MENGÜ ERTEL'S DESIGN STYLE (SAMPLE OF POSTER DESIGNS)

Poster is admitted as the closest art for people in the streets. Posters, which are appearing willy-nilly very much different people of every age, culture and socio-economic level on the streets and public areas, can address wide masses, can influence the ideologies of crowds and can form aesthetical taste. Posters can be studied in three titles as social, cultural and commercial. In general, the aim of the poster is to announce, to inform or to introduce any product and to advertise it. Yet, poster’s attribute of directing wide masses beliefs, tastes and habits, adds another function to itself. Poster, has the power of influencing the people’s habits, is an important graphic design product which is also forming the aesthetical perception level. In Turkey, posters produced mostly subservient of the aim to educate, to inform and to make people conscious at the first periods of the Republic. In this period, posters are attracting attentions which were about the information of the revolution, made with the ideal to bring the country up to modern civilizations level together with the new regime, about the introductions and advertisements of newly found institutes and enterprises, and aiming educate people about modern life. Contextually benefited from poster’s powers of guidance and obtaining certain behaviors. Aesthetical qualities were budding in advancing years in poster design, also with affect of the development in industry, embodiment of art environments and much professional graphic design education. New visual experiments in cultural poster studies, which were especially made for announcing artistic and cultural activities and also magnetizing audience to this activity, different approaches in formal means, different analysis’ about content, contributed very much to the process of graphic design as an confirmed professional area in Turkey.

‘Visual’ in ‘visual culture’ can be defined as “everything that is visual, functional, communicational and/or having aesthetic purpose produced, interpreted or formed by people” (Barnard, 2002; 34). Accordingly poster is not only a tool that transmits a message, information or that introduces or advertises a product but also a visual cultural element. Just like other visual cultural elements, poster as well is in interaction with the society. In this two way interaction while society’s culture, political and social perceptions, level of education, aesthetic tastes influence the production process of the poster, the posters too influence and transform the society. Poster artists and designers are producing studies sometimes affected by the society that they are within, and also sometimes intentionally reflecting the culture of the society that they are addressing. In this context in this study, reflections of the Anatolian culture in poster designs will be examined with visual examples.

2021

Citation/Alıntı:Tokgöz Gün, F. (2021). Poster design in the process of socio-cultural structuringin post-war Poland and Turkey. Journal of Social and Humanities Sciences Research,8(73), 2148-2153.http://dx.doi.org/10.26450/jshsr.2677 Art has been an effective communication language since the caves where the first examples of visual communication took place. In addition, art has many functions such as being educational for people, being a guide, being a means of communication, and expressing what is not said in society. The effects of art, which is a part of the lives of societies, are very important at every level of social life. After the brutal invasion of Poland by Hitler, the art of posters, which played an important role in the resurrection of life, maintained its importance during the establishment of the Republic of Turkey. Poster art, which is part of graphic design, has contributed to the formation and development of the socio-cultural structures of societies, as well as pioneering the emergence of radical changes in these societies. This research aims to examine the path followed by the art of poster art, which shapes the future of the country, while the foundations of Poland are being laid again, during the establishment of the Republic of Turkey. In poster designs, an examination was carried out in terms of the way followed during the establishment of societies and the messages to be given, and similarities and contrasts were examined. Keywords:Poster, Poster Design, Poland, Turkey.

Literally posters is defined as a sign attached to the wall, printed or handwritten carried during the demonstration in order to expose the public notice. Posters to convey a message of equal weight or anxiety and are prepared graphic design and art products in order to promote a product. The purpose of this study is to determine the advantages of using illustration an painting techniques in designing traditional poster. The problems that lead the study to this aim are technological developments and that contemporary art poster designs formed with absolute photographic aesthetic are becoming monotonous. The findings of this study were tried to be obtained by two-dimensional approach. The first is literature scanning. In the second, works of artist in the determined sample were analyzed in terms of both illustrations and using of pictorial techniques. In this context, examples of the works of artists such as

Journal of Art & Civilization of the Orient, 2020

Minimalists who express their ideas and concepts using minimal elements have influenced artists of the world, among contemporary poster design, use of this feature is remarkable. The purpose of this study is to examine the impact assessment of Iranian poster designers is a feature of minimalist works. Minimalism, known as the end of modern art and the beginning of the new postmodern era, has had a major impact on works of contemporary designers; also graphic designers around the world are influenced by this trend especially in the field of poster design, the pursuit and creation of works are as easy as possible that will have the most impact on the audience. Iranian artists also have been affected by this trend in recent decades. The research method of this study is descriptive-analytical and the results show that in poster design of Iran, fifth generation graphic designers are influenced by minimalism and has been applied in some works. Whereas in the next generation posters of Iranian graphic designers, the tendency towards minimalism and cultural-artistic symbols is directly influenced by the characteristics of western minimalism and the features of Iranian art are less used.

1992

Ankara : The Department of Graphic Design and the Institute of Fine Arts of Bilkent University, 1992.Thesis (Master's) -- Bilkent University, 1992.Includes bibliographical references leaves 54-56.The aim of this tliesis is to analyze the development o f the ‘Turkish poster' in connection with the development o f the economic structure and to take a critical look at its contemporaiy problems. This thesis will be supported by the inclusion o f a poster with social content; a genre which I find to be lacking in our country.Yücel, EmrahM.S

The aim of this study is to assess the single expression in approaching the traditional and digital methods for the design of cultural based posters like theatrical posters in consideration with the posters as a graphic design tool. The digital collage, which is the way of expression created in the early 20 th century by the art movements and artists using collage as aroused on the computer screens other than canvas through the technology, has also been used in graphic design. The digital collage facilitates the reflection of artist's imagination to the screen by means of technology, allows the traditional collage to be used together with the digital. The semiotic analysis of theatre posters designed by Stephan Bundi between the years of 2012-2015, who is considered as the one of the first users of these two methods, was conducted within the scope of study. The graphic codes utilized were analysed and the climaxes in the theatrical scripts were addressed in a single expression with these two styles. The posters designed within this period by Bundi, who had used the traditional collage and digital collage that considered as two different ways of expression in his cultural posters, were analysed on the basis of Peircian sign theory, through the use of icon, index and symbols, and their interpretation was elaborated accordingly. As a result of this study, the findings indicated that Bundi made two different styles into one way of expression, used the traditional methods together with digital collage in graphic design, chose the colour in posters in accordance with the content of play and interpreted the content in the cultural posters designed by the poster designer with his own style through digital collage method. In consideration with the analysed posters of Bundi, his frequent use of icon that is given under the Peircian sign theory was stood out.

Master Thesis, 2019

In this thesis, the existence and development of Mikro Art in Turkey, is examined in the contex of visual communication design perspective within the example of Mikro Art artist Hasan Kale’s works of arts. The drawings and designs discussed in the thesis are handled on the basis of four criteria; The readability, the perceptibility, the formal expression of the designs and drawings and their transfer to meaning. Additionally, the analysis of the thesis is mainly based on the basic design principles, Gestalt theory and Roland Barthes's semiotic analysis methods.

e~SMOJ1SO elOJOO II JEM PIJOM JiljJE PUEI Od UI SWI1:l lI JUilJ::l PUE Ugl SilO J!lIdEJ9 JiljSOd P oster as a graphic form has a long and rich history bound up with the history of advertisement and reaching back to the nineteenth century and the work of French graphic artists, such as Henri Toulouse-Lautrec and jules Cheret in particular. The history of poster as an art form, on the other hand, is considerably shorter and associated with quite a different set of historical and economi c circumstances which emerged in the Soviet Russia after the Revolution and in other socialist countries throughout the period of the Cold War. In the place of a poster as a ve hicle for commercial advertisement, poster art developed a form closer to a public announcement and whose role 'was not primarily to sell but to interpret a complex artistic production; and interpretation was itself a specifIcally artistic and thus personal activity' (Rotzler 1961: 100). Unlike mass advertisement thus conceived poster was directed at 'a culturally wide-awake stratum of the society' who cou ld appreciate its innovative and original format (Rotzler 196 1: 103). Among the socialist countries Poland fou nd itself in a unique position in regard to the poster art. In 1948, young Polish artist Henryk Tomaszewski won five medals for his poster designs at the Vienna lnternational Poster Exhibition (Crowley 1993: 26). By 1956 two large exhibitions of Polish posters were organised in Paris, Brussels and other European cities where over two hundred posters designed by 25 different Polish graphiC designers were exhibited, including th ose by Tadeusz Trepkowski, Eryk Lipinski, Henryk Tomaszewski, Wojciech Zamecznik and j6zef Mroszczak (Rohonyi 1956: 68). This international success meant that in Poland poster designers were regarded as artists in their own right and shortly were to be given an opportunity to display their works in a purpose-built poster museum established in 1968. But it was th e close relationship of the Polish poster art with cinema which was most often commented on by the early critics of the poster art attending the international exhibition. ' They remarked on the posters 'standing in a direct relationship with the unique nature of the theatre or fUm production, which is itself something quite different from a commodity, a product among man)'

Ulakbilge: Sosyal Bilimler Dergisi, 2017

Turkish cinema that was accepted as a new branch of art starting from the prerepublic period started to find its own identity between the years 1950 – 1970. The system has difficulties of the first stage of configuration in the fields of operation, application and screening. Cinema, with its production companies, producers, directors and artists, and audiences, comes out as the basic in this first stage and ends its configuration stages in executions. Movie theaters meet the audiences with the system. With the development of Turkish cinema, posters, the most effective conduit of marketing, are developed as well because of their peculiarity of transportation the messages to the audience most easily and effectively. Some similarities are seen between the posters that are analyzed according to genres, which are designed by considering the audience's appreciations, assets and expectations. Thus, we can see that a common formation of a design language in those posters is starting to ...