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GÖRSEL İLETİŞİM TASARIMINDA BİR TASARIM YAKLAŞIMI OLARAK VERNAKÜLER

Year 2019, Issue: 34, 174 - 182, 17.10.2019

Abstract

Başlarda mimarlık alanında kullanılmaya başlanan vernaküler kavramı, günümüzde edebiyat, tarih, kültürel çalışmalar, arkeoloji gibi alanlarda geniş kullanıma sahiptir. Bu kavram, görsel iletişim tasarımı disiplininde de kendine yer bulur. Görsel iletişim tasarımında vernaküler, bölgede tasarım okullarının tedrisatından geçmemiş yerel zanaatkârların hünerleriyle bölgenin görsel kültürüne uygun olarak üretilmiş grafik ürünlere işaret eder. Bu özellikleriyle yerelin görsel kültürüyle ilişkili olan vernaküler, genelde bilinmeyen kişilerce yapıldığından dolayı anonim ve otantik sözcükleriyle nitelenir. Tasarımcılar nezdinde ise önceleri keşif yöntemi ile yalnız ilham alınan ögeler iken daha sonraları bir düşünme biçimine ve mesleki disiplin içerisinde etik bir tutuma dönüştüğü görülür.

Vernaküler kavramının genel özelliklerinin açıklandığı bu çalışmada, görsel iletişim tasarımında vernakülerin izlediği süreç ve disiplin içerisindeki konumu üzerinde durulmuş, örnekler ile açıklanmaya çalışılmıştır.

References

  • Ambrose, G. ve Harris, P. (2006). Görsel Tasarım Sözlüğü, İstanbul: Literatür Yayınları.
  • Aynsley, J. (2004). Pioneers Of Modern Graphic Design, Londra: Octopus Publishing.
  • Beirut, M. (2007). Seventy-nine Short Essays on Design, New York: Princeton Architectural Press. Dean, D. (1994). A slipware dish by Samuel Malkin: an analysis of vernacular design, Journal of Design History, 7 (3): 153-167.
  • “First Things First Manifesto 2000”, http://www.eyemagazine.com/feature/article/first-things-first-manifesto-2000, Erişim tarihi 20.5.2019
  • Helfand, J., Drenttel, W. (2006). Wonders revealed: design and faux science. M. Beirut, W. Drenttel ve S. Heller (Ed.) Looking Closer 5 içinde (s. 202-206), New York: Allworth Press.
  • Heller: (1999). Design Literacy (continued): Understanding Graphic Design, New York: Allworth Press.
  • Heller: ve Anderson, G. (2016). The Typography Idea Book: Inspiration From 50 Masters. Londra: Laurence King Publishing.
  • Heller, S., Thompson, C. (2000) Letterforms: Bawdy, Bad and Beautiful: The Evolution of Hand-Drawn, Humorous, Vernacular, and Experimental Type, New York: Watson-Guptill.
  • Heller: (2004). Design Literacy: Understanding Graphic Design, New York: Allworth Press.
  • Kalman, T., Jacobs, K. (1990). We’re here to be bad, Print Dergisi, 44 (1), 1-4.
  • Kenedi, A. (2011). Tibor Kalman vs. Joe Duffy Revisited, https://www.printmag.com/interviews/tibor-kalman-vs-joe-duffy-a-retrospective, Erişim tarihi 1.2.2019
  • Kleber, B. (2013). Love is a sign, http://containerlist.glaserarchives.org/266/love-is-a-sign, Erişim tarihi 22.7.2018
  • Kleber, B. (2014). Tony Palladino, 1930-2014, http://containerlist.glaserarchives.org/298/tony-palladino-1930-2014, Erişim tarihi 24.7.2018
  • King, E. (2005). Robert Brownjohn: Sex and Typography, New York: Princeton Architectural Press.
  • Lupton, E. (1996). Mixing Messages: Graphic Design in Contemporary Culture, New York: Princeton Architectural Press.
  • O’Toole: (2002). “First things first” https://www.designindaba.com/articles/interviews/first-things-first, Erişim Tarihi: 22.5.2019
  • Poynor, R. (2016). Exposure: Andy’s Food Mart by Tibor Kalman and M&Co, https://designobserver.com/feature/exposure-andys-food-mart-by-tibor-kalman-and-mco/39307, Erişim tarihi 26.7.2019
  • Poynor, R. (2003). No More Rules: Graphic Design and Postmodernism, USA: Yale University Press.
  • Romano, A. (2008). Expertinent: Why the Obama ‘Brand’ Is Working, https://www.newsweek.com/expertinent-why-obama-brand-working-219922, Erişim tarihi 5.4.2019
  • Meggs, P. B., Purvis, A. W. (2012). Meggs’ History of Graphic Design, ABD: Wiley
  • Shaughnessy, A. (2009). Graphic Design: A User’s Manual, İngiltere: Laurence King Publishers.
  • Siegel, D. (2002). Is Gotham the New Interstate?, https://themorningnews.org/article/is-gotham-the-new-interstate, Erişim tarihi 1.4.2019
  • Twemlow, A. (2016). Grafik Tasarım Ne İçindir?, İstanbul: Yapı Endüstri Merkezi Yayınları.
  • Ulrich, F. (2017). Introducing FontFont Type Board: Interview with Jonathan Barnbrook, https://www.fontshop.com/content/introducing-fontfont-type-board-jonathan-barnbrook
  • Görsel 1: Monthly Graphic dergisinin ekindeki New York'ta halk sanatı tabela fotoğrafları,https://designarchives.aiga.org/#/entries/%2Bid%3A16461/_/detail/relevance/asc/0/7/16461/monthly-graphic-supplementphotographs-of-folk-art-signs-nyc/1, Erişim tarihi 28.7.2018
  • Görsel 2: Psycho’nun kapağından detay, http://containerlist.glaserarchives.org/index.php?id=154, Erişim tarihi 25.2.2019
  • Görsel 3: Brownjohn, Chermayeff ve Geismar, 1958 yılında Brüksel Dünya Fuarı’nda Amerikan Pavronu için yaptıkları tasarım. (King, 2005: 116).
  • Görsel 4: Seymour Chwast tarafından 1965 yılında Elektra Records için yapılan afiş. (Aynsley, 2004: 153).
  • Görsel 5: M&Co.’nun Florent Restoranı için kartpostal tasarımı, 1989. https://collection.cooperhewitt.org/objects/18644307/, Erişim tarihi 10.8.2018
  • Görsel 6: Charles S. Anderson’un 1989 tarihli afişi. (Lupton, 1996: 107).
  • Görsel 7: Liman İşletmeleri Otobüs Terminali’nin görüntüsü ve Gotham yazıyüzü. https://www.theyeshivaworld.com/news/headlines-breaking-stories/444549/new-york-lawmakers-vow-to-fight-plan-for-new-bus-terminal.html, Erişim tarihi 7.4.2019
  • Görsel 8: Priori Sans yazıyüzü. (Twemlow, 2016: 15).

VERNACULAR AS A DESIGN APPROACH IN VISUAL COMMUNICATION DESIGN

Year 2019, Issue: 34, 174 - 182, 17.10.2019

Abstract

At the beginning, the concept of vernacular, which has been used in the field of architecture, has been widely used in the fields of literature, history, cultural studies and archeology. This concept finds its own place in the discipline of visual communication design. In the field of visual communication design, vernacular that refers to the graphic products produced in accordance with the visual culture of the region with the skills of the craftsman who have not educated in the design schools. These attributes are associated with the visual culture of the locals, usually made by unknown people due to they are characterized by the words of anonymous and authentic. In terms of the designers, it was seen that the subjects were inspired by discovery and later turned into a way of thinking method and an ethical attitude within the professional discipline.      

In this study which is explained the general characteristics of the concept of vernacular is mentioned, and it is discussed the process, which vernacular follows, and its position in the discipline of visual communication design. It is tried to explain the subject with examples that reflect the attitude of the designers.            

References

  • Ambrose, G. ve Harris, P. (2006). Görsel Tasarım Sözlüğü, İstanbul: Literatür Yayınları.
  • Aynsley, J. (2004). Pioneers Of Modern Graphic Design, Londra: Octopus Publishing.
  • Beirut, M. (2007). Seventy-nine Short Essays on Design, New York: Princeton Architectural Press. Dean, D. (1994). A slipware dish by Samuel Malkin: an analysis of vernacular design, Journal of Design History, 7 (3): 153-167.
  • “First Things First Manifesto 2000”, http://www.eyemagazine.com/feature/article/first-things-first-manifesto-2000, Erişim tarihi 20.5.2019
  • Helfand, J., Drenttel, W. (2006). Wonders revealed: design and faux science. M. Beirut, W. Drenttel ve S. Heller (Ed.) Looking Closer 5 içinde (s. 202-206), New York: Allworth Press.
  • Heller: (1999). Design Literacy (continued): Understanding Graphic Design, New York: Allworth Press.
  • Heller: ve Anderson, G. (2016). The Typography Idea Book: Inspiration From 50 Masters. Londra: Laurence King Publishing.
  • Heller, S., Thompson, C. (2000) Letterforms: Bawdy, Bad and Beautiful: The Evolution of Hand-Drawn, Humorous, Vernacular, and Experimental Type, New York: Watson-Guptill.
  • Heller: (2004). Design Literacy: Understanding Graphic Design, New York: Allworth Press.
  • Kalman, T., Jacobs, K. (1990). We’re here to be bad, Print Dergisi, 44 (1), 1-4.
  • Kenedi, A. (2011). Tibor Kalman vs. Joe Duffy Revisited, https://www.printmag.com/interviews/tibor-kalman-vs-joe-duffy-a-retrospective, Erişim tarihi 1.2.2019
  • Kleber, B. (2013). Love is a sign, http://containerlist.glaserarchives.org/266/love-is-a-sign, Erişim tarihi 22.7.2018
  • Kleber, B. (2014). Tony Palladino, 1930-2014, http://containerlist.glaserarchives.org/298/tony-palladino-1930-2014, Erişim tarihi 24.7.2018
  • King, E. (2005). Robert Brownjohn: Sex and Typography, New York: Princeton Architectural Press.
  • Lupton, E. (1996). Mixing Messages: Graphic Design in Contemporary Culture, New York: Princeton Architectural Press.
  • O’Toole: (2002). “First things first” https://www.designindaba.com/articles/interviews/first-things-first, Erişim Tarihi: 22.5.2019
  • Poynor, R. (2016). Exposure: Andy’s Food Mart by Tibor Kalman and M&Co, https://designobserver.com/feature/exposure-andys-food-mart-by-tibor-kalman-and-mco/39307, Erişim tarihi 26.7.2019
  • Poynor, R. (2003). No More Rules: Graphic Design and Postmodernism, USA: Yale University Press.
  • Romano, A. (2008). Expertinent: Why the Obama ‘Brand’ Is Working, https://www.newsweek.com/expertinent-why-obama-brand-working-219922, Erişim tarihi 5.4.2019
  • Meggs, P. B., Purvis, A. W. (2012). Meggs’ History of Graphic Design, ABD: Wiley
  • Shaughnessy, A. (2009). Graphic Design: A User’s Manual, İngiltere: Laurence King Publishers.
  • Siegel, D. (2002). Is Gotham the New Interstate?, https://themorningnews.org/article/is-gotham-the-new-interstate, Erişim tarihi 1.4.2019
  • Twemlow, A. (2016). Grafik Tasarım Ne İçindir?, İstanbul: Yapı Endüstri Merkezi Yayınları.
  • Ulrich, F. (2017). Introducing FontFont Type Board: Interview with Jonathan Barnbrook, https://www.fontshop.com/content/introducing-fontfont-type-board-jonathan-barnbrook
  • Görsel 1: Monthly Graphic dergisinin ekindeki New York'ta halk sanatı tabela fotoğrafları,https://designarchives.aiga.org/#/entries/%2Bid%3A16461/_/detail/relevance/asc/0/7/16461/monthly-graphic-supplementphotographs-of-folk-art-signs-nyc/1, Erişim tarihi 28.7.2018
  • Görsel 2: Psycho’nun kapağından detay, http://containerlist.glaserarchives.org/index.php?id=154, Erişim tarihi 25.2.2019
  • Görsel 3: Brownjohn, Chermayeff ve Geismar, 1958 yılında Brüksel Dünya Fuarı’nda Amerikan Pavronu için yaptıkları tasarım. (King, 2005: 116).
  • Görsel 4: Seymour Chwast tarafından 1965 yılında Elektra Records için yapılan afiş. (Aynsley, 2004: 153).
  • Görsel 5: M&Co.’nun Florent Restoranı için kartpostal tasarımı, 1989. https://collection.cooperhewitt.org/objects/18644307/, Erişim tarihi 10.8.2018
  • Görsel 6: Charles S. Anderson’un 1989 tarihli afişi. (Lupton, 1996: 107).
  • Görsel 7: Liman İşletmeleri Otobüs Terminali’nin görüntüsü ve Gotham yazıyüzü. https://www.theyeshivaworld.com/news/headlines-breaking-stories/444549/new-york-lawmakers-vow-to-fight-plan-for-new-bus-terminal.html, Erişim tarihi 7.4.2019
  • Görsel 8: Priori Sans yazıyüzü. (Twemlow, 2016: 15).
There are 32 citations in total.

Details

Primary Language Turkish
Journal Section Makaleler
Authors

Murat Ertürk

Publication Date October 17, 2019
Submission Date May 22, 2019
Published in Issue Year 2019 Issue: 34

Cite

APA Ertürk, M. (2019). GÖRSEL İLETİŞİM TASARIMINDA BİR TASARIM YAKLAŞIMI OLARAK VERNAKÜLER. Sanat Dergisi(34), 174-182.