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Editors
Chapter 1
OURISM PO EN IAL OF EA (CAMELLIA SINENSIS L.) AREAS; IN
CASE OF EAS ERN BLACK SEA REGION
Nilgün GÜNEROĞLU, Cengiz ACAR .................................................... 1
Chapter 2
HE IMPAC OF CLIMA E CHANGE ON FLOOD AND FIRE
DISAS ERS: HE CASE OF MARMARIS
Pelin SARICIOĞLU, İdil AYÇAM, Asena SOYLUK ............................... 15
Chapter 3
ASSESSMEN OF FLOOD RISK DUE O CLIMA E CHANGE AND
DE ERMINA ION OF MEASURES VIA FU URE PROJEC IONS
Elvan KUMTEPE, İdil AYÇAM, Asena SOYLUK ................................... 1
Chapter 4
A GENERAL OVERVIEW OF PRO-POOR OURISM HROUGH
HE LOCAL ECONOMIC DEVELOPMEN S RA EGIES OF
IN ERNA IONAL ORGANIZA IONS
Esra ZENGİN GENGÖRÜ ..................................................................... 51
Chapter 5
REGIONALISM AS AN ARCHI EC URAL DESIGN OOL:
ARCHI EC URAL APPROACH OF URGU CANSEVER
Ayça ARSLAN ...................................................................................... 79
Chapter 6
URBAN INEQUALI IES: SPA IAL DE EC ION MODEL
Aslıhan ÇETİN, Şefika Gülin BEYHAN, Engin KEPENEK .................... 105
Chapter 7
USAGE AREAS AND LANDSCAPE VALUE OF APRICO REE
(PRUNUS ARMENIACA L.)
Nilgün GÜNEROĞLU, Emine Hilal DEMİRSOY ................................... 119
Chapter 8
POS ER DESIGN AS A PRODUC OF GRAPHIC AR :
UNDERS ANDING SPACE
Elif Merve ALPAK, Tuğba DÜZENLİ .................................................... 1
CHAPTER 8
POSTER DESIGN AS A PRODUCT OF
GRAPHIC ART: UNDERSTANDING SPACE
1 Assoc. Pro . Dr., Karadeniz echnical University, e mail: eli mervealpak@gmail.com Orcid: 0000
0002 2306 4299
2 Pro . Dr., Karadeniz echnical University, e mail: tugbaduzenli@gmail.com Orcid: 0000 0001
6957 3921
134 . Elif Merve ALPAK, Tuğba DÜZENLİ
1. Introduct on
Art, which is a part o societal consciousness and culture, interprets and
re ects the reality existing outside o itsel in a unique manner, particularly in
an aesthetic dimension. Te common eature o all art orms is their inclusion
o the power o intellectual and emotional expression. From both the artist’s
and the viewer’s perspectives, the contribution o visual arts to understanding
and comprehending the world in a visual manner is an undisputed act. One
such area o design and artistic expression based on visual images, which
has held signi icant importance in all societies rom the past to the present,
is graphic design Gümüştekin, 2013 . Te most undamental design orm o
graphic art is the poster.
Posters are graphic products where design and art perspectives are
equally weighted. A poster is de ined as “a visual tool where the subject matter
is e ectively, in ormatively, and aesthetically presented” Gündem, 1995 .
Becer 2011 also suggests that poster art serves the purpose o enabling clear,
economical, and aesthetic communication o a message, creating a symbolic
representation and presentation area.
Poster design is created through the combination o various elements
such as photography, painting, illustration, typography, color, and line to
orm a visual design, and meaning is constructed based on the relationship
between these elements Çeken & Arslan, 2016 . Poster design is used or
advertising something or or the dissemination o various in ormation, events,
thoughts, and teachings through o icial news and propaganda. Posters are
generally categorized into three groups: 1. Cultural posters estivals, seminars,
symposiums, concerts, cinema, theater, exhibitions, promotion o a place or
space, and sports , 2. Social Posters educational and advisory posters on topics
such as health, transportation, civil de ense, tra ic, and the environment ,
and 3. Advertising Posters posters promoting a product or service, ashion,
industry, corporate advertising, press publication, ood, tourism, etc. .
Regardless o the purpose or which a poster is made theater ilm book poster,
area space promotion, product advertisement, event promotion exhibition
discussion, etc. , it should be able to create meanings that enable evaluation in
the mind o the viewer Parsa, 2008 . Users experience their initial impressions
o the subject through the poster. Tere ore, preliminary in ormation about
the content o the subject should be presented to the user through the poster.
Subconscious control is exercised through posters, and users are provided
with clues about the subject o the poster Çeken & Arslan, 2016 . Tere ore,
poster art is actually a orm o communication, conveying a message through
a printed and replicated image.
Te key to e ectively, in ormatively, and aesthetically conveying a subject
lies directly in the success o poster design. Te success o poster design is
International Studies in Architecture, Planning and Design - March 2024 . 135
success ul designs. Özkan et al. 2017 , in their studies, stated that by adding
contrast to the harmonic principle they use in orm, they overcome monotony.
Tus, they showed that by preventing chaos in design, unity coherence is
achieved, and at the same time, variations in scales create dominant ocus
areas in the design Alpak et al., 2018b; Yılmaz et al., 2020 . Consequently,
whether designed or cultural, social, or advertising purposes, to achieve
success ul poster design, it is essential to.
1. Functional Dimensions
• Level o in ormation provided about the subject
• Level o engagement with the target user group
• Level o conveying the experiences o the space
2. Aesthetic Dimensions
• Design elements such as scale, orm, color, texture
• Designs should be created considering design principles such as
harmony, contrast, coherence, dominance
Within the scope o the Architectural Design Course 2+1 o the
Department o Landscape Architecture at Karadeniz echnical University,
poster designs were created or the promotion o open spaces, considering both
unctional and aesthetic dimensions. Tese posters were evaluated to assess
whether they achieved success rom both aesthetic and unctional perspectives.
3. Method
Te materials or this study were derived rom the inal projects conducted
within the scope o the “Architectural Design 2+1 ” course during the spring
semester o the 2022 2023 academic year at Karadeniz echnical University’s
Department o Landscape Architecture. In the 2022 2023 academic year,
students were tasked with creating open space poster designs. Te poster
designs created by students were examined in this study by the instructors
who taught the course.
Te aesthetic evaluation ocused on how students integrated various
design principles and elements they had experienced in previous terms into
their poster designs as a cohesive whole. Meanwhile, the unctional dimension
o the evaluation aimed to understand which user group the space appealed to
and how users could perceive what they could experience in the space without
physically visiting it.
4. F nd ngs
In total, 68 students were enrolled in the Architectural Design course.
Within the scope o this study, the poster designs o three students were
evaluated. Examples o the poster designs created by the students are shown
in Figure 1. Detailed in ormation regarding the poster designs and their
evaluations or the three students under consideration is provided in ables
1, 2, and 3.
Functional Aesthetic
1. Level o Providing Te aesthetic dimension
In ormation Related to the o the design has been
opic: evaluated based on the
asarlaması için istenilen harmonic, contrast,
mekân a işi, yaşlılara dominance, balance
yönelik bir mekandır. principles associated with
Öğretim üyelerinin yaptığı design elements such as
değerlendirme: A iş yalnızlık material, orm, scale, color,
hissi duyan yaşlı grubunun texture, and typography,
ihtiyaçlarına yönelik bir mekân examining whether the
hissi uyandırmaktadır. design exhibits coherence.
2. Level o Relationship with
Te dominance principle
the arget User Group:
opic: Poster Des gn or Elderly has been utilized to
An open space poster design
Open Spaces highlight the given topic in
tailored to the needs o the
Des gner’s Object ves: the design. By employing
elderly is expected. In this
Elderly people, espec ally a er the contrast principle
regard, the selection o human
ret rement, o en exper ence in terms o color and
igures depicted in the poster
eel ngs o lonel ness. It s typography, balance is
as elderly individuals and
essent al or them to spend t me achieved in the design,
the choice o a rooted tree
w th the r peers and re ntegrate while harmony in ormal
symbolizing the experiences
nto soc al l e. Tere ore, I approaches ensures unity.
and li e history o the elderly
des gned a poster or an open Contrast in directions
have been ound to be relevant
space where the elderly can has prevented monotony
to the target user group.
spend t me w th the r peers and supported the poster
3. Level o Conveying
and overcome lonel ness. in being attention
Experiences:
In the des gn, I used black grabbing and engaging.
Te poster creates an
and wh te contrast colors to Te application o these
impression o experiencing
emphas ze lonel ness, w th a principles has ensured the
activities such as socializing,
dom nant element be ng a tree attainment o aesthetic
walking together, and
represent ng the elderly, and the success in the design.
exploring in the space.
tree branches symbol z ng the r
l e exper ences.
International Studies in Architecture, Planning and Design - March 2024 . 139
Functional Aesthetic
1. Level o Providing Te principle o
In ormation Related to the dominance is utilized to
opic: highlight the dynamic
Te poster appeals to young nature o young people’s
people by emphasizing behavior and movements.
reedom and diversity. Contrast in terms o color
provides balance in the
2. Level o Relationship with
design, while harmony
the arget User Group:
in ormal approaches
An open space poster design
ensures unity. Contrast in
tailored to the needs o young
the directions o the birds
people is expected. In this
representing the youth
regard, the selection o birds
has overcome monotony.
representing the energetic
Te relationship between
and dynamic nature o young
the design elements and
op c: Poster Design or Youth individuals, along with the
principles has ensured the
Open Spaces use o black and white pawns
achievement o aesthetic
Designer’s Objectives: Young o di erent sizes to express
and syntactic success in the
individuals aspire to reedom, their variable structures and
design.
the ability to pursue their desires, diversity, has been deemed
spend time with riends, and relevant to the target user
engage in energetic, dynamic group.
activities. Envisioning an open 3. Level o Conveying
space tailored or young people, I Experiences:
designed a poster that allows or Te poster creates an
various activities simultaneously, impression o experiencing
without restricting their lively, energetic, and ree
reedoms. In the design, I utilized spirited behavior, along with
contrast in the dimensions o the ability to engage in various
color and shapes. When selecting activities simultaneously
shapes, I paid attention to their within the space.
harmony with each other to
achieve coherence.
140 . Elif Merve ALPAK, Tuğba DÜZENLİ
Functional Aesthetic
1. Level o Providing Te principle o
In ormation Related to the dominance has been
opic: employed in the poster
Te poster targets children to highlight the dynamic
by highlighting attributes nature o children by
such as dynamic, color ul, selecting larger shapes
and cheer ul. and using contrasting
colors at the ocal
2. Level o Relationship
points o the poster.
with the arget User Group:
Additionally, the principle
An outdoor space poster
o harmony has been
design targeting children
utilized to emphasize
is expected to be created.
the importance o the
In this context, the poster
experiences within the
emphasizes the color ul
space. Contrast principles
nature o children with
in terms o color have been
the slogan Rainbow , the
op c: Çocuklar İçin Bir Açık employed to enhance
selection o play ul children
Mekân A iş asarımı the attractiveness o the
as human igures, and the
Designer Objectives: Children poster. Furthermore, to
use o ormal approaches
desire to explore, play games, achieve a balance between
indicating the dynamic
and engage in color ul, attention illed and empty spaces,
nature o the space, which
grabbing activities without getting clear voids have been
are ound to be relevant to
bored. Considering that an open created in certain areas
the user group.
space designed or children should while ensuring ullness in
3.Level o Conveying
be color ul and dynamic, without areas o interest, utilizing
Experiences::
restrictions such as climbing, the principle o contrast.
Te poster conveys the
descending, or jumping, I created Te application o these
impression o an experience
a poster design. I utilized rhythm design principles and
where children can engage
to emphasize the dynamic nature elements has contributed
in activities such as climbing,
o the space and used contrast to the achievement o
jumping, and exploring,
in the dimensions o colors and aesthetic success.
within a color ul, dynamic
shapes. When selecting shapes, space that includes various
I ensured they were harmonious topographic eatures.
with each other to achieve unity
and coherence.
5. Results
Poster applications are crucial graphic design elements in conveying
in ormation or messages to the target audience. Posters are where aesthetic
language is most e ectively and economically utilized and should be attention
grabbing. Tis attention grabbing period should be brie , and in ormation
should be conveyed in order o importance all at once. Because people can ocus
their attention on something or a short period. Within this short time rame,
the poster must be both in ormative about the subject and aesthetically
appealing. Aesthetic language is everything in poster design; it serves as design
elements that contribute to the ormation o the poster design. Te mastery,
skill, and creativity o the designer who brings these elements together directly
in uence the success o the poster.
Poster design is typically used to reach audiences o events closely related
to and in orming societies socially, such as cinema, theater, exhibitions, and
estivals, utilizing creative graphic expression techniques. Poster design is not
seen to be extensively used or purposes such as open space promotion. Open
spaces hold signi icant importance in human li e because urban areas are the
irst places people turn to in order to participate in social li e and become part
o society. Tere ore, people have the right to have an idea o what a space
o ers them and how it contributes to their experiences be ore going there.
Tus, instead o trial and error, they can use their rights to choose and use
the space based on prior knowledge. Tese opportunities can be provided to
people through space promotion, namely posters.
Tis study produced examples o poster designs or open spaces tailored
to the needs o di erent user groups elderly, young, children . People are
constantly in a consumption cycle, and this consumption process causes
designs that are ongoing and ordinary in cultural poster applications to
become uninteresting. People who constantly seek novelty and diversity
want to see the results o their curiosity in poster designs as well. Tere ore,
creativity, i.e., aesthetics, and unctionality, i.e., suitability or purpose, were
addressed in poster applications, presented to landscape architecture students.
Te principles and elements o design are universal. A landscape architecture
student’s design education has enabled them to success ully create promotional
posters related to open space design, which is their area o expertise
142 . Elif Merve ALPAK, Tuğba DÜZENLİ
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