Building blocks: Graphic Design

is the creative field of graphic production and providing solutions for specific subjects, objects, and/or problems related to the visual representation of products and concepts through graphical devices, which are utilized to enable informational procedures to which products and services are held subject in order to bring about their successful dissemination on the marketplace. The field deals with the visual presentation of commercial identities including visual identity (logos and branding), publications (magazines, newspapers, and books), advertising and product packaging. Graphic Design utilizes typography and image integration to compose on two-dimensional surfaces, as is generally the case, but also in three-dimensional planes such as architecture, vehicles and other diverse objects from gift items to t-shirts.

Important Note: All of the following graphic design technologies should be considered as the areas of implementation, or the structural components of a full master’s thesis project which involves a concept, an idea or a narrative in which these building blocks are utilized; and which falls under the jurisdiction of one of the three main tracks of our program – Visual Art, Visual Communication Design and Theory of Creative Practice - or possibly also as a hybrid of two or more of these three main tracks. 

 Visual Identities and Systems

Almost all graphic design projects revolve around the creation of visual systems, in which all components work together as a continuous, integrated whole, rather than in the creation of discrete, stand-alone objects. Such systems are expected to flow seamlessly from product to product as well as from page to page in multi-page documents. They will involve an integration of diverse elements from type, to images to shapes and color systems, which are all expected to interact within easily discernible semantic and visual hierarchies. Thus, any graphic design based thesis project will, of necessity, have to take into account this all important principle of graphic design work as its fundamental basis of operation.

Related Faculty: Elif Ayiter, Onur Yazıcıgil. 

Illustration

The term illustration can be broadly defined as the visualization of a specific subject as a drawing, painting or photograph. As such, illustration focuses on the visual representation for a certain mood or attitude through the media listed above. Various illustration techniques are experimented with in search for creating unique visual tones. Research projects vary, but include illustrating text for posters, and character and story development for fairy tale storybooks.

Related Faculty: Onur Yazıcıgil. 

Typography

is the backbone of graphic design, which basically deals with the ‘design of text’. It is the knowledge of creating and organizing letters, words, sentences and paragraphs to communicate an idea. The elements of typography can be further studied and analyzed critically in order to tackle more complex issues of typesetting and typographic problems. Experimental approaches in constructing and deconstructing type, and continuous typesetting is researched as part of semantic pattern visualization. Major topics are: the anatomy of letterforms, the evolution of type and classification systems, creating typefaces, choosing types for specific typesetting rules, composition and page layout, legibility, readability and expressive qualities of lettering.

Related Faculty: Onur Yazıcıgil. 

Typeface Design

As the names suggest this field is highly focused on the creation of typefaces created for specific media such as print, computer screens and smart-devices. It deals with the complex production of creating an alphabet in which each letterform displays an aesthetic form, as well as work smoothly with the rest of the alphabetical and non-alphabetical glyphs. In an ever-changing world, people inherently continue to alter their voices, either in the form of speech, art, engineering or letter making, in order to adapt to the prevailing needs and tastes of the time. Typefaces are also not unaffected. Through studying the history of typefaces a historical context is established and upon that context new typefaces are designed in response to needs of the visual culture we continue to modify.

Related Faculty: Onur Yazıcıgil. 

 
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