büyük itibar

and contiunes to do so. While art

görürken, TPG Post, flirket iletiflimi

and design is, as company’s promotion

tarz›n›n, flirket kimli¤ini temsil etti¤i

image, in great demand in national and

görüflüne vard›. Bu hem grafik tasar›m

international world of trade, TGP Post

hem de sanat eserlerinin yüksek kalitede

came to the conclusion that company’s

olmas› anlam›na gelmekteydi. Her ikisi de

communication styles represents

hem içerik hem de flekil oluflturmaktad›r

company’s identity. This means that both

ve böyle bir kalite flirketin duruflunu

graphic desing and works of art have to

belirtmek için arac› olabilir. ‹yi tasar›m,

be high qualified. Both of them forms

iyi niyet demektir; o söyler, biz dinleriz.

content and shape and this kind of quality can be a mediator to represent company’s posture. Good design is good intention; it tells, we listen.

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Pul Tasar›m› Stamp Design Design Experimental Jet Set., 2002

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‹flinizi en iyi ne tan›mlar?

What best defines your works?

Tasar›mc›lar genellikle baflkalar› için

Designers usually work for other people.

çal›fl›rlar. Müflterilerinin isteklerini görsel

They alter their client’s desires into the

flekillere dönüfltürürler ve içeri¤e flekil

visual illustrations; they shape the

verirler. E¤er içerik yoksa, tutacak bir ifl

content! If there is no content, it is hard

ç›karmak zor olacakt›r. Tasar›mc›lar çok

to create a work which is approved and

iyi bir dinleyici olmal›d›rlar ve

liked by others. Designers should be good

sunumlar›n›n kalitesine güvenmelidirler.

listeners and they should trust the quality

Tasar›mc›lar baflar›l› olmak için flirketin

of their presentations. In order to be

gerek ulusal gerek uluslararas› alanda

succesful, designers should care client

olsun müflteri iliflkilerine zihinlerini ve

relationships both in national and

kulaklar›n› açmal›d›rlar. Bir tasar›mc› için

international arena. To be aware of his/her

sosyal ve kültürel sorumluluklar›n

social and cultural responsibilities and to

bilincinde olmak ve bunlar› yeni kullan›m

preserve them in new areas is very

alanlar›nda muhafaza etmek hayati

important for a designer. In today’s

önem tafl›r. Bugünün altüst edici ve

topsy-turvy and fascinating Europe and

büyüleyici Avrupa’s›nda ve sürekli

within the continuously changing society,

de¤iflen toplumu içersinde tasar›mc›lar,

designers are interested in showing

dünyaya hayalleri ve fantezileri ile

everything as attractive as possible

gö¤üs germeye çal›flanlara, mümkün

to people who try to face up to the world

olan her fleyi mümkün oldu¤u kadar

with their imaginations and fantasies.

çekici göstermekle ilgileniyorlar.

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What do clients really want?

E¤er piyasada baflar›l› bir flekilde çal›flmak

If you want to be succesful in the market,

istiyorsan›z, en iyi tasar›ma ve olabilecek

you have to have the best design and best

en iyi kaliteye sahip olmak zorundas›n›z.

quality possible. This should be clearly

Bu da kendinizi sunum fleklinizle aç›kça

understood by your the way you present

anlafl›lmal›d›r.

yourself.

Kan›mca, müflteriler flafl›rmak isterler,

According to me, clients want to be

özgünlük isterler. Sorular›na belirli bir

surprised and they want originality.

cevaplar› yoktur. Bu nedenle grafik

There is not a definite answer to their

tasar›mc›larla birlikte çal›flmak zorunda

questions. That’s why they have to work

kal›rlar. Grafik tasar›mc›lar her geçen gün

with graphic designers. Graphic designers

daha çok “arac›” olarak

act more and more like “mediators” every

davranmaktad›rlar. ‹yi fleylerin olmas› için

other day. There has to be a dialog

müflteri ve tasar›mc› aras›nda karfl›l›kl›

in the frame of respect between client

sayg› çerçevesinde bir diyalog olmal›d›r.

and the designer to accomplish good

Her iki taraf da bir di¤erini anlamal›,

things. Both sides have to understand and

ona güvenmeli ve her fleyin üstünde

trust each other and above all this there

sosyal istek olmal›d›r.

has to be a social desire.

Tasar›mc›, içeri¤e daha kiflisel bir

Designer may approach the content more

yaklafl›mda bulanabilir. Mesaj›n içeri¤i

personally. Designer should care about

üzerine e¤ilmelidir; ancak bunun meydana

the message but what is important is

gelifl flekli önemlidir. Kendi içinde iletiflim

how it happens. There cannot be any less

de¤eri tafl›d›¤› için bundan daha az›

than that, because it carries the value of

yap›lamaz. Tasar›m ileriye dönük hedefleri

communication. Desiging is an excellent

gerçeklefltirmek üzere mükemmel

tool to make the future aimed goals come

bir araçt›r. Müflteriler, tasar›m› “paket”

true. Clients should be careful not to

ya da “duvar ka¤›d›” gibi görerek

degenerate desing by perceiving it as

yozlaflt›rmamaya özen göstermelidirler.

a “package” or a “wallpaper”. Beware not

Bir tasar›mc›ya sak›n hofl bir logo ile

to ask a designer to come with a nice

gelmesini söylemeyin! Ondan flirketin

logo; but ask him/her to work with the

“ruhu” veya “yüzü” ile ilgili iletiflim ve

marketing department about

kimlik hakk›nda, pazarlama departman› ile

communication and identity realated to

birlikte çal›flmas›n› isteyin. ‹çeri¤in bize

company’s “spirit” and “face”. This is the

geliflinin do¤ru yolu budur ve tasar›mc›lar

proper way to recieve contents for us

bu noktada önemli bir rol oynarlar.

and designers play an important role

JULIUS VERMEULEN 10

Müflteriler gerçekten ne ister?

at this point.

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Pul Tasar›m› Stamp Design Irma Boom, 2002

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Bir flirketin kültürünü nas›l a盤a vurmal›?

How to reveal the culture of a company?

Bu soruya cevap vermek çok kolay de¤il.

Bir yandan TPG Post, di¤er flirketlerden çok farkl› de¤il; ancak tarihi geçmifline daha yak›ndan bakt›¤›m›zda TPG Post’un di¤er Hollanda flirketlerinden daha güçlü bir estetik gelene¤i oldu¤u aç›kça görülür ve bu gelenek flirketin ayr›lmaz bir parças›d›r. Sanat ve tasar›m; politika tarihimiz, Hollanda endüstrisi ve Hollanda kültürü içerisinde tektir. Bu duruflun yans›malar› sanata ve tasar›ma yaklafl›rken güzelleflerek artar. fiirket bu alanlara oldukça yo¤un ilgi göstermekte ve özellikle sanat ve tasar›m aras›ndaki iliflkiye önem vermektedir. TPG Post’un görsel kalitesinde sanat ve tasar›m ayr›lmaz unsurlard›r. Sonsuz özgürlük ve ‘flirket kültürü’nün plüralizmi, hala tasar›mc›lar›n mümkün oldu¤u kadar toplumdaki kültür de¤erlerini birlefltirdikleri Hollanda posta bask›lar›nda yans›t›lmaktad›r.

It is not easy to answer this question.

On the one hand, TGP Post is not very different from other companies, but on the other hand when a closer look at it’s history background is taken, it is obvious that TGP Post has a more powerful aesthetic tradition than other Dutch companies. This tradition is an unseperateable part of the company.

Art and design is unique in our political history, Dutch industry and Dutch culture.

The reflections of this attitude increases as it becomes beautiful while approaching to art and design. Company shows intensive interest in these fields and especially cares about the relationship between art and design not because this is what is done or what other companies do. Art and design are unseperateable elements of TGP Post’s visual quality.

Endless freedom and pluralism of “company culture” is still reflected in the Holland mail presses which designers try to unite the cultural values of the society as possible as it can be.

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“Postendüstriyalizm” veya “Postmodernizm” sizin için ne anlama gelir?

What do “postindustrialism” or “postmodernism” mean for you?

‹leri teknolojiyle süregelen ticaret, flirket

technology, cooperation with company

küreselleflmesiyle iflbirli¤i ve Post-modern

globalization and the adaptation of poetic

kültür yorumunun fliirsel belirsizli¤inin

indefiniteness of interpretation

modern evrensel iletiflime adapte

of post-modern culture into modern

edilmesi, flu anda Hollanda’da revaçtad›r.

universal communication is popular in

Bu noktada ‘Neo-modernizm’ hakk›nda

Netherlands in these days. Maybe we

konuflmak gerekir. Oldukça soyut bir

should talk about ‘Neo-modernizm’. It is

anlay›flt›r; ancak Hollanda’da

a fairly abstract idea; but there is a small

modernistlerin tarz›n› kullan›rken, ayn›

group of Post-modernist designers which

zamanda kendi kodlar›n› kullanarak ondan

creates great works by using Dutch

uzaklaflma yolu ile büyük ifller ç›karan

modernist’s styles and at the same time

küçük bir Post-modernist tasar›mc›lar

avoid it by using their own codes.

grubu mevcuttur. Bu iki görüfl, baz›

Sometimes these two views lie one inside

durumlarda birbiriyle iç içe, baz›

each other, sometimes though

durumlarda ise aç›kça siyasi yorumlar

accompanied by political interpretations,

efllik etti¤i halde yeni ve taze bir tarz

they create a new, fresh style.

yarat›r.

Tasar›mc›lar için Küreselleflmenin Yap›s› nedir?

Trade that comes along with high

What is the structure of globalization for designers?

The place of the designer gains more

Tasar›mc›n›n yeri her geçen gün daha da

international dimesions every other day.

uluslararas› bir boyut kazanmaktad›r.

As a designer, you can ask the world

Bir tasar›mc› olarak o dünyaya hangi rolü

which role to play. As a designer you

oynayabilece¤inizi sorabilirsiniz.

should interrogate that world, which role

Sorunlar›n kendisini veya görünen z›tl›klar›

you may play on that world. This role

yaratan olarak, tasar›mc› kendi gündemine

isn’t to be a problem solver, but to show

sahiptir. Tasar›mc› için flirketin ihtirasl›,

the problems themselves or apparent

ele geçirici sat›n almalar›yla ve gizli

antonyms in the role of a designer who

gündemiyle ilgilenmek gittikçe zorlafl›yor.

has his/her own agenda. To deal with

Özellikle kamusal arenada tasar›mc›lar

company’s ambitious purchases and

ba¤›ms›z bir rol muhafaza edebilirlerken,

secret agenda gets harder for a designer.

hükümet son bayra¤› da özellefltirme

Even though designers may have

yoluyla teslim etmifltir.

maintained an independent role especially in public arena, government handed over

JULIUS VERMEULEN 14

the last flag by privatization.

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Tasar›m e¤itimi hakk›nda ne düflünüyorsunuz?

What do you think about Design Education?

Bu önemli husus siyasi gündemde

This important matter should be taken

öncelikler listesine al›nmal›. Son on y›lda

into priority list in political agenda.

grafik tasar›m uygulamas› h›zl› bir

Graphic design applications have been

de¤iflime maruz kald›. Ulusal sanat ve

exposed to fast changes in last 10 years.

tasar›m e¤itiminin 90’l› y›llar›n bafl›nda

National art and design education’s

yeniden yap›lanmaya bafllamas› güçlü bir

reconstructions in early 90’s resulted in

“düzenli sanat ve tasar›m e¤itimi” ile

“systematic” art and design education.

sonuçland›. Edebiyat, müzik ve tarih gibi

They decreased the number of many

birçok önemli dal›n say›s›n› azaltt›lar.

important fields such as literature, music

Eskiden 5 y›l olan e¤itimi bu günlerde 3

and history. They present the education

veya 4 y›ll›k “temel e¤itim” olarak

which used to be 5 year as a 3 or 4 year

sunuyorlar. Hollanda (Sandberg

“foundation” education. We have to be

Enstitüsü, Werkplaats Tipografya) ve

glad that higher education institutions

‹sviçre’den Amerika’ya (Yale Üniversitesi,

from Netherlands (Sandberg Institute,

vs.) kadar yüksek e¤itim enstitüleri,

Werkplaats Typography) and Switzerland

mükemmel bir uluslararas› iletiflim a¤›na

to USA (Yale University etc.) have an

sahip oldu¤u için memnun olmal›y›z.

excellent international network. The ideas

Bugünün gelecek vaat eden

and life visions of today’s promising

tasar›mc›lar›n›n düflünceleri ve hayat

designers are developed in those kind

görüflleri bu gibi yerlerde daha da

of places.

gelifltirilmektedir.

Sizin mesle¤inizde “iyi olmak” ne anlama gelir?

What does it mean “to be good” at your profession?

First of all, it is a privilege to work in a

Birincisi, genifl yelpazede tasar›m konular›

company where design subjects exist on

mevcut bir flirkette çal›flmak ayr›cal›kt›r.

a wide range. Second of all, it is

‹kincisi, çok say›da grafik tasar›mc›yla

fascinating to work with vast numbers of

eserlerinin genifl çapl› da¤›t›m› ile ilgili

graphic designers about wide scaled

olarak çal›flmak büyüleyici. Kendimi grafik

distribution of their works of art. I feel

iletiflim yeteneklerinin daha zengin, daha

myself obliged to help graphic

ilginç ve daha insanc›l bir toplum

communication talents create richer,

yaratmas› için yard›m etmekle yükümlü

more interesting and more humanistic

hissediyorum.

society with.

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THOMAS MÜLLER

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Sergi Afifli Exhibition Poster 1999

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1966’da Gera’da (Almanya) do¤du.

He was born in 1966 in Gera

1987-1995 aras›nda Leibzig Grafik ve

(Germany). Between 1987-1995 he

Kitap Sanat› Yüksekokulu’nda ö¤renim

attended to Leibzig Graphic and Book

gördü. Bu okuldan 1993’te lisans,

Art College. From this college he took

1995’te yüksek lisans diplomalar›n›

graduate and upper graduate

ald›. 1991-1992 aras›nda ‹sveç, Luzern

certificates. Between 1991-1992 he

Tasar›m Okulu’nda okudu. 1995’ten bu

attended to Swiss Luzern Design

yana grafik tasar›m ve illüstrasyon

School. Muller who executes

çal›flmalar›n› serbest olarak Leibzig’de

autonomously his graphic design and

yürüten Müller, farkl› sektörlerden

illustration studies since 1995, worked

birçok kurum ve kuruluflla çal›flt›.

with many companies and institutes

Varflova, Moskova, Meksiko, Brno,

of different sectors. His works were

Bologna, Toyama, Venedik, Paris,

exhibited in various exhibitions

Chaumont, Graz, Berlin, Sofya, Mons,

organized in cities like Warsaw,

Lahti, New York, Padua ve Tokyo gibi

Moscow, Mexico, Brno, Bologna,

flehirlerde düzenlenen çeflitli

Toyama, Venice, Paris, Chaumont,

organizasyonlarda iflleri sergilendi.

Graz, Berlin, Sofia, Mons, Lahti,

Özellikle çocuk kitab› illüstrasyonlar›

New York, Padua and Tokyo.

üzerine yo¤unlaflan tasar›mc›, Leipzig,

The Designer who was aspecially

Rostock, Zehdenick, Naumburg,

focused on children’s book

Ribnitz-Damgarten, Münih, Oldenburg,

illustrations, organized personal

Berlin, Havana, Brüksel ve Bükrefl’te

exhibitioans in Leipzig, Rostock,

kiflisel sergiler düzenledi. Çal›flmalar›yla

Zehdenick, Naumburg, Ribnitz-

“24 Saatlik Sergi” etkinliklerine kat›ld›.

Damgarten, Munich, Oldenburg, Berlin, Havana, Brussels and Bucharest.

He participated in activities “24 Hour Exhibition”.

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2002-2004 aras›nda mezun oldu¤u

He worked as guest professor where

yüksekokulda illüstrasyon, Burg

he was graduated from, Burg

Giebichenstein Salonu’nda tasar›m

Giebichenstein in Halle, since from the

alan›nda konuk profesör olarak görev

beginning of 2005 he began to work

alan tasar›mc›, 2005 bafl›ndan itibaren

as professor at Leibzig Grapghic and

Leibzig Grafik ve Kitap Sanat›

Book Art College. A couple of times he

Yüksekokulu’nda profesör olarak görev

won awards at the Best German Books

yapmaya bafllad›. Birkaç kez En ‹yi

Competition and The 100 Best Poster

Alman Kitaplar› Yar›flmas›’nda ve En ‹yi

Competition. At the International

100 Afifl Yar›flmas›’nda ödül kazand›.

Biennial of Graphic Design Brno,

Brno Uluslararas› Grafik Tasar›m›

he won the Silver Medal (Czech

Bienali’nde Gümüfl Madalya almaya

Republic, 1998).

THOMAS MÜLLER 6

de¤er görüldü (Çek Cumhuriyeti, 1998).

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Konser Afifli Concert Poster 2004

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Sergi Afifli Exhibition Poster 2001

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Kitap Afifli Book Poster 2005

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Afifl Poster 1996

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Kitap Kapa¤› Book Cover 2003

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Kitap Kapa¤› Book Cover 2005

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GELECEK KUямБAK / NEXT GENERATION

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Ant Sengelli

He was born in 1980 in ‹zmir.

2000-2004 aras›nda Bilgi Üniversitesi,

He studied Visual Communication

Güzel Sanatlar Fakültesi, Görsel ‹letiflim

Design in Bilgi University, Faculty of

Tasar›m› Bölümü'nde ö¤renim gördü.

Fine Arts in 2000-2004. He currently

Halen Loop Agency'de tasar›m ve

works on design and application in

uygulama üzerine çal›flmaktad›r.

Loop Agency.

ANT SENGELL‹ 1

1980 y›l›nda ‹zmir'de do¤du.

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Antony J. Rostvold

Duluth Minnesota Üniversitesi’nde

Rostvold who is a graduate student at

yüksek lisans ö¤rencisi olan Rostvold,

the University of Minnesota Duluth

Haziran 2004’te, Rochester-

started Three Dot Design Inc. in

Minnesota’da (ABD) Three Dot Design

Rochester- Minnesora (USA) in June

Inc.’i kurdu. Halen ara yüzey

2004. Rostvold, currently working on

tasar›m›n›n kültürel elverifllili¤i üzerine

cultural usability in interface design, is

çal›flan Rostvold, Rochester Merkez

an instructor of Interactive Internet at

Üniversitesi’nde, interaktif internet

the University Center Rochester.

tasar›m› üzerine ders vermektedir.

Among his works is the online

Çal›flmalar› aras›nda, sanal ortamda

slideshow called “Network Magazine”.

gerçeklefltirdi¤i “Network Magazine”

ANTONY J. ROSTVOLD 1

isimli slayt gösterisi de bulunmaktad›r.

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Danny Meirav

1973’te ‹srail’de do¤du. 1996-2000

He was born in 1973 in Israel.

y›llar› aras›nda Bezalel Sanat ve

He graduated from Bezalel Academy

Tasar›m Akademisi’nde (Kudüs)

of Art and Design (Jerusalem) with an

ö¤renim gören Meirav, onur

honor diploma. He studied in Royal

diplomas›yla mezun oldu. 1998’de

Academy of Visual Arts (The Hague,

Kraliyet Görsel Sanatlar Akademisi’nde

Holland).

(The Hague, Hollanda) okudu.

He worked in Adi Stern and Dina 2001-2003 aras›nda Adi Stern ve Dina Shoham tasar›m stüdyolar›nda grafik

DANNY MEIRAV 1

tasar›mc› olarak çal›flt›.

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2003 y›l›ndan Hatayas Grafik, Tipografi

In 2003, Meirav founded Hatayas

ve Yaz› Tasar›m› Stüdyosu’nu kurdu.

graphic, typographic and type design

Ayn› tarihten itibaren Ascola-Meimad,

studio. From the same date on,

Sanat ve Tasar›m Üniversitesi’nde

he began giving lectures on

(Tel Aviv) tipografi ve grafik tasar›m›

Typography and Graphic Design at

e¤itimi vermeye bafllayan Meirav,

Ascola-Meimad College of Art and

Ha’Gilda Ba¤›ms›z Font Tasar›mc›lar›

Design (Tel Aviv) besides his job as

Kooperatifi’nde Baflkan yard›mc›s›

a co founder of Hagilda Independent

olarak görev yapmaktad›r.

Type Designer Cooperative.

1997, 1999 ve 2000’de Görsel ‹letiflim

He recieved Visual Communication

Departman› Mükemmellik Ödülü’ne,

Dept. Excellency awards in 1997, 1999,

1999 ve 2000’de Felhaim Tipografik

2000; The Felhaim Awards for

Tasar›m Ödülü’ne, 1999’da Shtruk

Typographic Design in 1999, 2000;

Mükemmel Seri Bask› Ödülü’ne, 1999

The Shtruk Award for an excellent

ve 2001’de Amerika-‹srail Kültür Vakf›

series of printing in 1999 and America-

Ödülü’ne de¤er görüldü.

Israel Cultural Foundation awards in 1999, 2001.

2000-2003 aras›nda Amerika-‹srail Kültür Vakf› sergilerine ve “Mektuplara

He participated in American-Israel

Bakmak- ‘Ha’Gilda’ Sunar: ‹branice”

Cultural Foundation exhibitions in

sergisine kat›ld› (‹srail Parlamentosu,

2000-2003. In 2005 he held his solo

2005). 2005 y›l› boyunca sürecek

exhibition of personel posters called

ve her ay yeni bir afiflin eklendi¤i

“Ta Hatayas”. He participated in an

“Ta Hatayas” adl› kiflisel sergiyi

exhibition called “Looking at the

gerçeklefltirdi (Tel Aviv liman›).

letters-‘Ha’Gilda’ presents: The Hebrew Language”(The Israel Parliament, 2005).

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Farhad Fozouni

He was born in 1979 in Tehran (Iran).

Üniversitesi, Tahran Güzel Sanatlar

He recieved an honorary diploma for

Fakültesi, Grafik Tasar›m Bölümü’nden

Graphic Design from Tehran Fine Arts

onur diplomas› ald›. Senarist, oyuncu

School, Azad University. Fozouni

ve direktör olarak tiyatro ve film

who participated in theatre and film

çal›flmalar›nda bulunan Fozouni, sanat

works as a scenarist, actor and a

yönetmeni ve tasar›mc› olarak yeni

director, is involved in new media,

medya, video ve televizyon projelerinde

video and television projects as an art

yer ald›.

director and designer.

FARHAD FOZOUNI 1

1979’da Tahran’da (‹ran) do¤du. Azad

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2. Tahran Çizim Sergisi (Barg Galeri,

Besides 2nd Tehran Drawing Exhibition

1999) ile Azad Sanat Galerisi’nde

(Barg Gallery, 1999) and solo

gerçeklefltirdi¤i “fiifleler” (1999), “IDIA”

exhibitions called “Bottles” (1999),

(2000), “Nostalji” (2002) ve “Haçlar”

“IDIA” (2000), “Nostalgia”(2002)

(Javaneh Galeri, 2000) adl› kiflisel

in Azad Art Gallery, “Crosses”(2000) in

sergilerin yan› s›ra, Azadeh Madani ile

Javaneh Gallery, he had a painting

ortak resim sergisi gerçeklefltirdi (Azad

exhibition with Azadeh Madani (Azad

Sanat Galerisi, 2001).

Art Gallery, 2001).

Javaneh Galeri (2000), Elaheh Galeri

Fozouni participated in various group

(2000) Azad Sanat Galerisi (“Yaz› ve

exhibitions in Javaneh Gallery (2000),

Görüntü”, 2002) ve Khavaran Kültür

Elaheh Gallery (2000), Azad Art Gallery

Merkezi’nde (2003) çeflitli grup sergi-

(“Type and Image”, 2002) and

lerinde yer alan Fozouni, 7. Tahran

Khavaran Cultural Center (2003). He

Grafik Bienali’ne (Niavaran Kültür

was involved in the 7th Tehran Graphic

Merkezi, 2003) kat›ld›. 2004’te ‘Molavi’

Biennial (Niavarn Cultural Center, 2003)

adl› tipografi (‹ran Sanatç›lar› Evi) ve

and had a poster exhibition called

‘4GOOSH’ (Azad Sanat Galerisi) adl›

“4GOOSH” (Azad Art Gallery).

poster sergilerini gerçeklefltirdi.

He recieved 2nd award in “IDEA” Sanat Kültürü Merkezi, “IDEA”

Experimental Video Film’s Festival in

Deneysel Video Film Festivali’nde

Art Cultural Center (2001) and his

ikincilik (2001) ve ‹ran Sanatç›lar› Evi

works for “Image of The Year”

taraf›ndan gerçeklefltirilen “Y›l›n

Exhibition in Iranian Artist’s Home were

Görüntüsü Sergisi”nde 2002 ve 2003

selected posters of the year 2002, 2003

y›l›n posteri ödüllerine de¤er görüldü

(2003, 2004).

(2003, 2004).

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Kai Salmela

Kai Selmala, who is a second-year

Tasar›m Bölümü 2. s›n›f lisans

undergraduate graphic design student

ö¤rencisi olan Salmela, okul ifllerinin

at The University of Minnesota Duluth,

yan› s›ra, serbest olarak kimlik, web

does freelance identity, web, and poster

ve poster tasar›mlar› yapmaktad›r.

design in addition to his courseworks.

Kat›ld›¤› etkinlikler aras›nda 56. Bienal

Among the activities he participated in

Ok Bafl› Sergisi (Duluth Sanat

are 56th Biennial Arrowhead Exhibition

Enstitüsü, 2004), Geleneksel Ulusal

(Duluth Art Institute, 2004), 1st Annual

Ö¤renci Sergisi (DSVC Galeri, Dallas,

National Student Show (DSVC Gallery,

Texas; 2005), Serbest Demokrasi

Dallas, Texas; 2005), Free Democracy

Zirvesi Sanat Sergisi (Harbor City

Summit Art Exhibition (Harbor City

Okulu, Duluth, Minnesota; 2005) ve

School, Duluth, Minnesota; 2005) and

Minnesota Duluth Üniversitesi Y›ll›k

University of Minnesota Duluth Annual

Ö¤renci Sergisi (Tweed Sanat Müzesi,

Student Exhibition (Tweed Museum of

Duluth; 2005) bulunmaktad›r.

Art, Duluth; 2005).

KAI SALMELA 1

Minnesota Duluth Üniversitesi, Grafik

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Kobi Levi

1974’te ‹srail’de do¤du. 1995’te

He was born in 1974 in Israel.

Mussrara Foto¤rafç›l›k Okulu’nu bitirdi

He graduated from Mussrara School of

(Kudüs). 1999’da ziyaretçi ö¤renci

Photography (Jerusalem) in 1995.

bursuyla, New York Görsel Sanatlar

In 1999 he was invited to New York

Okulu’na davet edildi. 1996-2000

School of Visual Arts with a visiting

aras›nda Bezalel Sanat ve Tasar›m

student scholarship. He had his

Akademisi, Görsel ‹letiflim

graduate education in Bezalel Academy

Departman›’nda (Kudüs) yüksek lisans,

of Art and Design, Department of

2002-2004 aras›nda yine Bezalel Sanat

Visual Communication (Jerusalem) in

ve Tasar›m Akademisi’nde (Tel Aviv)

1996-2000 an his doctorate education

doktoras›n› gerçeklefltirdi.

in Bezalel Academy of Art and Design

KOBI LEVI 1

(Tel Aviv).

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2000’den beri Yael Burstein ile birlikte

Levy who has been running graphic

kurdu¤u grafik tasar›m› ve sanat

design and art direction studio in

yönetimi stüdyosunda çal›flmalar›n›

partnership with Yael Burstein,

sürdüren Levy’nin gerçeklefltirdi¤i

participated in various projects such as

projeleri aras›nda, “Meltachot” adl›

a video and fashion installation called

video ve moda enstalasyonu (Tel Aviv,

“Meltachot” (Tel Aviv, 2000), a design

2000), Tel Aviv Sanat Müzesi’nde

work called “Design on Design” in Tel

bulunan “Design on Design” adl›

Aviv Museum of Art, “VideoZone”

tasar›m çal›flmas›, Tel Aviv Uluslararas›

showed in Tel Aviv International Video

Video Bienali’nde gösterilen

Biennial, “NY Project” in 2003

“VideoZone”, 2003’te gerçeklefltirdi¤i

(Tel Aviv), works called "Open Studio"

“NY Projesi” (Tel Aviv) ve “Aç›k

(Bezalel Academy Gallery, Tel Aviv) and

Stüdyo” adl› çal›flmalar (Bezalel

group exhibitions in 2004 called “Under

Akademi Galerisi, Tel Aviv) ile 2004’te

the Surface" (Jah-Pan Gallery, Tel

kat›ld›¤› “Yerin Alt›nda” (Jah-Pan

Aviv), “In Case of an Earthquake”

Galerisi, Tel Aviv), “Deprem halinde”

(Ha Misrad Gallery, Tel Aviv),

(Ha Misrad Galerisi, Tel Aviv),

“Geometrical Abstract” (Tal Esther

“Geometrik Soyutluk” (Tal Esther

Gallery, Tel Aviv), “Animal, Vegetable,

Galerisi, Tel Aviv) ve “Hayvan, Sebze,

Mineral” (Bezalel Gallery, Tel Aviv) and

Mineral” (Bezalel Galeri, Tel Aviv) grup

a work called “Recycling” which he

sergileri ile Venedik Mimari Bienali

created for the Israeli Pavilion, Venice

‹srail Pavyonu için tasarlad›¤› “Geri

Architecture Biennial.

Dönüflüm” adl› ifl bulunmaktad›r.

Among his awards and scholarships Ald›¤› ödüller ve baflar› burslar›

are the Scholarship of Excellence

aras›nda Mükemmellik Bursu (1997),

(1997), Bezalel Academy of Art and

Bezalel Sanat ve Tasar›m Akademisi

Design Award of Excellence

Mükemmellik Ödülü (1996-2000),

(1996-2000), Sandberg International

Sandberg Tasar›mda Özel Baflar›lar

Award for Special Achievements

Uluslararas› Ödülü (2000) ve

in Design (2000) and Charles & Lynn

Charles&Lynn Schusterman Bursu

Schusterman Scholarship (2003).

(2003) bulunmaktad›r.

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Maryam Enayati

1978’de Tahran’da (‹ran) do¤du. Azad

She was born in 1978 in Tehran (Iran).

Üniversitesi, Tahran Güzel Sanatlar

She graduated from Graphic Design,

Fakültesi, Grafik Tasar›m Bölümü’nden

Tehran College of Fine Art, Azad

mezun oldu.

University.

Kat›ld›¤› ve gerçeklefltirdi¤i projeler

Among the projects in which he

aras›nda 18. Uluslararas› Poster Bienali

participated are the 18th International

(Varflova, Polonya; 2002), 13.

Poster Biennale (Warsaw, Poland;

Chaumont Ö¤renci Poster Sergisi

2002), 13th Chaumont Student Poster

(Fransa, 2002), Yaz› ve Görüntü (Azad

Exhibition (France, 2002), Type and

Galerisi, Tahran, ‹ran; 2002),

Images (Azad Gallery, Tehran, Iran;

MARYAM ENAYATI 1

2002),

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“Solidarite” Uluslararas› Poster Sergisi

‘Solidarity’ International Poster

(Prag, Çek Cumhuriyeti; 2002),

Exhibition (Prague, Czech Republic;

1.Uluslararas› Poster Sergisi (Kore,

2002), 1th International Poster

2002), Bouf-e-kour Tipografi Sergisi

Exhibition (Korea, 2002), Bouf-e-kour

(Tahran, ‹ran; 2003), Poster Tasar›m›

Typography Exhibition (Tehran, Iran;

Yar›flmas›: Kitap, Çocuklar, Aile

2003), Poster Design Competition:

(Tahran, ‹ran; 2003), 14. Chaumont

Book, Children and The Family (Tehran,

Poster sergisi (Fransa, 2003), Ternava

Iran; 2003), 14th Chaumont Student

Poster sergisi (Slovakya, 2003),

Poster Exhibition (France, 2003),

5.Uluslararas› Eco Poster Trienali

Ternava Poster Exhibition (Slovakia,

(Kharkoy,Ukrayna; 2003), 13.

2003), 5th International Triennial Of

Uluslararas› CIIPE Poster Sergisi

Eco Poster (Kharkov,Ukraine; 2003),

(Colorado, ABD; 2003), Y›l›n Görüntüsü

13th International Poster Exhibition

(Tahran, ‹ran; 2002-2003, 2003-2004),

CIIPE (Colorado, USA; 2003), Image of

Çin Yaz› Karakterleri Uluslararas› Poster

The Year (Tehran, Iran; 2002-2003,

Sergisi (Tayvan, 2003), ‹ran Grafik

2003-2004), Chinese Character

Tasar›m› Sergisi (Chaumont, Fransa;

International Poster Exhibition

2003), 8. Tahran Uluslararas› Poster

(Taiwan; 2003), Exhibition of Iranian

Bienali (‹ran, 2004), Ctrl+G Grup Poster

Graphic Design (Chaumont, France;

Sergisi (‹ran, 2004), ‹ran Grafik

2003), 8th Tehran International Poster

Tasar›m› Sergisi (Louvre, Fransa;

Biennale (Iran, 2004), Ctrl+G Group

2004), Alt›n Ar› Uluslararas› Poster

Poster Exhibition (Iran, 2004),

Sergisi (Moskova, Rusya; 2004), ‹nsan

Exhibition of Iranian Graphic Design

Haklar› Sergisi (Turin, ‹talya; 2004),

(La Louviere, France; 2004), Golden

Molavi, 2.‹ran Tipografi Sergisi

Bee International Poster Exhibition

(Tahran, 2004), Incheon Uluslararas›

(Moscow, Russia; 2004), Human Right

Tasar›m Fuar› (Kore, 2004) ile Banka ve

Exhibition (Turin, Italy; 2004), Molavi,

Do¤a Poster Yar›flmas› (Tahran, ‹ran;

The Second Iranian Typography

2004) bulunmaktad›r.

Exhibition (Tehran, 2004), Incheon International Design Fair (Korea, 2004) and Bank And Environment Poster Competition (Tehran, Iran; 2004).

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MARYAM ENAYATI 6

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Perim Davudo¤lu

Bilkent Üniversitesi, Güzel Sanatlar

She graduated from Graphic Design

Fakültesi, Grafik Bölümü’nden mezun

Department of Bilkent University,

oldu. 1996’da kurdu¤u grafik

Faculty of Fine Arts. She was busy with

stüdyosunda 2000 y›l›na kadar faaliyet

her graphic studio, which she founded

gösterdi. 2000-2001 aras› UCLA’de

in 1996, since 2000. In 2000-2001, she

çoklu ortam tasar›m› e¤itimi ald›.

had interactive multimedia design edu-

2001’den beri sanat yönetmeni olarak

cation in UCLA. Davudo¤lu, who has

çal›flan Davudo¤lu, 2003 y›l›ndan bu

been working as an art director since

yana Grafikerler Meslek Kuruluflu

2001, is a member of board of direc-

Yönetim Kurulu üyesidir.

tors in Professional Association of

PER‹M DAVUDO⁄LU 1

Graphic Designers.

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Zeynep Yücel

1996 y›l›nda Bilkent Üniversitesi, Güzel

She graduated from Graphic Design

Sanatlar Fakültesi, Grafik Bölümü’nden

Department of Bilkent University,

mezun oldu. 1997-2000 aras›nda San

Faculty of Fine Arts in 1996. She had

Francisco Sanat Akademisi’nde yüksek

a graduate education in San Francisco

lisans yapt›. Tezini, tasar›mc› Thom

Art Academy in 1997-2000. Yücel, who

LaPerle’le haz›rlayan Yücel, 2000

prepared her thesis with the designer

y›l›nda ‹stanbul’a döndü. Çal›flmalar›n›

Thom LaPerle, turned back to Istanbul

halen ‹stanbul’da sürdürmektedir.

in 2000. She continues working in

ZEYNEP YÜCEL 1

Istanbul.

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Ana Sponsorumuz Akbank’a teflekkür ederiz.

Special thanks to our main sponsor Akbank.

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Simge Antalis’e katk›lar›ndan dolay› teflekkür ederiz.

Thanks to Simge Antalis for it’s asistance.

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Bu kitab›n bask›s›n› gerçeklefltiren Stil Matbaac›l›k’a teflekkür ederiz.

Thanks to Stil Matbaac›l›k for printing this book.

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GRAF‹ST 9 PROGRAMI 02 - 07 MAYIS 2005

GRAF‹ST 9 PROGRAMME 02 - 07 MAY 2005

02 May›s - Pazartesi / 10.00 - 18.00 Aç›l›fl ve Uluslararas› Grafik Tasar›m Semineri Mimar Sinan Güzel Sanatlar Üniversitesi Oditoryumu F›nd›kl›, ‹stanbul Robert Appleton (ABD), Julius Vermeulen (Hollanda), Reza Abedini (‹ran), Oded Ezer (‹srail), Erkal Yavi (Türkiye) Gelecek Kuflak: Antony J. Rostvold, Kai Salmela (ABD), Farhad Fozouni, Maryam Enayati (‹ran), Danny Meirav, Kobi Levi, (‹srail), Ant Sengelli, Perim Davudo¤lu, Zeynep Yücel (Türkiye)

02 May - Monday / 10.00 - 18.00 Opening and International Graphic Design Seminar Mimar Sinan Fine Arts University Auditorium F›nd›kl›, ‹stanbul Erkal Yavi (Turkey), Julius Vermeulen (Holland), Reza Abedini (Iran), Oded Ezer (Israel), Robert Appleton (USA) Next Generation: Farhad Fozouni, Maryam Enayati (Iran), Kobi Levi, Danny Meirav (Israel), Ant Sengelli, Perim Davudo¤lu, Zeynep Yücel (Turkey), Antony J. Rostvold, Kai Salmela (USA)

03 May›s - Sal› / 09.30-17.00 Atölye Çal›flmalar› Mimar Sinan Güzel Sanatlar Üniversitesi Grafik Bölümü F›nd›kl›, ‹stanbul Sergi Aç›l›fl› Julius Vermeulen, Reza Abedini, Robert Appleton (03 - 27 May›s) MSGSÜ Resim Heykel Müzesi fieker Ahmet Pafla Salonu 17:30

03 May - Tuesday / 09.30-17.00 Workshops Mimar Sinan Fine Arts University Faculty of Fine Arts Graphic Design Department F›nd›kl›, ‹stanbul Exhibition Opening Julius Vermeulen, Reza Abedini, Robert Appleton (03 - 27 May) MSGSÜ Painting and Sculpture Museum fieker Ahmet Pafla Hall 17:30

Gelecek Kuflak (03 - 27 May›s) MSGSÜ Resim Heykel Müzesi Halil Dikmen Galerisi 17:30

Next Generation (03 - 27 May) MSGSÜ Painting and Sculpture Museum Halil Dikmen Gallery 17:30

04 May›s - Çarflamba / 09.30-17.00 Atölye Çal›flmalar› Mimar Sinan Güzel Sanatlar Üniversitesi Grafik Bölümü F›nd›kl›, ‹stanbul Sergi Aç›l›fl› Erkal Yavi, Oded Ezer, Thomas Müller (04 - 27 May›s) MSGSÜ Osman Hamdi Bey Salonu 17:30

04 May - Wednesday / 09.30-17.00 Workshops Mimar Sinan Fine Arts University Faculty of Fine Arts Graphic Design Department F›nd›kl›, ‹stanbul Exhibition Opening Erkal Yavi, Oded Ezer, Thomas Müller (04 - 27 May) MSGSÜ Osman Hamdi Bey Hall 17:30

05 May›s - Perflembe / 09.30-17.00 Atölye Çal›flmalar› Mimar Sinan Güzel Sanatlar Üniversitesi Grafik Bölümü F›nd›kl›, ‹stanbul Grafist 9 Partisi Mimar Sinan Güzel Sanatlar Üniversitesi R›ht›m› F›nd›kl›, ‹stanbul, 20.00 - 02.00

05 May - Thursday / 09.30-17.00 Workshops Mimar Sinan Fine Arts University Faculty of Fine Arts Graphic Design Department F›nd›kl›, ‹stanbul The Grafist 9 Party Wharf of Mimar Sinan Fine Arts University F›nd›kl›, ‹stanbul 20.00 - 02.00

06 May›s - Cuma / 09.30-17.00 Atölye Çal›flmalar› Mimar Sinan Güzel Sanatlar Üniversitesi Grafik Bölümü F›nd›kl›, ‹stanbul

06 May - Friday / 09.30-17.00 Workshops Mimar Sinan Fine Arts University Faculty of Fine Arts Graphic Design Department F›nd›kl›, ‹stanbul

07 May›s - Cumartesi / 11.00 - 18.00 Atölye Çal›flmalar› Sunumu Mimar Sinan Güzel Sanatlar Üniversitesi Oditoryumu F›nd›kl›, ‹stanbul

07 May - Saturday Workshops Presentation Mimar Sinan Fine Arts University Faculty of Fine Arts Auditorium

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ULUSLARARASI GRAF‹K TASARIM SEM‹NER‹ 02 MAYIS 2005 Mimar Sinan Güzel Sanatlar Üniversitesi Oditoryumu’nda gerçekleflen Uluslararas› Grafik Tasar›m Semineri, farkl› ülkelerden tasar›mc›lar›n ifllerinin, ülkelerine dayal› görsel tasar›m dillerinin ve bir birey olarak kendi tasar›m anlay›fllar›n›n sözel ve dialar eflli¤inde aktar›lmas›ndan olufluyor.

Konuflmac›lar: Robert Appleton (ABD), Julius Vermeulen (Hollanda), Reza Abedini (‹ran), Oded Ezer (‹srail), Erkal Yavi (Türkiye) Gelecek Kuflak: Antony J. Rostvold, Kai Salmela (ABD), Farhad Fozouni, Maryam Enayati (‹ran), Kobi Levi, Danny Meirav (‹srail), Ant Sengelli, Perim Davudo¤lu, Zeynep Yücel (Türkiye) Simultane çeviri: ‹ngilizce-Türkçe Ö⁄RENC‹LER ‹Ç‹N ATÖLYE ÇALIfiMALARI 03 - 07 MAYIS 2005 Atölye çal›flmalar›nda ö¤rencilere, yerli ve yabanc› tasar›mc›lar taraf›ndan, grafik tasar›mla ilgili uygulamaya dayal› bir konu verilir. Atölye yöneticileri, ifl üretimi s›ras›nda ö¤rencilerle sürekli iletiflim halindedir. Atölye çal›flmalar›n›n son günü olan beflinci günde, gerçeklefltirilen çal›flmalar izleyicilere sunulur ve bu çal›flmalar üzerinde tart›fl›l›r. (Çal›flmalarda konuflma dili Türkçe ve ingilizcedir) Atölye Yöneticileri: Robert Appleton (ABD), Knut Willich (Almanya), Julius Vermeulen (Hollanda), Reza Abedini (‹ran), Oded Ezer (‹srail), Erkal Yavi (Türkiye) SERG‹LER Robert Appleton (ABD), Thomas Müller (Almanya), Julius Vermeulen (Hollanda), Reza Abedini (‹ran), Oded Ezer (‹srail), Erkal Yavi (Türkiye) Gelecek Kuflak: Antony J. Rostvold, Kai Salmela (ABD), Farhad Fozouni, Maryam Enayati (‹ran), Kobi Levi, Danny Meirav (‹srail), Ant Sengelli, Perim Davudo¤lu, Zeynep Yücel (Türkiye) Sergi Mekanlar›: Mimar Sinan Güzel Sanatlar Üniversitesi Osman Hamdi Bey Salonu Meclis-i Mebusan Cad. F›nd›kl› 34427 ‹stanbul Mimar Sinan Güzel Sanatlar Üniversitesi, Resim Heykel Müzesi, fieker Ahmet Pafla Salonu ve Halil Dikmen Galerisi, Befliktafl, ‹stanbul PART‹ / 05 MAYIS 2005 Grafist 9 partisi, Mimar Sinan Güzel Sanatlar Üniversitesi r›ht›m›nda gerçeklefltirilmektedir.

Parti herkese aç›kt›r.

F›nd›kl›, ‹stanbul 11.00 - 18.00 INTERNATIONAL GRAPHIC DESIGN SEMINAR 02 MAY 2005 International Graphic Design Seminar which takes place in the auditorium of Mimar Sinan Fine Arts University, consists of the transfer of works of designers from different countries, their visual design languages based on their countries and their designing understandings as individuals in words or accompanied with slides.

Speakers: Erkal Yavi (Turkey), Julius Vermeulen (Holland), Reza Abedini (Iran), Oded Ezer (Israel), Robert Appleton (USA) Next Generation: Farhad Fozouni, Maryam Enayati (Iran), Kobi Levi, Danny Meirav (Israel), Ant Sengelli, Perim Davudo¤lu, Zeynep Yücel (Turkey), Antony J. Rostvold, Kai Salmela (USA) Simultaneous Translation: English-Turkish WORKSHOPS FOR STUDENT / 03 - 07 MAY 2005 Students are given a topic based on application about graphic design by domestic or foreign designers in the workshop. Educators are in a contionous contact with the students during the production of the works. In the fifth and the final day of the workshops, works are presented to spectators as disscussions are made about them.

(Languages of the workshops are Turkish and English) Workshop Leaders: Knut Willich (Germany), Julius Vermeulen (Holland), Reza Abedini (Iran), Oded Ezer (Israel), Erkal Yavi (Turkey), Robert Appleton (USA) EXHIBITIONS Thomas Müller (Germany), Julius Vermeulen (Holland), Reza Abedini (Iran), Oded Ezer (Israel), Erkal Yavi (Turkey), Robert Appleton (USA) Next Generation: Farhad Fozouni, Maryam Enayati (Iran), Kobi Levi, Danny Meirav (Israel), Ant Sengelli, Perim Davudo¤lu, Zeynep Yücel (Turkey), Antony J. Rostvold, Kai Salmela (USA) Exhibition Venues: Mimar Sinan Fine Arts University, Osman Hamdi Bey Exhibition Hall Meclis-i Mebusan Caddesi No:24 F›nd›kl› 34427 ‹stanbul, Türkiye Mimar Sinan Fine Arts University Art and Sculpture Museum, fieker Ahmet Pafla Exhibition Hall and Halil Dikmen Gallery Befliktafl, ‹stanbul PARTY / 05 MAY 2005 The party of Grafist 9 will take place in the dock of Mimar Sinan Fine Arts University and will be open to everybody.

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Sponsorlar Sponsors Ajans Ultra, Alametifarika, BGV Bikem B. Özsunay Grafik Tasar›m Vakf›, Bilge Adam, Ddf, Euro RSCG Klan, Güzel Sanatlar Saatchi&Saatchi, Marka, Medina Turgul DDB, Yorum Tan›t›m, Y&R Reklamevi Grafist Dostlar› Friends of Grafist Bilkom A.fi., Epson, Görsel, Graphis, Hollanda ‹stanbul Baflkonsoloslu¤u, Pixel, Simge Antalis, Stil Matbaas›, 3 Sistem Katk›lar›yla With the contributions of BGV Bikem B. Özsunay Grafik Tasar›m Vakf›, GMK Grafikerler Meslek Kuruluflu.

Endorsed by Icograda

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Düzenleyen Organised By Mimar Sinan Güzel Sanatlar Üniversitesi, Güzel Sanatlar Fakültesi, Grafik Bölümü Mimar Sinan Fine Arts University, Faculty of Fine Arts, Graphic Design Department Grafist 9, ICOGRADA, Grafik Tasar›m Dernekleri Uluslararas› Konseyi taraf›ndan desteklenmektedir.

Grafist 9 is endorsed by ICOGRADA, International Council of Graphic Design Association.

Mimar Sinan Güzel Sanatlar Üniversitesi Rektörü Rector of Mimar Sinan Fine Arts University Prof. Dr. ‹smet Vildan Alptekin Güzel Sanatlar Fakültesi Dekan› Dean of Fine Arts Faculty Prof. Rahmi Aksungur ICOGRADA Baflkan› President of ICOGRADA Mervyn Kurlansky Organizasyon Komitesi Baflkan› President of the Organizing Committee MSGSÜ Grafik Bölümü Baflkan› Head of Graphic Design Department Prof. Dilek Bektafl Proje Yönetmeni Project Manager Sad›k Karamustafa Organizasyon Komitesi Organizing Committee Ayflegül ‹zer, Burcu Dündar, Canan Suner, Dilek Bektafl, Ebru Ayto¤, Leyla Ersin Ekmekçiler, Nilüfer Tönel, Sad›k Karamustafa, Semra Güler Ak, Sinan Niyazio¤lu, T. Melih Görgün, Ulafl Eryavuz, Umut Südüak.

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