It is my daily nightmare. No, it is not a true nightmare, let us say, a visitor. It is not only a night visitor; it is a visitor of every time. I am a designer, and as a designer cares for everything, I frequently find myself thinking like a designer. I ask questions that a designer asks. I attempt to find functional design solutions to a design problem I have uncovered while being a designer. I think of design brief, design proposal and design principles to guide me through the process. I rely on design thinking.
This is does not concern how much experience I have, no matter who am I, a great designer or not, it is normal to find something missing when I forget myself as a designer, or I do not consider my self as one of the audience, a user, a consumer or an audience. If I do not act as so, I will not be able to solve a problem.
All design solutions are considered as conjecture. Ok, that is fine, but this requires me using design thinking and principles; and how good to solve problems, and simply be not only a designer. How important for me to know whether the design works in a positive sense or not. Am I able to answer the question. I think that the answer can be achieved best by incorporate user feedback in the design process, by allowing myself playing a double role, a designer and a consumer, or one of the audience.
It is simply to act on behalf of others by allowing myself to get into their world, better than inquiring what they have in mind, and living their role not investigating it.
This way, I will always act as a designer.
Monday, 3 November 2008
Sunday, 27 July 2008
Hello, Amman Designers! Hello, Design Education Sector.
Do you know that we all need to teach ourselves a lesson, not only professionals, but colleges and universities, from the school to vocational training to career developments:
Students and designers must be equipped with the right skills to meet design and business needs.
Can you identify skills gaps?
Obviously, Amman has more than its fair share of design skills! Isn't it?
If that is true, what about the country?
Improving designers' skills is a huge task, it is like creating a new era in which the right mix of design skills can be found in the right places.
Note that design is a way of thinking, not a way of making things look pretty.
Students and designers must be equipped with the right skills to meet design and business needs.
Can you identify skills gaps?
Obviously, Amman has more than its fair share of design skills! Isn't it?
If that is true, what about the country?
Improving designers' skills is a huge task, it is like creating a new era in which the right mix of design skills can be found in the right places.
Note that design is a way of thinking, not a way of making things look pretty.
Friday, 25 July 2008
A whisper in the ears Jordanian Designers !
Never mind, and no matter what type of classification we have,
Why do we consider ourselves and others designers?
How do we perceive our task, culture, identity and our future?
Where we are? What do we innovate, alter and create?
We are what we are! Designers.
We are the designers of Jordan. We came here to make a practical and substantial difference to our Country, people and ourselves.
Let each one of you ask him/her self these questions:
Have you ever thought of taking part in the development and well- being of Jordan, of course by using the design?
Have you been up to the challenges that face you in developing and promoting sustainable design solutions in all fields serving our country?
It is not an easy task! But it could be easy if we design and import our own ideas and styles, and at the same time, we preserve our identity and character and shy away from imitation.
I should be genuine. To be so, I should answer these questions to identify and define my objectives:
- What is a designer, who is he, and what is his\her role?
- What are the characteristics that should mark the Design?
- What should our design academics plan and how they embark on teaching Design?
- What public services that need Designs?
- What type of design business should exist in Jordan?
Amman, as many other Arab cities, is proud of its design status\identity.
But, does Amman promote design in other cities of Jordan?
Does Jordan raise the awareness of design among the public?
Do Jordanians demand products and services that meet their needs?
These questions need an answer, for the future!
Why do we consider ourselves and others designers?
How do we perceive our task, culture, identity and our future?
Where we are? What do we innovate, alter and create?
We are what we are! Designers.
We are the designers of Jordan. We came here to make a practical and substantial difference to our Country, people and ourselves.
Let each one of you ask him/her self these questions:
Have you ever thought of taking part in the development and well- being of Jordan, of course by using the design?
Have you been up to the challenges that face you in developing and promoting sustainable design solutions in all fields serving our country?
It is not an easy task! But it could be easy if we design and import our own ideas and styles, and at the same time, we preserve our identity and character and shy away from imitation.
I should be genuine. To be so, I should answer these questions to identify and define my objectives:
- What is a designer, who is he, and what is his\her role?
- What are the characteristics that should mark the Design?
- What should our design academics plan and how they embark on teaching Design?
- What public services that need Designs?
- What type of design business should exist in Jordan?
Amman, as many other Arab cities, is proud of its design status\identity.
But, does Amman promote design in other cities of Jordan?
Does Jordan raise the awareness of design among the public?
Do Jordanians demand products and services that meet their needs?
These questions need an answer, for the future!
Saturday, 12 July 2008
Design characteristics for the Future
Is it possible for us to perceive the future? Is it possible for us to understand the design characteristics of the future?
Of course we can!
We can do that if we change the way in which we perceive the present and future. To do this, we will need to transform ourselves from being mere observers to being initiators who fully use our creative potential to anticipate future needs and to develop solutions.
We may already know that the answer lies within ourselves, specifically, within our way of thinking about and evaluating the world. But theoretically, bridging the gap between theory and practice is difficult since our thinking is affected by traditionalism, dependency and waiting to adopt the results of others' experiments, rather than developing our own.
The real situation in professional design is quite different, for example in the fields of visual communication, multimedia, architecture, interior and industrial design. Similarly, all academic and professional institutions are responsible for their own production.
Any designer will be unable to produce adequate work if he/she is not essentially a creative being. A designer's productivity is also related to the environment in which they are working which must support the creative process at all stages of the product's design and manufacture. It is so important that the designer works within an environment that supports their vision, allowing them to anticipate and design for future needs on projects which are also supported with financial input and the necessary craftsmanship.
Politicians observe and analyse the world and then produce strategies to solve the problems they find. In design, we employ observation, analysis and strategic problem-solving as well. Our present, past and future are interconnected. Transformation of our present involves both observation of our current situation and extending our eyes towards the future and towards the vision we wish to achieve. Even if no-one has succeeded with these ideas before, we may still aim towards them. It is also necessary to be well-prepared, to have the correct tools, knowledge and learning in order to work towards our goals.
Confusion is caused by the amount of information that we deal with when observing the future and its constant changes: geographical information, economics, environmental issues, etc. For example, worldwide differences in climate, global warming, CO2 pollution, overcrowded cities, increased motor-traffic, air pollution, the increasing growth of the human population and it's needs. Life itself involves constant development in all fields! Yet, it seems that we ourselves are the source of these crises! Yes indeed we are and this is primarily because of our carelessness in failing to think positively about our future needs. So often we deal only with our immediate daily responsibilities and requirements, without anticipating the need to provide for the future.
The question is then: what type of role must the designer adopt to face these changes in our lives and our future requirements? The answer is simply: that the designer must allow his creative potential to interact with the environment to anticipate product needs and to create the best design for the future. The designer should not overload himself and his concepts with concern for the near past and the present. If we think about it, the distance between ourselves and source of our creative inspiration, our history and the present environment, is very small.
We should permit ourselves to positively create, understand and learn about the future language. This will be achieved through developing ourselves, our potential and expanding our knowledge. As designers, we need to be able to be innovative and creative, to think deeply about the present issues and relate these endeavours to the future. Creativity is not the place for fear, and we should not allow the fear to stop us being innovative and creative. Further, the aim of our design must be to produce a product that is useful with relation to it's intended function.
What we need is called Optimistic Futurism, it is the way towards confidence, transformation and creativity, Optimistic futurism will enable us to develop our technical potentials, skills, and enable us to deal with digital softwares and new technologies.
Optimistic Futurism is an attitude that will serve our creativity, as it is a logical solution and will not affect our ability to create and innovate. Indeed, a designer equipped with knowledge and experience will be a source of power, having the ability to control his production in a positive and useful way.
As much as our task is to deal with the future, we will be able to increase our creatively and innovation to achieve this end by adding self-belief and a desire to be forward-looking to the mix.
Of course we can!
We can do that if we change the way in which we perceive the present and future. To do this, we will need to transform ourselves from being mere observers to being initiators who fully use our creative potential to anticipate future needs and to develop solutions.
We may already know that the answer lies within ourselves, specifically, within our way of thinking about and evaluating the world. But theoretically, bridging the gap between theory and practice is difficult since our thinking is affected by traditionalism, dependency and waiting to adopt the results of others' experiments, rather than developing our own.
The real situation in professional design is quite different, for example in the fields of visual communication, multimedia, architecture, interior and industrial design. Similarly, all academic and professional institutions are responsible for their own production.
Any designer will be unable to produce adequate work if he/she is not essentially a creative being. A designer's productivity is also related to the environment in which they are working which must support the creative process at all stages of the product's design and manufacture. It is so important that the designer works within an environment that supports their vision, allowing them to anticipate and design for future needs on projects which are also supported with financial input and the necessary craftsmanship.
Politicians observe and analyse the world and then produce strategies to solve the problems they find. In design, we employ observation, analysis and strategic problem-solving as well. Our present, past and future are interconnected. Transformation of our present involves both observation of our current situation and extending our eyes towards the future and towards the vision we wish to achieve. Even if no-one has succeeded with these ideas before, we may still aim towards them. It is also necessary to be well-prepared, to have the correct tools, knowledge and learning in order to work towards our goals.
Confusion is caused by the amount of information that we deal with when observing the future and its constant changes: geographical information, economics, environmental issues, etc. For example, worldwide differences in climate, global warming, CO2 pollution, overcrowded cities, increased motor-traffic, air pollution, the increasing growth of the human population and it's needs. Life itself involves constant development in all fields! Yet, it seems that we ourselves are the source of these crises! Yes indeed we are and this is primarily because of our carelessness in failing to think positively about our future needs. So often we deal only with our immediate daily responsibilities and requirements, without anticipating the need to provide for the future.
The question is then: what type of role must the designer adopt to face these changes in our lives and our future requirements? The answer is simply: that the designer must allow his creative potential to interact with the environment to anticipate product needs and to create the best design for the future. The designer should not overload himself and his concepts with concern for the near past and the present. If we think about it, the distance between ourselves and source of our creative inspiration, our history and the present environment, is very small.
We should permit ourselves to positively create, understand and learn about the future language. This will be achieved through developing ourselves, our potential and expanding our knowledge. As designers, we need to be able to be innovative and creative, to think deeply about the present issues and relate these endeavours to the future. Creativity is not the place for fear, and we should not allow the fear to stop us being innovative and creative. Further, the aim of our design must be to produce a product that is useful with relation to it's intended function.
What we need is called Optimistic Futurism, it is the way towards confidence, transformation and creativity, Optimistic futurism will enable us to develop our technical potentials, skills, and enable us to deal with digital softwares and new technologies.
Optimistic Futurism is an attitude that will serve our creativity, as it is a logical solution and will not affect our ability to create and innovate. Indeed, a designer equipped with knowledge and experience will be a source of power, having the ability to control his production in a positive and useful way.
As much as our task is to deal with the future, we will be able to increase our creatively and innovation to achieve this end by adding self-belief and a desire to be forward-looking to the mix.
Thursday, 26 June 2008
* An eye on Graphic Design in the Arab world
We find it mandatory to say that graphic design, this late specialty, quick in its development, related to all walks and activities of life, this only comprehensive technical specialty due to its relation with a piece of information and technology, we know it by its many names besides graphic design, for it is a design of a piece of information and design of communication means. All of these names refer to the extent of its development as an independent science, the task of which in to find solution to problems in the field of promotion, presentation or communication. Therefore, it is the language of time, a language that is not stationery or static, but developing and keeping pace with the changes of time thus, we find that graphic design is in need for a qualified and developing cadre able to deal with modern life requirements in a language that has a brief, simple and direct message, we acknowledge also the relationship of graphic design with writing, printing and publishing since its origin and it is an innovative work that couples word with shape using art and technology as a means of communication which begins with a message innovated by a designer that develops to become a means of visual communication beyond words and excels them with control of color, letter, picture and ideas through the designer's imagination and production of media through which he can convey the desired message to the crowd.
Hence, its importance emerged to play an important role in modern life and to be a critical factor in promotion, media and other means in fast conveying a piece of information to community dominated by speed that excels the speed of light, therefore, it becomes fast in changing due to its relation with community. We find ourselves in front of the fact of graphic design origin and its development stages. Through reading its history, we have been able to know the stages it had gone through since its beginning at the early of 19th century and how Europe was its first home and the role played by some of the pioneer designers, each in his specialty, through developing its tools and techniques besides knowing its means which developed and multiplied after the first poster and book. Further, we know the factors that made it an independent science in addition to its influence by the late artistic trends.
I talked about the relationship of graphic design with special techniques confined with printing which developed to visual media and become conclusive of multi phenomena that get developed by the development of modern technology, therefore, graphic design changes into a knowledgeable science with a constant developing concept. This reflects the limits of the classical concept of graphic design and the development in what is called net vacuum which brings back to the mind the necessity of assessing the individual skills and characteristics of cadres in this field in addition to limiting the classical concept of the term graphic design as being fictitious and imaginary though organizing theoretical or imaginative factors to produce them by the use of different techniques that suit the production mechanism, so, production may be one of the media contained in graphic design.
The close relationship of graphic design with printing can not be ignored; therefore, I would rather clarify a misunderstanding that confuses between graphic design and graphic art and the role of each of them. Relying on this definition, we were able to clarify the role played by the graphic designer who uses design factors in an idea and prepares a special design for each media depending on its end i.e., what printing style he will use, keeping in mind that the success of printing depend first on the designer.
All of this makes us ask, is graphic design philosophy able to, through imagination and fiction, face the challenges of the information time in an effective way? For sure, the answer is determined by the fact that a designer should have absorbed the product of his time concerning information in on effective way and he has to develop his fictitious impression of the piece of information in order to produce it in a form that suits his time and his requirements. I also talked about how graphic design deals with given material and information and how to manage each of them to realize the required message.
We can not talk about technology without talking about computer which since its beginning has an important influence on the development of performance of graphic design since 1970 outside the Arab World and at late 1980's in the Arab World. By nature, the availability of computer makes available many programs that serve graphic design at all levels besides the innovation of the internet. The computer has helped a lot in developing the abilities of designers as well as introducing the attribute of speed performance through a group of solutions special to picture, letter, shape and color.
We can not deny the importance of developing means and curricula of graphic design besides diversifying them in order to cope with the speed of its development and not to forget the requirements and the development of the market. The academic process should depend on time requirements determined by the constant developing technology and the requirements of time. Therefore, the goals of innovative work combined with designer's competency and qualification are the basis on which planning strategy depends to prepare study plans that motivate and activate creative thinking and relate it to information technology relying on the different levels of human knowledge and scientific programs supporting the principle of how to understand and apply comprehensively graphic design program in order to protect it from short term programming relying in this respect on the designer's material cognitive theory, the language, how to talk and his ability to know how to deal with time changes, technologies, training and qualification for what is in the future concerning the stages of human knowledge developments, developed curricula and programs that are subject to constant development.
Thus, the nature of graphic designer work is different from other professions not only because it is the most innovative field through the approach of dealing with a piece of information and visual communication means but also through the different standards constituting the work scene which follow a special innovation and an advanced approach to realize the goals of this innovative work as well as the competence and qualification of the designer. Graphic designer is not only an artist but also a technician who is able to make use of the available programs and their techniques in order to fulfill the task he is charged with. As a result, he is a designer who, through his imagination, reaches the crowd, promotes his imagination, reaches the crowd, promotes and presents through effective implementation with little technical exaggeration to realize successful work.
The fact is that graphic design is firm in its core, developing in its tools which needs close follow- up and cadre distinguished with a lot of knowledge in the field of arts, psychology, marketing, knowledge and information techniques. It is considered the assistant partner of technical development in terms of computer, the internet or programming and its systems. We find it developing in the ways of presenting its different media which come in the form of stationery, poster, brochure, flyer, catalogue, directed post, pamphlet, website and other large group of media.
The core of graphic design is the design foundation factors and their theories and philosophy which are constant any whereas the variable is the style of implementing the design, the form of the medium and the tools of implementation which have moved to the practical side of using computer and a large group of programs that deal with picture, hand writing and color. The development of the ways of promotion, presentation and communication besides the diversity of their developed forms, all depend on digital media.
We conclude, after studying these factors and phenomenon in which and with which graphic design plays an important role that graphic design is constantly developing.
* THE FUTURE OF GRAPHIC DESIGN IN THE ARAB WORLD
www.ezinearticles.com
Hence, its importance emerged to play an important role in modern life and to be a critical factor in promotion, media and other means in fast conveying a piece of information to community dominated by speed that excels the speed of light, therefore, it becomes fast in changing due to its relation with community. We find ourselves in front of the fact of graphic design origin and its development stages. Through reading its history, we have been able to know the stages it had gone through since its beginning at the early of 19th century and how Europe was its first home and the role played by some of the pioneer designers, each in his specialty, through developing its tools and techniques besides knowing its means which developed and multiplied after the first poster and book. Further, we know the factors that made it an independent science in addition to its influence by the late artistic trends.
I talked about the relationship of graphic design with special techniques confined with printing which developed to visual media and become conclusive of multi phenomena that get developed by the development of modern technology, therefore, graphic design changes into a knowledgeable science with a constant developing concept. This reflects the limits of the classical concept of graphic design and the development in what is called net vacuum which brings back to the mind the necessity of assessing the individual skills and characteristics of cadres in this field in addition to limiting the classical concept of the term graphic design as being fictitious and imaginary though organizing theoretical or imaginative factors to produce them by the use of different techniques that suit the production mechanism, so, production may be one of the media contained in graphic design.
The close relationship of graphic design with printing can not be ignored; therefore, I would rather clarify a misunderstanding that confuses between graphic design and graphic art and the role of each of them. Relying on this definition, we were able to clarify the role played by the graphic designer who uses design factors in an idea and prepares a special design for each media depending on its end i.e., what printing style he will use, keeping in mind that the success of printing depend first on the designer.
All of this makes us ask, is graphic design philosophy able to, through imagination and fiction, face the challenges of the information time in an effective way? For sure, the answer is determined by the fact that a designer should have absorbed the product of his time concerning information in on effective way and he has to develop his fictitious impression of the piece of information in order to produce it in a form that suits his time and his requirements. I also talked about how graphic design deals with given material and information and how to manage each of them to realize the required message.
We can not talk about technology without talking about computer which since its beginning has an important influence on the development of performance of graphic design since 1970 outside the Arab World and at late 1980's in the Arab World. By nature, the availability of computer makes available many programs that serve graphic design at all levels besides the innovation of the internet. The computer has helped a lot in developing the abilities of designers as well as introducing the attribute of speed performance through a group of solutions special to picture, letter, shape and color.
We can not deny the importance of developing means and curricula of graphic design besides diversifying them in order to cope with the speed of its development and not to forget the requirements and the development of the market. The academic process should depend on time requirements determined by the constant developing technology and the requirements of time. Therefore, the goals of innovative work combined with designer's competency and qualification are the basis on which planning strategy depends to prepare study plans that motivate and activate creative thinking and relate it to information technology relying on the different levels of human knowledge and scientific programs supporting the principle of how to understand and apply comprehensively graphic design program in order to protect it from short term programming relying in this respect on the designer's material cognitive theory, the language, how to talk and his ability to know how to deal with time changes, technologies, training and qualification for what is in the future concerning the stages of human knowledge developments, developed curricula and programs that are subject to constant development.
Thus, the nature of graphic designer work is different from other professions not only because it is the most innovative field through the approach of dealing with a piece of information and visual communication means but also through the different standards constituting the work scene which follow a special innovation and an advanced approach to realize the goals of this innovative work as well as the competence and qualification of the designer. Graphic designer is not only an artist but also a technician who is able to make use of the available programs and their techniques in order to fulfill the task he is charged with. As a result, he is a designer who, through his imagination, reaches the crowd, promotes his imagination, reaches the crowd, promotes and presents through effective implementation with little technical exaggeration to realize successful work.
The fact is that graphic design is firm in its core, developing in its tools which needs close follow- up and cadre distinguished with a lot of knowledge in the field of arts, psychology, marketing, knowledge and information techniques. It is considered the assistant partner of technical development in terms of computer, the internet or programming and its systems. We find it developing in the ways of presenting its different media which come in the form of stationery, poster, brochure, flyer, catalogue, directed post, pamphlet, website and other large group of media.
The core of graphic design is the design foundation factors and their theories and philosophy which are constant any whereas the variable is the style of implementing the design, the form of the medium and the tools of implementation which have moved to the practical side of using computer and a large group of programs that deal with picture, hand writing and color. The development of the ways of promotion, presentation and communication besides the diversity of their developed forms, all depend on digital media.
We conclude, after studying these factors and phenomenon in which and with which graphic design plays an important role that graphic design is constantly developing.
* THE FUTURE OF GRAPHIC DESIGN IN THE ARAB WORLD
www.ezinearticles.com
A designer for the future
We can not deny that there is a considerable number of innovators working in the field of graphic design, some of them are academic whereas others are far away from this specialty. The market is crowded with those who knew this field of knowledge as a result of dealing with computers and the availability of design programs that are not subject to copy rights. This enables many to practice this art without the minimum knowledge of the rules of this specialty which is considered one of the disadvantages of the unlicensed technology.
The academics who worked in this field, some of them do not hold the academic specialty, they, naturally, lack full qualification to play this role at the competency required, so, it is not enough to able to use design programs and its techniques if you are not qualified to know when and how to manage the ideas and how it could realize the desired target.
It is necessary to find a designer who know how to deal with the changes of time and its techniques besides providing him with training in what is to come in future as we see fast developments in human knowledge and the developed curricula and programs that are subject to constant development to be able to keep pace with the concept of information and knowledge technology.
The expansion of graphic design base in visual communication media determines an important characteristic for a graphic designer who should be able to acquire courage, innovation and the ability to judge and assess, combined with curiosity through the size of information, knowledge and content acquired which can not be reached unless through:
− The desire of learning, curiosity and the enjoyment of expanding knowledge net.
− The courage of challenging the status quo and taking intellectual risks.
− Meditation and imagination in thinking of new methods to develop work mechanisms and its approaches.
− The ability to assess and direct imagination to the service of the real world, human circumstances and responsibilities.
These are the goals of teaching professionalism, which call for developing the challenging ability of designers in order to find solutions to contain problems by the use of special techniques found in certain profession. Thus, the designer is able to direct and adapt his knowledge among professional barriers i.e. the importance of designer's knowledge of other specialized subject related to graphic design such as computer programming and program techniques used in the field of visual design.
The nature of graphic designer work in different from other professions not only because it is the most innovative field through the approach of dealing with a piece of information and visual communication means but also through the different standards constituting the work scene which follow a special innovation and advanced approach to realize the goals of this innovative work as well as the competence and qualification of the designer.
Graphic designer is not only an artist but also a technician who is able to make use of the available programs and their techniques in order fulfill the task he is charged with. Therefore, he is a designer who, through his imagination, reaches the crowds, promotes and presents though imagination, reaches the crowds, promotes and presents through effective implementation with little technical exaggeration to realize successful work.
The academics who worked in this field, some of them do not hold the academic specialty, they, naturally, lack full qualification to play this role at the competency required, so, it is not enough to able to use design programs and its techniques if you are not qualified to know when and how to manage the ideas and how it could realize the desired target.
It is necessary to find a designer who know how to deal with the changes of time and its techniques besides providing him with training in what is to come in future as we see fast developments in human knowledge and the developed curricula and programs that are subject to constant development to be able to keep pace with the concept of information and knowledge technology.
The expansion of graphic design base in visual communication media determines an important characteristic for a graphic designer who should be able to acquire courage, innovation and the ability to judge and assess, combined with curiosity through the size of information, knowledge and content acquired which can not be reached unless through:
− The desire of learning, curiosity and the enjoyment of expanding knowledge net.
− The courage of challenging the status quo and taking intellectual risks.
− Meditation and imagination in thinking of new methods to develop work mechanisms and its approaches.
− The ability to assess and direct imagination to the service of the real world, human circumstances and responsibilities.
These are the goals of teaching professionalism, which call for developing the challenging ability of designers in order to find solutions to contain problems by the use of special techniques found in certain profession. Thus, the designer is able to direct and adapt his knowledge among professional barriers i.e. the importance of designer's knowledge of other specialized subject related to graphic design such as computer programming and program techniques used in the field of visual design.
The nature of graphic designer work in different from other professions not only because it is the most innovative field through the approach of dealing with a piece of information and visual communication means but also through the different standards constituting the work scene which follow a special innovation and advanced approach to realize the goals of this innovative work as well as the competence and qualification of the designer.
Graphic designer is not only an artist but also a technician who is able to make use of the available programs and their techniques in order fulfill the task he is charged with. Therefore, he is a designer who, through his imagination, reaches the crowds, promotes and presents though imagination, reaches the crowds, promotes and presents through effective implementation with little technical exaggeration to realize successful work.
Monday, 16 June 2008
THE MEDITERRANEAN ARTISTS GROUPAT THE ANTALYA MUSEUM ART GALLERY
THE MEDITERRANEAN ARTISTS GROUPAT THE ANTALYA MUSEUM ART GALLERY
The Mediterranean is the region of firsts and beginnings, at the key point of worldwide civilizations.Starting from prehistorical eras, the development process of Humankind and Universe in this region will be determined by ancient Egyptian, Minoan, Anatolian,Greek, Roman Civilizations and the Renaissance...Beside its fundamental history, its sky-blue sea, its burning sun and its vivacious people combine themselves with its huge cultural and artistic richnesses on an exciting attractive field.The Mediteranean Artists Group has been created in this attraction field by the unification action of artists, who have been molded within this culture and sprouted from this climate. Our aim is to add new visions to worldwide fine arts and world peace under this framework and to arrive to one of the steps of artists international unification and solidarity...The Group is going to realize its first exhibition at the Art Gallery of the archeological and ethnological Museum of Antalya,the favourite touristical metropolis of Turkey’s Mediterranean coasts.We would be pleased and honoured to participate at the Antalya Museum Art Gallery with our artworks as The Mediterranean Artists Group Members.We would like seeing Art&Mediterranean Lovers in our exhibition in order to share Art and Mediterranean Love, on the Dates of 1-15 November 2008 at the Antalya Museum.
Sevgi ÜRÜM /Artist/TURKEYFounder Member of Mediterranean Artists Group
The Mediterranean is the region of firsts and beginnings, at the key point of worldwide civilizations.Starting from prehistorical eras, the development process of Humankind and Universe in this region will be determined by ancient Egyptian, Minoan, Anatolian,Greek, Roman Civilizations and the Renaissance...Beside its fundamental history, its sky-blue sea, its burning sun and its vivacious people combine themselves with its huge cultural and artistic richnesses on an exciting attractive field.The Mediteranean Artists Group has been created in this attraction field by the unification action of artists, who have been molded within this culture and sprouted from this climate. Our aim is to add new visions to worldwide fine arts and world peace under this framework and to arrive to one of the steps of artists international unification and solidarity...The Group is going to realize its first exhibition at the Art Gallery of the archeological and ethnological Museum of Antalya,the favourite touristical metropolis of Turkey’s Mediterranean coasts.We would be pleased and honoured to participate at the Antalya Museum Art Gallery with our artworks as The Mediterranean Artists Group Members.We would like seeing Art&Mediterranean Lovers in our exhibition in order to share Art and Mediterranean Love, on the Dates of 1-15 November 2008 at the Antalya Museum.
Sevgi ÜRÜM /Artist/TURKEYFounder Member of Mediterranean Artists Group
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