One of the oldest printing techniques of posters used in Turkey is the cliche (kalke) system in which the original was prepared by hand for each four colours; red, yellow, blue and black separately. The zinc plates of four originals were printed above each other on a single sheet. The illustrators prepared the plates by pistole, crayon, and hand written typography. Sometimes this caused flawed posters to occur. But even after photography began to be used in poster design, illustrations were preferred for their dream-like affect. According to Dundar, the illustrator of many movie posters as well as book and album covers; "the photography machine can only capture what exists and what is real but by using illustrations a non-existing event, abstract mood, feeling may be expressed". With the improvement of the techniques like that of photography, photo offset, and colour separating during 1955 and 1958 the photographic posters become more popular for film production corporations and print houses like Apa, Can, Emel, Eray, Mimeray, Kral, Pulhan, Renk, YilmazÖ Of course it has also something to do with the illustration price. But still if a poster was needed before the film was finished as to persuade the theatre owners, or photos were not suitable to be used in a poster then illustrations of the scenes of recent movies or the illustrations of stars' photos taken during creation of film were used. In 1970s and 1980s when the humour magazines and caricaturists like Oguz-Tekin Aral, Bedri Koraman were very popular, the caricaturistic illustration technique used in comedy film posters was sufficient to convince the viewer that the movie was comedy. The comedians' identity, caricaturistic physical appearance and acting style constructed the style of these posters.

Because films with well known stars were not in need of great posters as the films with unknown actors and actresses, neither illustrative nor photographic Yesilcam melodrama posters convey a symbolist approach or surprise in terms of design. According to Agakay the colour red was the most popular colour among YeœilÁam melodrama producers because it expresses love and passion like no other colour can do. On the other hand there was no evident intention of using other colours symbolically. In fact nearly all posters conveyed the synopsis, superimposed images like fighting men, sexy women, guns accompanied with the portraits of the actors and actresses and similar typography. Because the form essentially refers to the content, when there is no such interesting or new material for conceptualisation within the movie the form of the poster also becomes of the same kind. Nevertheless small number of exceptions exists while sometimes an interesting concept causes an extraordinary poster to occur.

There is also another factor that effects the creators of the film text and hence posters: the audience. A huge percentage of the audience of Yesilcam movies in 1960s and 1970s consist of uneducated middle or lower-class women, the people of shanty towns in cities and the small towns' people. So the content of the most movies were constructed according to this society of low economic and educational standards. Therefore the movie posters of 1960s and 1970s were less regulated by specific figures of expression and meaning involving different media and techniques of visual treatment. Yesilcam melodrama posters were designed according to the society's structure, interaction, way of living and as they changed, the movies, concept of romance, and therefore the marketing attitudes and design of movie posters changed like it can be observed in the emergence of sexualization within the movies and posters through 1975- 1980. Ozguc names this period as "the time of 'toilet writings' or 'wall literature'" while Hicyilmaz describes the movie posters of this time as "agitation and demolisher of social system". The films and the posters for theatres in different regions of Turkey vary in their narrative and the style in order to catch the audience. For example, in Adana; Southern region; since the audience was mostly formed by men, the movie's end was turned into a pathetic one while erotic scenes were added both to the movie and the poster. In Ankara; Middle region; since the movie goers were mostly families or cultured people, and in Samsun; Black Sea region since the audience were mostly the women and people having evident conservative values, films and posters for these regions were often redesigned accordingly. When a Turkish film was decided to be shown abroad, or a foreign film was to be promoted in Turkey, the images and the text within the design of the poster were changed taking into consideration what the audience was expecting.

Yesilcam had created its own movie poster style like the way it constructed its distinctive melodrama tradition. So Turkish melodrama poster 1965-1975 should be handled separately from Turkish graphic art of those years. Within the production process of Turkish melodrama posters, there was working system distributed among the illustrators or the print house workers in terms of bringing the illustration, photography and the typography together. The poster was worked out like a patchwork of all the contributors. When today's movie posters of Turkey are observed, right along with the conceptual or symbolic attitude, still the stars' image or the synopsis of the movie depicted on the poster might be seen. But the mentioned attribute of production process within the melodrama posters left its place to a serious arrangement of all graphic devices in relation to each other. And that means other than seeing movie poster design as a mixture of visual and verbal devices, Turkish graphic art of today handles the design of a poster as the harmonious combination of the visual and the verbal through a certain style determined by the graphic designer or a team of designers.

Dundar, Cemal. Personal interview. 13 October 1997.
Hicyilmaz, Ergun. Personal interview. 12 October 1997.
Ozguc, Agah. Personal interview. 7 October 1997.