Turkish Graphic Designers / Türk Grafik Tasarımcıları

With the adoption of Roman alphabet, in 1928, the graphic design in Turkey underwent a drastic transformation, and became totally westernized. Under the prominent German influence the new alphabet heralded a project of modernization, which severed the new republic's memory of her Ottoman imperial era. With the help of German graphic designers, formal graphic design as a discipline was introduced at the Istanbul State Academy of Fine Arts in 1927. Later, in 1957, the State School of Applied Fine Arts was established. Ihap Hulusi (1896-1986) – is considered as the father of the modern Turkish graphic design who was heavily influenced by German Gebrauchsgrafik in Germany of Ludwig Hohlwein of Munich.

With the establishment of the Higher School of Applied Industrial Arts in the 1970s, Turkish graphic design entered into its more mature and self-confident phase. Today there are many design schools throughout the country with many women designers at the forefront of the profession, and many of them playing significant role in the Turkish Society of Graphic Artists, established in 1968, which regularly organizes annual exhibitions, and engages in many design activities.

Ihap Hulusi (1896-1986)

Sait Maden: (1932)
 

Hürriyet Yolu - Kapak tasarımı

Bugünün Diliyle Mevlana - Kapak tasarımı

Kurtlar Sofrası - Kapak tasarımı

Fareler ve İnsanlar - Kapak tasarımı

Güvercinliğimin Hikayesi - Kapak tasarımı

Ahmet Naci Firat,  

Geray Gencer

Mehmet Gozetlik

Seyhan Özdemir 

Atilla Ergüder

Turkish Logos 

....and Turkish Movie Posters 

In the Streets of Istanbul, Istanbul Sokaklarında, Muhsin Ertuğrul, 1931, this is the first sound film of the Turkish cinema in the geometrical and plain style of Art Deco.

Bal, Honey, 2010

Les Amours imaginaires, Heartbeats, 2010

Karanliktakiler, In Darkness, 2009

Vavien, 2009

When We Leave, Die Fremde, 2010

Mustafa,  a documentary about the life of Atatürk the founder of modern Turkey. The poster depicts the characterization of him in the documentary as a lonely figure, a heavy drinker and a failed husband, racked by doubts at the end of his life. Critics accused director Can Dundar, a popular and well-respected journalist, of lying, insulting Turkishness and even being part of an Islamist plot to weaken the staunchly secularist military.

Dersimis: Atatürk, a propagandist movie poster, more to the liking of the Turkish military.