istype

Onur Yazıcıgil (Sabancı Üniversitesi) ve Alessandro Segalini (Izmir Ekonomi Üniversitesi) tarafından tasarlanan ISType (Istanbul Type Seminerleri) Türkiye'de tipografik okuryazarlığı teşvik etmek amacıyla düzenlenen bir konferanslar ve atölye çalışmaları dizisidir.

Ilkini gerçekleştireceğimiz bu etkinlikte tarihi, kaligrafiyi, teknolojiyi, matematiği, programlamayı, çizimi ve sanatı bir araya getirerek tipografi eğitimine ve kuramına yönelik yapısal yaklaşımlar geliştirmesi planlanan konferanslar ve pratiğe yönelik atölye çalışmaları düzenlenecektir. ISType öğrencilere, profesyonellere ve meraklılara fikirlerini ve ilhamlarını paylaşabilecekleri uluslararası bir ortam sunacaktır. Ayrıca, Türkiye'de gelişmekte olan tipografi mirasına katkıda bulunarak gelecek nesillerin tipografik tasarım ve uygulama konusunda daha fazla araştırma yapmalarını ve katkıda bulunmalarını sağlamayı hedeflemektedir.

Devamlı değişen dünyamızda insanlar zamanın ağır basan ihtiyaçları ve zevkleri doğrultusunda doğal olarak seslerini değiştirmeyi sürdürmektedirler. Tipografi de bundan nasibini alır. Tipografik okuryazarlığı geliştirmenin tam sırası. Uluslararası fikir ve uygulama paylaşımına verdiğimiz değer ile tipografinin kökenlerini keşfetmek ve gittiği yönü daha iyi anlamak üzere yola çıktık.

Bu yıl düzenlenecek olan atölye çalışmaları ve konferanslar hakkında daha fazla bilgi almak için lütfen Program ve Konuşmacılar sayfalarını ziyaret ediniz. ISType'a katılmak için, lütfen Kayıt sayfasındaki formu doldurunuz. ISEA Istanbul 2011 ile birlikte yürütülecek olan ISType 2011 olarak diğer sponsorlarımız Sabancı Üniversitesi ve Mas Matbaa'ya teşekkür ederiz.



http://istype.com/tr/about.html

Yerli Dergiler

- Ara Sıra Dergisi (RYD yayını) (Dernekten temin edebilirsiniz)
(Grafik tasarım, reklam, halkla ilişkiler ve iletişim dergisi)

- Arasta ( Turkish Time dergisi ile sunulmaktadır) (Alışveriş merkezleri iletişimi ve pazaralaması üzerine AMPD dergisi)

- Digitalage (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Dijital dünyaya ilişkin dergi)

- Digital Arts (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Dijital illütsrasyon ve uygulamaları üzerine dergi)

- Farmaskop (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Medikal sektöre yönelik dergi)

- Grafik Tasarım (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Grafik tasarım, reklam ve iletişim alanına yönelik dergi)

- IP (Marketing Türkiye ile sunulmaktadır) (Dijital dünyaya yönelik dergi)

İZ (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Fotoğraf sanatı üzerine dergi)

- Macline (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Mac kullanıcılarına yönelik dergi)

- Marketing Türkiye (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Pazarlama iletişimi dergisi)

- MediaCat (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Pazarlama iletişimi dergisi)

- PhotoLine (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Fotoğrafın tekniği üzerine dergi)

- Photoshop Magazin (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Photoshop programı üzerine dergi)

- Pİ (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Akademik pazarlama iletişimi üzerine makale dergisi)

- Sports Marketing (Marketing Türkiye dergisi ile sunulmaktadır) (Spor pazarlaması üzerine dergi)

- The Brand Age (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Marka yönetimi dergisi)

- Workshop (Tüm gazetebayilerinde ve kitapevlerinde bulunmaktadır) (Medikal iletişim dergisi)



Yabancı Dergiler

(Arşiv Yayıncılık ve Bilimsel Eserler'den temin edilebiliyor)

- Adbusters (Reklam eleştirilerinin yer aldığı reklam karşıtları dergisi)

- Advertising Age (Reklamcılık ve pazarlama üzerine bir dergi)

- Adweek (Reklamcılık dergisi)

- Campaigne (Deklamcılık dergisi)

- Communication Arts (İletişim, grafik tasarım, genel tasarım, fotoğraf, illüstrasyon ve reklamcılık dergisi)

- Creative Rewiev (İletişim, grafik tasarım, genel tasarım, fotoğraf, illüstrasyon ve reklamcılık dergisi)

- IDN Magazine (İletişim, grafik tasarım, genel tasarım, fotoğraf, illüstrasyon ve reklamcılık dergisi)

- Lürzer's Archive (İletişim, grafik tasarım, genel tasarım, fotoğraf, illüstrasyon ve reklamcılık dergisi)

- MacWorld (Mac kullanıcılarına yönelik dergi)

- Med Ad News (Medikal sektördeki iletişime aktaran dergi)

- Novum (Grafik Tasarım ağırlıklı reklam, iletişim dergisi)

- Print (İletişim, grafik tasarım, genel tasarım, fotoğraf, illüstrasyon ve reklamcılık dergisi)

- Shots Magazine (Dünyada öne çıkan yaratıcı reklam filmleri dergisi)

- US Ad Review (Amerika Birleşik Devletleri'ndeki reklamcılık üzerine dergi)

daily poetics

http://dailypoetics.typepad.com/

vector logo sitesi

http://vectorlogo.blogspot.com/

character design

INTERVIEWS AND GALLERIES FROM THE TOP ARTISTS IN ANIMATION, MOVIES, GAMES, ILLUSTRATION, AND COMICS.LiNK.

http://characterdesign.blogspot.com/

drawman

Artist, Cartoonist and Editor of Draw! Magazine. I work in animation and the comics industries, I also teach animation, drawing and storyboarding at Uarts and DCAD. I am now back in school at the Pennsylvania Academy of Fine Art to school to finish my MFA in painting. I create art as a compulsion, it is my religion.

http://drawman.blogspot.com/

background labs

Welcome to our website! BackgroundLabs provides a wide variety of seamless backgrounds, patterns, textures and graphics for use in customizing your Myspace pages, blogs, and websites. We hope that you will find the format and features useful.

http://www.backgroundlabs.com/

arkaplanlarla ilgili bir web sitesi

spray paint stencils

FREE STENCILS TO DOWNLOAD

Spray Paint Stencils is a website devoted to providing everyone with tons of Free Stencils to Download. There's many different Categories and even Tutorials for creating your own custom stencils. So browse the site and print off the stencils you're looking for. We only ask that you don't do a few things in the Terms of Usage.

http://www.spraypaintstencils.com/

duvar resmiyle ya da grafiti türü boyamayla ilgili bir site

textureonline

Texture Online offers photographs of materials for graphic designers, game developers, special effects artists, and other professionals. No payment or royalties are required to use these Textures. The use of Textures is non-exclusive, royalty free, and you have the right to modify them for the uses permitted under the conditions stated Under the Terms of Use.
Most of the textures found on this site are photographed by Texture Online, with a small proportion photographed by third party contributors.
INTELLECTUAL PROPERTY
All materials including the organization and presentation of these materials on this website are the property of Texture Online or its Contributors and are protected by intellectual property laws. Some images may contain graphic materials such as wallpaper patterns, logos, names or signs. You may use these kind of images at your own discretion.Although the rights for the photo belongs to Texture Online , using the patterns, logos or name in your work might not be allowed.

http://www.textureonline.com/

texture yani dokuları bulacağınız çok güzel bir site

i am the weather

weather is created by sean salmon. weather is interesting. weather is changing. weather is the same.
I spend days working as a User Experience Designer at Schematic.
I have a portfolio of my work at seanaes.com

http://iamtheweather.com/

tasarım üzerine bir site

brands of the world

Best brands of the World is the most comprehensive resource and one of the most visited web sites where visitors can browse and access copies of the world's famous brands and logos. Through our site, visitors will be able to access and obtain Vector format versions of thousands of brands and logos for use in the mock-ups and presentations pending the permission of the copyright owner(s). Best Brands of the World is also a great resource center for designers to upload their own logo design works and professional details to showcase their work and latest design styles.

http://www.brandsoftheworld.com/

vectorel logoların ücretsiz indirildiği en iyi site :)

kuler adobe

Explore, create and share color themes

Discover Adobe® Kuler™ — the web-hosted application for generating color themes that can inspire any project. No matter what you're creating, with Kuler you can experiment quickly with color variations and browse thousands of themes from the Kuler community.

DID YOU KNOW…

Kuler is available online at no charge

Explore, create, and share color themes.
Try Kuler now

Kuler is accessible from your favorite Creative Suite 4 software

Explore, search, and create new color themes right where you work with the Kuler panels built into Adobe Illustrator® CS4, Photoshop® CS4, InDesign® CS4, Fireworks® CS4, and Flash® CS4 Professional software.
See more features

http://kuler.adobe.com

free vectors

http://www.freevectors.net/

http://coolvectors.com/

http://vector4free.com/

vector.tutsplus

http://vector.tutsplus.com/

Vectortuts+ is a blog of tutorials, articles, freebies and more on all things vector! We publish tutorials on techniques and effects to make awesome vector graphics in programs like Adobe Illustrator and Inkscape. Our authors and writers work all over the industry. Most of the content is free, but you can also grab a premiumVector Plus membership and get access to special extras as well as source files for the tutorials. And if you’re interested in writing a tutorial, then you can submit your ideas and we’ll pay $150 for any published tutorials!

10 Tips for Effective Icon Design

http://vector.tutsplus.com/articles/inspiration/10-tips-for-effective-icon-design/

Jan 8th in Inspiration by Chris Spooner

Translating the 'iconic' features of an object into something that is metaphorically meaningful and instantly recognizable is no easy task -- particularly when the design needs to be as effective at 48x48 pixels as it is at 256x256!

A memorable and functional icon is beautiful, iconic, meaningful and functional. Here are ten wise tips on how to create outstanding icons.

Author: Chris Spooner

Chris is a web designer, logo designer and vector illustrator. Find Chris's portfolio and blog at SpoonGraphics.

1. Capture the Characteristics of the Object

One of the most important aspects of icon design is to create an icon that is immediately recognizable. Whether it is meant to represent a blue frog or a tin of pencils, what it is trying to portray must be identifiable at a glance or the purpose of the icon is defeated. An icon must, of course, be 'iconic' of the metaphor it represents.

In an icon design tutorial over at Smashing Magazine, master icon designers Vu and Min Tran discuss their process behind the pencil graphic as part of their Bright! Icon Set.

Drawing an icon means to draw the most typical characteristics of an object so that it can capture the icon’s action or represent the concept and nuance. As you might know, there are generally three kinds of pencils to select from:

1. Prism-shaped body with a shiny glaze-coated end.
2. Prism-shaped body with an eraser secured to the pencil body by a bright white metal ring.
3. Cylinder-shaped body without an eraser.

We choose the second kind for the icon design because it has all necessary elements, making it easier for the viewer to recognize the image.

Sometimes it's better to choose the more complicated form of an object because there are fewer other items that share those unique characteristics, making the specific object you're trying to portray easier to identify. There are plenty of cylindrical objects with pointy tips besides pencils (pens, markers, nails) and at smaller sizes they might be indistinguishable, but only a pencil has a prism-shaped body with an eraser attached by a bright white metal ring. It becomes 'iconic'.

2. Keep Icons Simple and Versatile to Fit Into a Range of Projects

For icon creators DryIcons, an key value in their design process is to keep their icons fairly simple and basic style-wise, as opposed to aiming for a definitive style. This helps make the icons much more versatile and useable in a range of projects once sold as a complete pack to software developers. If your icon looks at home in a broader range of settings, its potential market becomes bigger.

Regarding trends, we feel that it’s very important to keep things simple and basic, so they could serve their initial purpose: to fit in one’s project as it would seem like that was the way it should naturally be. That’s the only trend we follow.

3. Use a Consistent Light Source

One particularly useful tip when designing multiple icons for a pack is to provide consistency between them not only in style but also in the details such as the light source. While usually a secondary thought, any mismatch of one icon in the pack could seriously affect the overall quality of the icons.

In this overview of the Windows Vista icons, it is noted how the light source has changed between operating systems, but is consistent with all icons in each set.

Shadows in Vista icon objects are indicative of true, realistic depth just as they exist in any object in the real world. Vista icons do not have the flat lower-right drop shadows that are default for Windows XP icons. The light source is also completely different in Vista icons. All objects now face directly into the light source. From Windows 95 to Windows XP the light source on all icons has always come from the top left and objects are rotated counter-clockwise, away from the light source. The Vista icons placement and lighting will be completely opposite in comparison to Windows XP and older Windows system icons.

4. Create Icons in Vector Format (Argument 1)

Icons often need to be used in a range of sizes, therefore it is a good opportunity to make the most of the scaleable nature of vector graphics to create a great looking design that can be used for multiple purposes.

What’s more, with vector software packages such as Adobe Illustrator, every shape, gradient and stroke that makes up the icon can be tweaked and changed at any point, unlike a pixel based design that needs redrawing when changes are made.

This excellent icon design tutorial here at VECTORUTS goes through the process of how a stunning graphic can be created based on the basic shapes and gradients of Illustrator.

5. DON’T Create Icons in Vector Format (Argument 2)

On the contrary, vector graphics aren’t always the best approach for icon designers. With many icons requiring very small scales vector graphics often don’t manage to reproduce a crisp render when rasterized. In these cases completely redrawing the icon at a number of specified sizes gives the best result.

Web Interface Designers Firewheel Design highlight this approach in their discussion of bitmap vs. vector:

When you take a vector image, originally sized at 24x24 and scale it down to 16x16, the relative proportions do not match. There's no way you can evenly distribute 24 pixels of information into 16 pixels of space (remember, there's no such thing as half a pixel). So the image blurs.
There's also no way you can evenly scale 24 pixels of information upwards into 32 pixels of space. Again, the image blurs.
Furthermore, if you take that same vector image, originally sized at 24x24 and scale it up to 48x48, you're now doubling the proportions. You no longer have crisp 1-pixel lines. You have chunky 2-pixel lines. Scale it up larger (say to 96x96) and those lines become even thicker.

6. Beware of Cultural Differences

Similar to point number one, where it was mentioned that it’s crucial to capture the 'iconic' characteristics of an object, it’s also important to remember that there may be huge cultural differences in the recognition of everyday items.

Turbomilk discuss this in their useful roundup of 10 Mistakes in Icon Design with the example of a mailbox. What might be the recognized shape and color of a mailbox in one country, might be totally wrong for another.

It is always necessary to take into account the conditions in which your icon is going to be used. An important aspect here is national characteristics. Cultural traditions, surroundings and gestures can differ radically from country to country.

Use universal imagery that people will easily recognize. Avoid focusing on a secondary aspect of an element. For example, for a mail icon, a rural mailbox would be less recognizable than a postage stamp.

Note: pay particular attention to this rule when designing icons based on warning and traffic signs, which differ on a country by country basis.

7. Use Out of the Ordinary Color Combinations

If an icon is created as a bland graphic presented in a circular shape it is likely to be overlooked. Using strong colors and an interesting shape that reinforces the object will help the icon to stand out. Remember that icons are rarely going to be displayed on a mono-colored background -- in most cases there will be a lot going on behind them, so they'll need to stand out. Consider also using gloss and shading to create a more dynamic final effect.

Jasper Hauser, the designer behind the Camino icon, touches on this in an interview discussing 'What makes good icon design?'

Basically there are two aspects that are the base of a good icon: 1) shape, and 2) use of color. If you look at the Appzapper icon you will see that it 1) has a original shape, and 2) uses irregular colors and an irregular color combination. Doing a blue circle will not stand out.

8. Design Icons to Work at Large Formats as well as Small Scales

It has already been mentioned that icon designers need to accommodate small scales into their icon creations. However, with the forward development of technology designers should also be taking into consideration the use of icons at a much larger scale than the standard. An example of this occurs in Windows Vista, where the icons can be scaled up to 256px tall!

In an interview with Brian Brasher, an artist at Firewheel Design, he was asked:

John Marstall: What's your opinion on the shift to larger icons and resolution independence?

Brian: Larger icons mean more detail, which means a richer GUI experience as well as removing a lot of restrictions an icon maker has placed upon him to make an image legible. Unfortunately, throwing out those restrictions means that a lot of icons that look quite spiffy at full size will be muddy, cruddy horrors at 32x32 and below. A two-edged sword. There will be casualties.

9. Carefully Plan Out Your Design Process

Sketching is a common process in any aspect of design and it continues into icon design. Fleshing out a range of ideas on paper really helps develop a concise product that fits the requirements of its purpose. Because an icon design must conform to a defined set of proportions and dimensions while still being 'iconic' and immediately recognizable, forward planning is incredibly important.

Michael Matas, a graphic designer who has created icons for the Mac OS X platform shares his own working practices:

I always start on my white board. I try to come up with good and clear metaphors for the icon. I sketch out different ideas and usually end up covering the entire white board. When I do come up with a good metaphor, I then start sketching the layout of the icon and what angle I am going to draw it from. I go on Google image search and Watson's picture search and try to find good pictures for the object I'm drawing. I download anything that looks decent and open them all up in Photoshop. I create a new Photoshop file to draw the icon in and surround that window with the images I downloaded from the Web. I use the Web images to help me get an idea for what the texture and shape looks like. But if I can, I always try to look at real objects to get inspiration.

10. Generate an Interesting yet Clear Metaphor for the Icon

The job of an icon is to represent an action or idea in the form of a graphical symbol. Therefore metaphors play a crucial role in translating that action or idea instantly to the user. When commissioning a set of fresh icon designs for Macinstruct, the team contemplated a range of metaphors to represent the difficulty of their online tutorials:

Perhaps the most difficult icons to decide upon were our tutorial gauges. We needed a way to rank the difficulty of our tutorials, and we wanted a really creative, effective way to show this. After a couple days of brainstorming, we came up with the following ideas:

• Thermometers: Easy tutorials are cold, medium tutorials are medium, and hard tutorials are hot.
• Traffic Lights: Green for easy, orange for medium, and red for hard.
• Karate Belts: White, orange and black belts, ala karate skill levels.
• Puzzles: A puzzle with 1 piece off to the side. Smaller pieces equate to harder.
• Aviation themes: Goggles for easy, old leather helmet and goggles for medium, and fighter pilot's helmet and air mask for hard.
• Engineering Images: A manual and a circuit board, a circuit board and some tools, and oscilloscope.

In the end, we nixed all of these ideas for one volunteered by our own Ric Getter. Everyone agreed that using pocket protectors to indicate difficulty was a great idea!