Artists prefer the techniques they find most suitable for their creations as a means of expression. Regardless of the technical preferences, the plastic and aesthetic elements that the work of art should have reveal the value of that work. The situation is the same in painting and sculpture. Undoubtedly, also in printing, which is his preference.

He met the prints for the first time during his high school years. He learned printmaking from his art teacher. Later, He became a student of Mürşide İÇMELİ, one of Turkey’s leading printmaking artists, at the university. This was undoubtedly a great opportunity for him. He was very impressed with her style and the stain approach. He would carefully visit all the exhibitions coming from abroad and examine the techniques. He closely followed the work of contemporary German, English, French and Belgian printmaking artists. This process, in which the effects of expressionism, especially Expressionism (German Abstract Expressionists) and Bauhaus design approach, are still deeply felt, affected him and shaped his understanding of art. He made many prints during his three-year art education in Gazi. He was constantly producing. In the workshop, which was open at night, he worked until the morning and went to bed very late. Because of this, he was often late for classes. At that time, while he was still a student, he succeeded in participating in the Competition State Printmaking Exhibition for the first time with a work (1973). He says the following about that exhibition; “I can never forget the excitement and enthusiasm that the invitation sent for the opening of the state exhibition created in me”. The artist succeeded in regularly participating in these exhibitions in the following years.

The Artist has won the “State Achievement Award” twice. His interest and enthusiasm for the art of printmaking never waned. Today, he still continues to work on printmaking in his own workshop.

TUNC, says the following about how a printmaking workshop should be; “Printing is a technique that requires extensive technique and equipment. Engrawing press, drying racks, paint and paper cabinets, acid tubs, mold making and adequate tables etc. The number of our printmaking artists in Turkey is very low due to the difficulties in providing these difficult workshop conditions that require equipment such as I consider myself lucky (as it is my studio)”.

He produced works in almost all printmaking techniques. But engraving, linoleum and woodcut techniques excited him more. By forcing linoleum and woodblock printing techniques, it has always produced prints that stand out with their plain but strong stain values. For a while, he only did a black and white series. Among the reasons why black and white were preferred were factors such as the power and dynamism of black and white, the natural structure of the material, the richness of texture and the possibility of spontaneous work and therefore giving more opportunities for creativity. Black and white; It was then that he tried to question the values ​​of plus and minus, hot and cold, night and day, full and empty, different and opposite, rejecting each other but dependent on the existence of the other. In addition, if we consider that the basis of his prints is his formalist approach, artistic point of view and understanding, it is immediately clear how important black and white is to him. It is his style to transform objects into form by depriving them of the outside world and light, to ignore the concept of depth, to simplify and sometimes abstract the form. Attachment to external reality constitutes the fundamental movement in their prints. This is like a result of visual orientation. The harmony and stability of stained values indicate an internal orientation that reflects our position relative to the outside world. What he seeks with this is primarily balance. While opposing elements clash with each other, they also create dynamism and enthusiasm.

It is not possible to think of the artist separately from the society in which he lives. It continues as follows; “Every artist is fed by society and its culture. Art and worldview are shaped according to these criteria. This also applies to my art. It is easily understood from my works that I am an Anatolian person. Our culture and historical values ​​are expressed in my prints. Although the image creates an abstract impression on the audience at first, it soon becomes concrete in the memory of the audience and gains meaning by integrating with its own past. This is Anatolian culture,” he says.