Minimalist Afiş Tasarımında Negatif Alanın Pop Art–Op Art Estetiği ve Gestalt Algı İlkeleri Bağlamında Yorumu: Malika Favre Örneği

Yazarlar

Özet

Referanslar

Alderson, R. (2015, February 9). Malika Favre’s terrific film noir‑inspired posters for the BAFTAs. It’s Nice That. https://www.itsnicethat.com/articles/malika-favre-baftas

Antmen, A. (2010). 20. Yüzyıl batı sanatında akımlar (3. Basım). Sel Yayıncılık.

Arnheim, R. (1960). Art and visual perception: A psychology of the creative eye (Third Printing.). University of California Press.

Barnard, M. (2005). Graphic design as communication. Routledge.

Becer, E. (2011). İletişim ve grafik tasarım (8. Baskı). Dost Yayınevi.

Biederman, I., & Vessel, E. A. (2006). Perceptual pleasure and the brain: A novel theory explains why the brain craves information and seeks it through the senses. American scientist, 94(3), 247-253.

Bilirdönmez, K. (2022). Çağdaş tasarımda optik yanılsamalar ve Shigeo Fukuda örneği. Journal of Humanities and Tourism Research, 12 (2), 285-299.

Esseku, J. F. (2023). Utilizing white space for impactful design. International Journal of Novel Research and Development, 8(8).

Garg, S. (2023). White space: An overlooked element of design. Journal of Emerging Technologies and Innovative Research, 10(9).

Goffman, E. (1959). Presentation of self in everyday life. Knopf Doubleday Publishing Group.

Hagen, R., & Golombisky, K. (2024). White space is not your enemy: A beginner’s guide to communicating visually through graphic, web & multimedia design (4nd edit.). Boca Raton.

Hall, S. (1997). The spectacle of the other. Representation: Cultural representations and signifying practices, 7, 223-290.

Koffka, K. (1935). Principles of Gestalt psychology. NY: Harcourt.

Kress, G., & Van Leeuwen, T. (2020). Reading images: The grammar of visual design. Routledge.

Lehimler, Z. (2019). Afiş tasarımında boşluk kullanımı. Atatürk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 23(1), 407–417.

Lidwell, W., Holden, K., & Butler, J. (2010). Universal principles of design (Ed. Kimberly Elam). Rockport.

Lupton, E. & Phillips, J. C. (2008). Graphic design: The new basics. NY: Princeton Architectural Press.

Meggs, P. B., & Purvis, A. W. (2016). Meggs’ history of graphic design (6th ed.). John Wiley & Sons.

Özel, Z. (2007). Op Sanat ve dijital teknolojinin kullanımı. Anadolu Üniversitesi Sosyal Bilimler Dergisi, 7(2), 395-418.

Pracejus, J. W., O’Guinn, T. C., & Olsen, G. D. (2013). When white space is more than “burning money”: Economic signaling meets visual commercial rhetoric. International Journal of Research in Marketing, 30(3), 211–218. Doi: 10.1016/j.ijresmar.2012.11.004

Uzun, Y. (2024). Noma Bar ve minimalist afiş sanatında negatif alanın gücü. Uluslararası İletişim ve Sanat Dergisi, 5(13), 123–139. Doi: 10.29228/iletisimvesanat.79609

Wong, B. (2011). Negative space. Nature Methods, 8(1), 1-2.

Yadav, A. (2025). The ımpact of negative space ın graphic design: A literature-based study. International Journal of Creative Research Thoughts (IJCRT).13(8), 815-826.

Yadav, P., Chakrabarti, D., & Bisoyi, D. (2014). Typography as a statement of Design. In International Ergonomics Conference HWWE (pp. 1-6).

Yua, J. & Wang, S. (2019). Analysis of visual humorous in Fukuda Shigeo’s poster works. UK: Francis Academic Press.

Yayınlanan

9 Ocak 2026

Lisans

Lisans