Research Article
BibTex RIS Cite

Approaches to Creating Typographic Meaning in Poster Design

Year 2024, Volume: 14 Issue: 29, 60 - 74, 22.07.2024

Abstract

Typography plays a crucial role in graphic design, particularly in poster design, as it is a fundamental tool for organizing and utilizing typefaces to effectively convey a message. Therefore, it has a functional purpose in these fields. This research aims to analyses the impact of typography on graphic design and poster design, while acknowledging the diverse perspectives and opinions on the subject. This text explores the role of typography in visual communication, including character selection, arrangement, and use of space. Typography is a powerful tool for conveying messages and establishing emotional connections. It is important to consider various factors, such as individual differences, technological advancements, and cultural evolution that have historically impacted typography. The invention of the printing press has greatly contributed to the widespread use of typography and the ease of printing typefaces. Over time, typography has evolved to include experimental approaches, such as the formal reconsideration of typefaces and their combination with visuals. Thus, typography has been approached not only as a means of legibility, but also as a design element that connects form, aesthetics, and semantics. This approach has led to the emergence of various design approaches. Technological innovations have had a significant impact on the potential of typography in visual communication in recent years. Thanks to computers and digital typefaces, designers now have more flexibility and freedom. This has enabled the creation of text in various fonts and styles, resulting in more diverse and impressive designs. As a result, typography has become more effective, particularly in poster designs. The combination of visuals and text, whether used together or separately, can be a powerful tool for conveying a desired message. Typography plays a crucial role in this context, enabling messages to be conveyed effectively and adding depth to visual communication. It is often used to emphasize the meaning of a message or to convey a particular emotion. For example, the use of bold and large fonts can convey strong and striking messages, while thin and elegant fonts can create a more emotional or refined effect. It is worth noting that since the 20th century, designers have aimed to utilize the possibilities offered by design technologies in their work. In the field of typography, it is notable that designers have been open to experimental approaches, which have led to the development of new design methods. These methods, which continue to evolve, are closely linked to the structure of the text and can create different meanings and semantic connections. It is worth noting that these approaches are becoming increasingly diverse. Various techniques, such as formal alterations to the text, letter reorganization, and the integration of visuals and text, serve to illustrate this. Hence, this tool has been developed and is effectively employed in communication, especially in poster designs.

Typography plays an important role in graphic design, as it helps to communicate meaning. Therefore, it is essential to have an understanding of the historical development of typography.
Research on the significance and impact of typography in graphic design, particularly in poster design, is crucial for the future of the field.
The use of clear and concise language, as well as a logical structure, is important in conveying this information. Well-organized and thoughtfully chosen typography can be an effective tool to convey a message and establish an emotional connection with the recipient. It is recommended that designers fully utilize the potential of typography and use it appropriately in their designs.

References

  • Ahmed, A., Elias, W., Ahmed, N. K. (2022). Evaluating luxor brand visual identity from officials and stakeholders point of view. Minia Journal of Tourism and Hospitality Research MJTHR, 14(2): 127-139. DOI: 10.21608/mjthr.2022.161025.1056
  • Al-Jafar, A. A., Jouhar, M. R. (2023). Typography and meaning-making in arabic children’s literature: the covert communication. Text &Amp; Talk, DOI: 10.1515/text-2021-0145
  • Boyraz, G. (2022). A syllabus suggestion for an undergraduate kinetic typography course. Asian Research Journal of Arts &Amp; Social Sciences, 113-117. DOI:10.9734/arjass/2022/v18i330347 Carter, R., Day, B., Meggs, P. B. (2014). Typographic Design: Form and Communication. (6th ed.). Hoboken, NJ: John Wiley & Sons.
  • Erkuş, A. (2011).Davranış Bilimleri İçin Bilimsel Araştırma Süreci. (3.Baskı), Ankara:Seçkin Yayınları.
  • Grabska, E., Grabska-Gradzińska, I., Frodyma, T. (2022). The role of typography in visual design. In T. Oksala, T. Orel, A. Mutanen, M. Friman, J. Lamberg, M. Hintsa (Eds.), Craft, Technology and Design. pp. 118–130.
  • He, X. (2017). Transitivity of kinetic typography: theory and application to a case study of a public service advertisement. Visual Communication, 16(2): 165-194. DOI:10.1177/1470357216684080
  • Hostetler, S. C. (2006). Integrating Typography and Motion in Visual Communication. http://www.units.muohio.edu/codeconference/papers/papers/Soo%20Hostetler-2006%20iDMAa%20Full%20Paper.pdf, (accessed in: 05.01.2024), (In English).
  • Kartika, R. (2015). Memilih dan memanfaatkan tipografi. Humaniora, 6(3): 312-318.
  • Kırca, M., UluçaY, N. Ö. (2022). Sanat ve mekan tasarımında biçim ve anlam bağlamında tipografi. Journal of Turkish Studies, 17(6): 1405-1419.
  • Lee, J., Soojin, J., Forlizzi, J., Hudson, S. E. (2006). Using kinetic typography to convey emotion in text-based interpersonal communication. Proceedings of the 6th Conference on Designing Interactive Systems. DOI: 10.1145/1142405.1142414
  • Lewis, C. S. and Walker, P. (1989). Typographic influences on reading. British Journal of Psychology, 80(2): 241-257. DOI: 10.1111/j.2044-8295.1989.tb02317.x
  • Londoño, J. (2015). The latino-ness of type: making design identities socially significant. Social Semiotics, 25(2): 142-150. DOI: 10.1080/10350330.2015.1010320
  • Madden, M. (2014). Pedagogical Encounters, Graduate Teaching Assistants, and Decolonial Feminist Commitments. Feminist Teacher, 25(1): 55–74. DOI: 10.5406/femteacher.25.1.0055
  • Meggs, B, P., Purvis, W, A. (2012). Meggs’ History of Graphic Design, New Jersey: John Wiley ve Sons Inc.
  • Nedeljković, U., Novaković, D., Puškarević, I., Tomić, I. (2024). Helvetica as a type convention for the youthful and trendy image: a consumer response to designer safe option. Marketing, 45(1): 50-62. DOI: 10.5937/markt1401050n
  • Sari, N. L. D. I. D., Mudra, I. W., Sarjani, N. K. P. (2022). Vernacular typography design of bamboo keben craft as an opportunity of creating digital typeface. Harmonia: Journal of Arts Research and Education, 22(1): 187-199. DOI: 10.15294/harmonia.v22i1.34861
  • Sarmento, T. and Brito, P. Q. (2021). Visual identity of cities: designers’ tools and meanings. Journal of Place Management and Development, 15(2): 182-201. DOI: 10.1108/jpmd-06-2020-0056
  • Suen, C. Y., Nikfal, S., Zhang, B., Janbi, J. (2017). Characteristics of english, chinese and arabic typefaces. Advances in Chinese Document and Text Processing, 1-30. DOI: 10.1142/9789813143685_0001
  • Tomaszewski, A. (1996). Leksykon pism drukarskich. Warszawa, Poland: Wyd. Krupski i S-ka.
  • Vladimirova, G. (2017).Typography as a determining factor in the visual communication design, Knowledge–International Journal, 19(3): 1333-1337.
  • Yadav, P., Chakrabarti, D., Bisoyi, D. (2014). Typography as a statement of design. Paper presented at the International Ergonomics Conference HWWE 2014, Guwahati, India.
  • Yıldırım, A., Şimşek, H. (2011). Sosyal Bilimlerde Araştırma Yöntemleri. Ankara: Seçkin Yayıncılık.
  • Görsel Kaynakları
  • Görsel 1. https://www.si.edu/
  • Görsel 2. https://www.artsy.net/artwork
  • Görsel 3. https://www.sfmoma.org/artwork/2000.514/
  • Görsel 4. https://en.wikipedia.org/wiki/The_Mouse%27s_Tale
  • Görsel 5.https://essentiels.bnf.fr/fr/image/5ff4b592-e0f8-4e37-ac85-a6f19863b115-publication-la-condamnation-charivari
  • Görsel 6. McAlhone, B. & Stuart, D. (2010). A Smile in the Mind – Witty thinking in graphic design. Phaidon Press.
  • Görsel 7. https://calligramdesigners.blogspot.com/2009/03/womans-day.html
  • Görsel 8. http://indexgrafik.fr/wladyslaw-pluta/wladyslaw-pluta-affiche-mary-stuart-1996/
  • Görsel 9. adbrio.files.wordpress.com

Afiş Tasarımında Tipografik Anlam Yaratma Yaklaşımları

Year 2024, Volume: 14 Issue: 29, 60 - 74, 22.07.2024

Abstract

Alfabenin içerdiği ögeleri kullanarak yazmak, başlangıçta iletişim kurmanın bir yolu olarak yaratılmışken; günümüzde sembollerle bir arada ele alınarak tasarım amacına hizmet etmektedir. Bu anlamda karakter aralığı, satır aralığı, punto büyüklüğü, sütunlar ve harflerden çok daha fazlasıdır. Tipografinin bir mesajı iletme gücü, bu unsurların ötesine geçmektedir. Bu nedenle araştırmada, tipografinin grafik tasarım ve afiş tasarımındaki etkisi ele alınmıştır. Tipografinin görsel iletişimdeki temel unsurlardan biri olarak grafik tasarım içinde kullanımı ve mesajların etkili bir şekilde iletilmesindeki rolü değerlendirilmiştir. Buna bağlı olarak, afiş tasarımının tipografi ile ilişkisi ve tipografinin afiş tasarımındaki rolü incelenmiştir. Ayrıca tipografinin anlam oluşturmadaki önemi ve tarihsel gelişimi temel yaklaşımlar olarak ele alınmıştır. Bu kapsamda, tipografinin yazı karakter seçimi, düzenleme, boşluk kullanımı gibi çeşitli unsurlarla nasıl bir anlam oluşturduğu ve mesajların iletilmesine olan katkısı incelenmiştir. Biçimi anlatı metniyle birleştirerek duyguyu ortaya çıkarmanın etkili bir yolu olarak görülmektedir. Zaman içerisinde tipografi, bireysel farklılıklar, teknolojik ilerleme ve kültürel evrim gibi faktörlerden etkilenerek değişmiştir. Özellikle son yıllarda teknolojik inovasyon, görsel iletişimde tipografi potansiyelini büyük ölçüde geliştirmiştir. Araştırmada, tipografinin grafik tasarım ve özellikle afiş tasarımındaki önemine ve etkisine odaklanarak, tipografinin iletişimdeki rolü anlamsal olarak açıklanmıştır. Tipografinin estetik ve işlevsel yönlerinin, mesajların etkili bir şekilde iletilmesine ve görsel iletişime derinlik katmasına olanak sağladığı görülmektedir.

References

  • Ahmed, A., Elias, W., Ahmed, N. K. (2022). Evaluating luxor brand visual identity from officials and stakeholders point of view. Minia Journal of Tourism and Hospitality Research MJTHR, 14(2): 127-139. DOI: 10.21608/mjthr.2022.161025.1056
  • Al-Jafar, A. A., Jouhar, M. R. (2023). Typography and meaning-making in arabic children’s literature: the covert communication. Text &Amp; Talk, DOI: 10.1515/text-2021-0145
  • Boyraz, G. (2022). A syllabus suggestion for an undergraduate kinetic typography course. Asian Research Journal of Arts &Amp; Social Sciences, 113-117. DOI:10.9734/arjass/2022/v18i330347 Carter, R., Day, B., Meggs, P. B. (2014). Typographic Design: Form and Communication. (6th ed.). Hoboken, NJ: John Wiley & Sons.
  • Erkuş, A. (2011).Davranış Bilimleri İçin Bilimsel Araştırma Süreci. (3.Baskı), Ankara:Seçkin Yayınları.
  • Grabska, E., Grabska-Gradzińska, I., Frodyma, T. (2022). The role of typography in visual design. In T. Oksala, T. Orel, A. Mutanen, M. Friman, J. Lamberg, M. Hintsa (Eds.), Craft, Technology and Design. pp. 118–130.
  • He, X. (2017). Transitivity of kinetic typography: theory and application to a case study of a public service advertisement. Visual Communication, 16(2): 165-194. DOI:10.1177/1470357216684080
  • Hostetler, S. C. (2006). Integrating Typography and Motion in Visual Communication. http://www.units.muohio.edu/codeconference/papers/papers/Soo%20Hostetler-2006%20iDMAa%20Full%20Paper.pdf, (accessed in: 05.01.2024), (In English).
  • Kartika, R. (2015). Memilih dan memanfaatkan tipografi. Humaniora, 6(3): 312-318.
  • Kırca, M., UluçaY, N. Ö. (2022). Sanat ve mekan tasarımında biçim ve anlam bağlamında tipografi. Journal of Turkish Studies, 17(6): 1405-1419.
  • Lee, J., Soojin, J., Forlizzi, J., Hudson, S. E. (2006). Using kinetic typography to convey emotion in text-based interpersonal communication. Proceedings of the 6th Conference on Designing Interactive Systems. DOI: 10.1145/1142405.1142414
  • Lewis, C. S. and Walker, P. (1989). Typographic influences on reading. British Journal of Psychology, 80(2): 241-257. DOI: 10.1111/j.2044-8295.1989.tb02317.x
  • Londoño, J. (2015). The latino-ness of type: making design identities socially significant. Social Semiotics, 25(2): 142-150. DOI: 10.1080/10350330.2015.1010320
  • Madden, M. (2014). Pedagogical Encounters, Graduate Teaching Assistants, and Decolonial Feminist Commitments. Feminist Teacher, 25(1): 55–74. DOI: 10.5406/femteacher.25.1.0055
  • Meggs, B, P., Purvis, W, A. (2012). Meggs’ History of Graphic Design, New Jersey: John Wiley ve Sons Inc.
  • Nedeljković, U., Novaković, D., Puškarević, I., Tomić, I. (2024). Helvetica as a type convention for the youthful and trendy image: a consumer response to designer safe option. Marketing, 45(1): 50-62. DOI: 10.5937/markt1401050n
  • Sari, N. L. D. I. D., Mudra, I. W., Sarjani, N. K. P. (2022). Vernacular typography design of bamboo keben craft as an opportunity of creating digital typeface. Harmonia: Journal of Arts Research and Education, 22(1): 187-199. DOI: 10.15294/harmonia.v22i1.34861
  • Sarmento, T. and Brito, P. Q. (2021). Visual identity of cities: designers’ tools and meanings. Journal of Place Management and Development, 15(2): 182-201. DOI: 10.1108/jpmd-06-2020-0056
  • Suen, C. Y., Nikfal, S., Zhang, B., Janbi, J. (2017). Characteristics of english, chinese and arabic typefaces. Advances in Chinese Document and Text Processing, 1-30. DOI: 10.1142/9789813143685_0001
  • Tomaszewski, A. (1996). Leksykon pism drukarskich. Warszawa, Poland: Wyd. Krupski i S-ka.
  • Vladimirova, G. (2017).Typography as a determining factor in the visual communication design, Knowledge–International Journal, 19(3): 1333-1337.
  • Yadav, P., Chakrabarti, D., Bisoyi, D. (2014). Typography as a statement of design. Paper presented at the International Ergonomics Conference HWWE 2014, Guwahati, India.
  • Yıldırım, A., Şimşek, H. (2011). Sosyal Bilimlerde Araştırma Yöntemleri. Ankara: Seçkin Yayıncılık.
  • Görsel Kaynakları
  • Görsel 1. https://www.si.edu/
  • Görsel 2. https://www.artsy.net/artwork
  • Görsel 3. https://www.sfmoma.org/artwork/2000.514/
  • Görsel 4. https://en.wikipedia.org/wiki/The_Mouse%27s_Tale
  • Görsel 5.https://essentiels.bnf.fr/fr/image/5ff4b592-e0f8-4e37-ac85-a6f19863b115-publication-la-condamnation-charivari
  • Görsel 6. McAlhone, B. & Stuart, D. (2010). A Smile in the Mind – Witty thinking in graphic design. Phaidon Press.
  • Görsel 7. https://calligramdesigners.blogspot.com/2009/03/womans-day.html
  • Görsel 8. http://indexgrafik.fr/wladyslaw-pluta/wladyslaw-pluta-affiche-mary-stuart-1996/
  • Görsel 9. adbrio.files.wordpress.com
There are 32 citations in total.

Details

Primary Language Turkish
Subjects Plastic Arts (Other)
Journal Section Görsel ve Plastik Sanatlar / Visual and Plastic Arts
Authors

Merve Ekiz Kaya

Early Pub Date July 30, 2024
Publication Date July 22, 2024
Submission Date March 4, 2024
Acceptance Date July 22, 2024
Published in Issue Year 2024 Volume: 14 Issue: 29

Cite

APA Ekiz Kaya, M. (2024). Afiş Tasarımında Tipografik Anlam Yaratma Yaklaşımları. İnönü Üniversitesi Sanat Ve Tasarım Dergisi, 14(29), 60-74.