2. Please find attached the “short” and “quick” summary of design in Turkey... We wanted to share how Turkish artists “design for better”...

4. Painting in Turkey, has remained as a limited art form consisting of abstract patterns, marbling, miniature and calligraphy due to the influence of the religion. After 1870’s Turkish painting started to gain some momentum with Osman Hamdi and his successors establishing the basis for modern painting. With the founding of the Fine Arts Academy, training and education gained importance in the area. Thanks to painters coming from Europe to İstanbul for exhibits held at Dolmabah çe P alace, Turkish painters were introduced to western art and oil painting. During 1880’s modern painting was slowly shaping under the influences of tonalism or symbolism and it focused on ordinary people, psychology and daily routines. The reflections of western painting trends were also seen among Turkish painters. Impressionism’s effects can be seen in Turkish paintings of the period in terms of color, form and composition. After this period, came a period of westernization, in which traditional touches were slowly transformed into modern shapes. Several artist groups created art works that shaped the period. Abstract painting styles gained importance after 1950’s while the most important period in terms of modern painting were 1960-70. This is when Turkish artists were finally able to exhibit their works in western galleries and museums.

5. HAFR İ YAT KARAKÖY Hafriyat Karaköy, was shaped as an independent venue by Hafriyat artists coming together to form an alternative space. Hafriyat Karaköy is a place that is open to the local sensibilities, who want to experience the freedom limits of the Turkish art scene, also subgroups, civils with politics sensibilites and any structures outside the domination of the who wants to cultural industry. Hafriyat Karaköy is a non profit art space where artists gather and projects are being made as a result of shared art and cultural experiences. Aside from the group and individual exhibitions, it makes collective exhibitions and opens its’ space to group events, artists and groups abroad. The exhibitons are open to all kinds of disciplines and curatorial studies.

10. BURHAN DOĞANÇAY P rimarily known for a body of work that grew out of his fascination with urban walls; they have a special meaning to him and it is that observation that he transformed into art. Walls serve as a testament to the passage of time, reflecting social, political and economic change. They also bear witness to the assault of the elements and to the markings left by people. No other artist has explored urban walls as thoroughly and with the same passion Dogançay has. His persistent occupation with and translation of urban walls into art is what earned him a reputation as “father of wall art”. The opening in 2004 of the Dogançay Museum, Turkey’s first contemporary art museum, constituted the crowning of Dogançay’s career. He lives and works in New York where he has maintained a studio for the past 40 years.

15. ÖZDEMiR ALTAN Graduated from Mimar Sinan University, Fine Arts Department in 1956 and started his academic career in the same university. As one of the most important names in contemporary Turkish painting, Öz demir Altan has become a pioneer with his work that was exhibited internationally in both personal and mixed exhibits and mainly in the Paris Bienal. He is the first artist who brought contemporary thought and avant-garde and pop art movements to Turkey and influenced many other artists.

21. STREET ART Street art has gained importance in Turkey mainly in the 90’s with hip-hop lifestyle getting more and more popular. This continued until the 2000’s and examples of stencils, graffiti, sticker art and poster art started to be seen on the streets, bars, thrash cans etc. These artists are expressing themselves in a protest manner especially in Istanbul’s neighborhoods. Various festivals and workshops are held. Meeting of Allstars (MOAS) Graffiti Fest, will be held for the 3 time in 2009 to gather international artist in historic sights.

35. Contemporary Turkish Graphic Art was born with the influence of the Ottoman culture. It reached its current form with the modernization and westernization efforts. The transformations in Turkish political and societal history were also another influence that shaped the Turkish Graphic Art. TURKISH GRAPHIC DESIGN

36. TRADITIONAL (ORIGINS) MODERN (DEVELOPMENT) POST MODERN (EVOLUTION) MODERNIZATION GRAPHIC DESIGN opening of the first publishing houses ( in the last decades of Ottoman Empire ) Foundation of Turkish Republic Calligraphy Miniature ISLAMIC ARTS Marbling 13th c. - 19th c. 19th c. – 20th c. 20th c. – 21th c. EVOLUTION IN TURKISH GRAPHIC DESIGN Consumer Goods Publications CONCEPTUAL GRAPHIC DESIGN Minimalism TVC Computer Technologies Typography Burst in free market economy Foreign investment Liberal economy

38. MODERN (DEVELOPMENT) EVOLUTION IN TURKISH GRAPHIC DESIGN Turkey opened to foreign investment 1950 Communication with the West increased Designers are informed better of the developments in the world Increased number of advertising agencies led to higher demand for graphic design - Offset print is used - Publishing houses are founded Liberal economic structure: national income & planned industrialization became an objective MARKETING Making graphic design Demand for publicizing 1960 TVCs started to get aired in between programs 1972 Diversification in production Increase in consumption 19th c. - 20th c.

40. iHAP HULUSi GÖREY İhap Hulusi Görey, who had completed three years of studio work at Heiman Schille and two years of education at Munich Kunstgewerbe Schule, became the first designer producing works of Turkish graphic design. The posters for state enterprises in 1920s and 30s, labels and logos for the Tobacco and Alcoholic Products Administration and ticket designs for National Lottery Administration prepared by this artist in the independent studio he had from 1927 to 1981, have become the signs and icons of the ideology and the social life model of the early Republican era. As was being done in Soviet Russia, he produced posters which, as effective communication means, served the propaganda purpose of motiyating the society in line with new principles.

47. BÜLENT ERKMEN Erkmen’s distinction from all the other designers of the period has been his recognition of the plurality of post modernism, the richness brought about by that plurality and the designer’s freedom to say his own word by carrying this richness to his work without excluding the unrelinquishable rules of the design discipline. While postmodernism ignored modernism’s principle of solving design problems in the name of communication, Bülent Erkmen claimed this problem as his own and opposed uncontrolled language plurality in the name of postmodernism’s principle of plurality. As a designer who perceived the dilemmas inherent to postmodernism and went beyond them, Erkmen brought together the singularity of controlled language and the plurality of the message. The necessity for control has brought Erkmen to evolve into a stage where he insulated his work from any needless element. The deconstructivist approach seen in Erkmen’s most recent work, does not capture the question as a “readymade answer,” rather, the question determines the deconstructivist solution. Bülent Erkmen can be seen as a milestone for turning graphic design in to an industrial profession.

56. ÖRGÜT ÇAYLI His design perspective was reformed following the advances in technology. He incorporated the international design trends into his own style and reshaped his voice accordingly towards the end of 2000’s. Ca ylı who is also an art director, has a style that can be differentiated among others although his forms, typography and compositions can sometimes be seen a bit over-the-top. The graphic design software that are constantly advancing when combined with the designer’s limitless imagination, allowed different styles based on traditional graphic design to emerge..

65. ILLUSTRATION With the print press on the rise, newspapers and magazines were in more need of visuality and that created the need for illustrations. The Turkish painters who weren’t earning enough money in the time, shifted to this new field. Illustration has gone through massive changes and improvements since the beginning of 1900’s thanks to the western styles’ influence on the local illustrators and of course thanks to the advances in the technology. This period marked the beginning of stylization whereas more realistic artwork was common in the past.

74. MOTION GRAPHICS Motion graphics are graphics that use video and/or animation technology to create the illusion of motion or a transforming appearance. These motion graphics are usually combined with audio for use in multimedia projects. Motion graphics are usually displayed via electronic media technology, but may be displayed via manual powered technology (e.g thaumatrope, phenakistoscope, stroboscope, zoetrope, praxinoscope, flip book) as well. The term is useful for distinguishing still graphics from graphics with a transforming appearance over time without over-specifying the form.

78. INDUSTRIAL DESIGN This department was first founded in 1971 at Mimar Sinan University, which set an example to other universities. Towards the late 90’s, industrial design in Turkey has become a complete working field. Although the modern industrialization movement intensified since the beginning of 1960’s, and the professional training in the field was offered in early 1970’s, it is not possible to talk about industrial design until late 1980’s.

79. TAMER NAKIŞÇI As a young industrial designer of 26 years, Tamer Nakışcı, gained popularity with his work for Nokia and Fiat. After getting the attention of Fiat with his automobile sketches, he went to Milan and became one of the few designers to catch the opportunity for an internship. Nakışcı who was awarded internationally for his work for Nokia, is the only Turkish Designer among Europe’s top 100 youngest talents.

81. MERİÇ KARA Born in 1977, Meric Kara finished her master’s degree in Milan. Her work was exhibited in Amsterdam Inside Design and Milan Furniture Fair. She is working at Fabrica Design department since 2 years and designes stores for Benetton and Sisley.

83. SADi TEKiN He is an Istanbul based industrial designer and illustrator, who is born in1976. He won some awards; in and outside the country, attend some workshops and showed some of his works at Street Design Week ’06-09 and Istanbul Design Week ’06-09.

85. The only traditional medium at the beach is the ever-so-popular umbrella and we need a smarter take on exposure. Now we have ultra-light and floaty seabeds by Coca Cola Light. Thousands will see them all along the shore, tell each other about them, forward the design through the net.

90. HAKAN GÜRSU He took his master s degree from Department of Architecture in 1988. Gursu continued his project studies at Japan in 1991 and completed his Ph.D studies in 1996. he worked as consultant on interior architecture and city planning in Moscow and Tokyo. Dr. Gursu was was the recipient of the world s most prestigious design award, the International Design Award (IDA) 2007, for his creation V olitan , in the category of best nautical vessel and best transportation vehicle of the year.

99. I slamic art encompasses the arts produced from the 7th century onwards by people (not necessarily Muslim) who lived within the territory that was inhabited by culturally Islamic populations. It includes fields as varied as architecture, calligraphy, painting, and ceramics, among others.

101. CALLIGRAPHY Calligraphic design is omnipresent in Islamic art, and is usually expressed in a mix of Qur'anic verses and historical proclamations. Two of the main scripts involved are the symbolic kufic and naskh scripts, which can be found adorning and enhancing the visual appeal of the walls and domes of buildings, the sides of minbars, and so on. Illuminated scripts, coinage, and other "minor art" pieces such as ewers and incense holders are also often decorated with calligraphy.

111. MINIATURE Ottoman Miniature was an art form in the Ottoman Empire, which can be linked to the Persian miniature tradition, as well as strong Chinese artistic influences. It was a part of the Ottoman Book Arts together with illumination (tezhip), calligraphy (hat), marbling paper (ebru) and bookbinding (cilt). The words taswir or nakish were used to define this art in Ottoman language. The studios they worked in was called Nakkashane. The miniatures were not signed.

112. MINIATURE Ottoman Miniature was an art form in the Ottoman Empire, which can be linked to the Persian miniature tradition, as well as strong Chinese artistic influences. It was a part of the Ottoman Book Arts together with illumination (tezhip), calligraphy (hat), marbling paper (ebru) and bookbinding (cilt). The words taswir or nakish were used to define this art in Ottoman language. The studios they worked in was called Nakkashane. The miniatures were not signed.

122. PAPER MARBLING Paper marbling is a method of aqueous surface design, which can produce patterns similar to marble or other stone, hence the name. In Turkey, the art is widely known as ebru today, and continues to be very popular. The text of this manuscript was rendered in a delicate cut paper découpage calligraphy by Mehmed bin Gazanfer and completed in 1540, and features many marbled and decorative paper borders. Another famous 18th century master by the name of Hatip Mehmed Effendi (d. 1773) is accredited with developing motif and perhaps early floral designs, although evidence from India appears to contradict some of these claims.