First: Donis Dondis’ Approach
I recall the days when there was a sortage of professional theoretical resources, especially in regards to modern foundations in the visual arts. When the book “A Primer of Visual Literacy” by Donis A. Dondis came out and later was translated and published in Iran, it served as a starting point for Masood Sepehr, a pivotal presence in our field of work.
“In the age of technology, the meaning of art, as well as its specific form and application, generally known as visual communication and statement has greatly changed, but many of the aesthetic concepts of art still remain like the past and have not undergone a change in accordance with the developments of the recent century, while the characteristics of visual arts and its relation with today’s society and the educational system have altered surprisingly” as quoted in the preface of the book. The transformation addressed by Dondis is the same point that is ubiquitous in the spirit, characteristics, and efforts of Masood Sepehr. An additional mentor to Sepehr along his path to success is Morteza Momayes. An individual who’s constant constantly encouragement and support in recognizing his special characteristics and talents proved instrumental in Sepehr’s development.
Second: A Researcher And Designer
Since 2001, Masood Sepehr has been the art director of “Sepehr Graphic Studio” and a valuable contributor to the “Iranian Graphic Designers Society” (member of the board, vice president, secretary general). Sepehr graduated from the London College of Printing and received his Professional Doctorate from the Department of Culture and the Ministry of Science, Research and Technology. His professional career includes designing Persian fonts, comprehensive visual identities and logos, statues, orders, badges, shields, and environmental graphics. Among his work the typefaces “Yekan” and “Amoozeh”, the standardization of the Tehran Metro signs and maps, and designing four of seven national orders of excellence in Iran are the most noteworthy. He is also a visiting lecturer at several of the most credible universities of Iran.
Third: The Outstanding Competency
When it comes to the applicability of graphic design in interdisciplinary trends, the design of national orders, badges, and shields that are awarded to honorable people, elites, and dignitaries might be considered. What these orders have in common are qualities of magnificence, luxury, and exclusiveness, and a designer who undertakes such a task must be bound to adhere to these qualities. Masood Sepehr is one of a handful of designers in this field who have provided valuable and stunning designs for some of the country’s national orders as well as closely monitoring the technical construction and precision of their execution.
Careful attention to the inclusion of Iranian traditional shapes and concepts in logo design is a hallmark of his work. Selection of units (motif pattern), their repetition, arrangement, and development have brought about beautiful, results designed with subtlety and expertise. The logos he has designed exude integretiy, honesty, and quality.
Masood Sepehr is skillful at designing popular logos for a wide range of audiences. As strong xample, is the logo for The Third Biennial of Iranian Graphic Designers, depicting; three triangles (3 pencil tips) that were derived from the central core of an Iranian motif pattern.
Sepehr’s approach to logo design expertly manipulate the basic principles and foundations of graphic design. Visual elements (point, line, surface, etc.), grab the attention of the viewer, and quickly communicate and idea. These identities can be characterized by brevity, persistence, an avoidance of vain complexities, simplicity, and visual beauty. Due to his expertise in modern typography, Sepehr is very influential in the design of logotypes and letterforms.
Fourth: Living With Symbols
Environmental graphics are a part of the fabric of the urban community and help people interact with the built environment in positive ways. Today, cities around the globe are full of signs, symbols, and other graphical elements that are responsible for organizing and communicating a variety of information including transit, vehicular and pedestrian wayfinding, laws and regulations, public notices, retail and residential identification, and are considered a core componentn of economic development tool.
One of the most large scale projects Sepehr has conducted is the standardization of the Tehran Metro’s signs and maps. Following the launch of Tehran Metro,one of the main issues facing Metro managers has been the suitable design of an effective wayfinding system to help riders navigate the complexity of the system.
Fifth: Pain, Gain
“Masood Sepehr” speaks precisely and rationally, in such a way that having a conversation with him will always be intriguing and informative, full of lively debate and discussioninformed by strong,academic reasoning.
When the typeface “Yekan” hit the graphic art market of Iran, (a market in desperate need ofnew typefaces), it was a much needed breath of fresh air. Yekan was introduced into graphic workshops and its usage grew gently and was soon established everywhere.
“Yekan” is a calligraphic font of modern, efficient, legible, and up-to-date texts that could respond to the needs of graphics studios developing new work.
The introduction of “Yekan” and it’s subsequent success has encouraged many younger designers to step into the barren field of Persian typeface design.
Sepehr’s philosophy, coupled with his full acquaintance of scientific achievements in the graphics has made him a diligent human, whose presence is honorable and inspirational to the Iranian Graphic Designers Community. An example of his contributions to the community include thebook series “Analysis of Graphic Works in Visual Communication”, published by Fatemi Publication Co.
In the preface, Sepehr states: “The purpose of this publication is to enhance theoretical knowledge and practical skills for graphic design students and those who are interested in the field.”. This important text has become required reading by students of graphic design in universities across Iran, providing critical anaylsis of a vast range of graphic design branches., The publication of this book series is foundational to the profession’s ongoing efforts of establishing a healthy library of theoretical resources for students and practicioners alike.
masoodsepehr.com