Graphic Design and Animation Graduates 2012

Online portfolio and print on demand catalogs for Graphic Design and Animation graduates from the Department of Design 2012. On this page you will find our conference presentations, and by hovering over the menu groups on the left you can read contextual documents. You are welcome to attend our Grad Show, opening on 29 November 2012 at 6pm, and daily from 30 November to 6 December 9.30am – 4pm.

Reza Fayyaz

Reza Fayyaz

Persian Typeface

To explore the identity of Afghan culture through language, patterns and colors.

Context Discussion

To investigate how to increase mutual understanding between people of different culture and ethnic group to improve the quality of everyday life, I will be focusing on typography and calligraphy to display the cultural identity for the designers and non-designers. Visual documents and analyze the relationship between different culture would help me understand more about my project.

Exploring the cultural identity through typography and calligraphy, to make a handy publication that documents the process used during the project, so that it could explain more clearly for the non-designers. My idea is to compare typography with calligraphy by prototyping them. The idea is to show how design brings two different languages together through typography and calligraphy. For example Persian calligraphy can help understand the culture of Muslim people. Applying Reza Abedini’s style and work method. To investigate how graphic designers has drawn on cultural identity when creating awareness by designing and campaigning around identity; my focus area will be my research on typeface, calligraphy, patterns, shapes and colors.

1: Key Contextual references

 The Key Contextual references in my work are based on Persian typeface and it’s background. Shapes and patterns have always played an important role within Persian/Arabic visual culture. Whether on carpets, books, floors, almost every surface is decorated with detailed ornamental patterns, labyrinth- shaped square, Kufi, mosaics. Especially when it comes to the art of beautiful writing “calligraphy”. Taking this heritage as a source of inspiration, making me think religion and culture in Islam could connect together very well. Therefore typeface and calligraphy could connect well too. This strongly influences my design through out the development.

An Iranian graphic designer and artist Masoud Nejabati gave a lecture entitled “The Art Of Islamic Calligraphy in Graphic Design,” followed by the opening of an exhibition of his recent work at the Beirut campus.

“Type, Image and Color are the elements of Islamic calligraphy, adding that many Artists uses art to spread religions message, writing should be beautiful because it is the word of God,”

Nejabati also mentioned that colors make a big difference in Islamic art because in a simple geometric square “ the design hardly shows if it’s not filled with color.” He shared his view on color that there are seven primary colors -not only three Red, Yellow and Blue as is the common view of the west. “Black, White, Gold and Silver are also primary colors.”

He who designed “Persia” typeface for bitstream Co. USA, explained more about every culture, every country has its own style of art and design. “Art is like and identity for a country.” “Everything drawn is made more beautiful than it is in life.”

“ The history of typography has not been taught in art and design schools as a separate course until recently. The teaching of history has been discussed as a part of studio course…” he is trying to persuade the designers to study the history of typography by giving four reasons. 1: Historical Models 2: Fundamentals of craft 3:Cultural link 4. Content, Form and Function

Within a world where design seems to be at everyone’s fingertips, many pieces of so called ‘design is being produced with no function in place. Instead many pieces of work are being produced to be aesthetically pleasing and nothing else. Design mean function and function gives design a purpose, importance and will help produce and overall aesthetic, which wouldn’t be achievable without the background research.

The quote speaks about the aesthetic of colors and shapes, to understand type better, each aspects has its own magic and work differently. Therefore I have decided to experiment with each aspect within my concepts of posters.

To create a successful typeface poster I need the right elements of colors, well-placed shapes and patterns.  The looks and feel of this design trend is quite illustrative, rich in color, texture and complexity, giving a beautiful image of the diversity of visual cultures that constitute today’s large urban environments.

2: Process decisions

 My ideas have this have been expressed through calligraphy and type I would like to explore this aspect in more depth. Integrating the Persian and English typography also using Persian proverbs and their translation in English gave me the opportunity to finish the designing process by bringing together the different elements. Moreover, playing with Persian and English letters was a new experience for me to make more visual forms which enable people who are interested in foreign languages to find out more about the Persian culture and typography. Although Persian letters are very different in their shapes and even in their meanings their simplicity in being matched with English letters and their graphic fluidity made the poster more interesting.

Overall, each research follows some objectives, so as a graphic designer I am trying to follow those that can help me to clarify my ideas and make them more understandable for those people who are not familiar with my culture and Persian typography/calligraphy.

It’s about taking a given starting point on a design journey in order to come up with a range of ideas. Many small changes are made to the original idea along the journey in order to end up with lots of alternatives. It is often a good idea to work quickly at this stage so that I can have more ideas to select from rather than less!

Experimenting could involve exploring different color combinations, or working at different scales, or working with different media, techniques or processes. As a designer I developed the ideas in different ways in order to produce an original design, Selections of the elements that can be changed. Selected ideas will need to be refined and the final piece needs to be made carefully and accurately.

This section I give my ideas and examples of how to meet the criteria in my brief and further develop and extend my ideas through Color palettes, Styles of lettering, Materials, Scale and proportion, Media, Composition, Placement of imagery, Patterns, Surfaces all of these will playing a key role in my project and I will continue with this forms of development in the future.

3: Outcomes

Throughout this semester I have been working on series of posters. I also chose to make a small publication something handy that allows the audience to understand my project better. The final framework for my project will be a series of posters about Persian typeface and calligraphy. Due to limited wall space I have decided to choose one of my best poster for the exhibition display. To make that happen I need to change the size of the scale to A1 size which is 50x76cm. The reason I have chosen to make a publication too was to support the ideas of my project to the people at the exhibition.

To sum up, considering the other aims and objectives the most important part of my project is introducing Persian/Afghan culture and art to those who may have different views due to the political issues. Although Persian art and design is famous in its own right, I hope I can have a remarkable influence on it and make it more global.

 

 

 

 

 

 

 

 

 

 

 

 

Aldrich-Ruenzel and Fennell “Designer’s Guide to Typography” Published in 1991, New York, Watson-Guptill

http://www.typography.ir/nejabati.html

http://www.elahe.net/artist.php?folder=249

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