The art of magazine and newspaper design reached Iran in later stages (early 1900) similar to print technology. The level of knowledge that surfaced was through observation, imitation and practice. The practice elevated was based on the ability of the typesetter, print shop, or better said, the editor-in-chief’s preference. It was solely flush-right typesetting with existing lead types and peculiar low-grade quality pictures and illustrations. The texts such as news and interviews were more significant than the appearance of the publication. After the advent of offset and heliogravure technologies, page layouts were not designed based on art and science, as universities lacked academic programs like magazine and newspaper design. Even if Morteza Momayez and his students initiated page layout knowledge, it had excluded scientific basis. Their insights were based on visual experience and accidental observation of new magazines’ pages. Furthermore, by imitating and experimenting with glue, scissors and clips of newspapers and magazines, they generated new layouts. According to Momayez, “We invented plates and glasses for the second time.” At the start of modernization – the structure apart from the newspaper’s overall structure – this form of media continued to progress with better print quality containing current advertisements for the latest products. Articles comprising of titles, subtitles and headings were all steered according to the likings of editors and editor-in-chiefs, and yet the same applies in various examples to date. A review of previous publications reveals that the first proper types and images did appear on assorted intellectual and dignified magazines for which the printing techniques used displayed an improvement and higher quality. In addition, it was apparent that foreign made papers were also accessible. This reference is of the 1960’s but yet still no knowledge of page layout declared. The type size, leading and column width was determined by the taste of the designer and his aesthetic perception, not the articles’ contents. Certain occurrences appear on diverse facing pages, which in fact are attractive to sight, but continue to lack a meaningful basis However today, an abundant means of access exists for design individuals to grasp and learn nonetheless high-circulated press remains insufficient in design, or rather yet; there are no designs, which are worth considering. Even so page layout, to a greater degree, is taught in schools and universities. But in the workplace, editors and editor-in-chiefs remain highly sensitive to what is actually produced. In addition, readers’ visual literacy has increased and at rare times, the print industry is able to afford adequate graphic design. Though neglected and unmentioned, Iran’s print industry, with its two hundred years behind time, the subject of design art comprehension has surprisingly regressed and remains dully alive. Having witnessed numerous foreign publications, we are quite aware of what components dignify a notable page layout - legibility, pleasing visuality and proper naming and imaging. Today, we are thoroughly conscious that the spirit and overall appearance of a publication should be in harmony with its sector and contents. The aesthetics of a distinguished literary magazine should be distinct and agreed by its viewership. For instance, sports newspapers require dynamic form, women’s magazines consist of feminine liveliness, and children’s include youthful expressions. In order for that to truly occur, the editor-in-chief, art director and designer must be in sync with one another. Their goals must be consistent and foremost defined to produce better market circulation for any specified target segmentation. They should be well aware of their publications tendency and what dictates their presence in society. Yet the primary weakness still remains in tact; the book and publishing industry lacks a systematic process. We have failed to implement an accurate systematic mechanism that the world has experienced which embodies editors, art directors, photographers, designers and advertising and printing units. Or if little experience has rarely been gained, others or our very selves have uprooted it for political or alternative vindications. So once more, encountering a “new” experience solely reinvents [the glass and the plate] once again. The publishing industry in Iran is below par. The field has minuscule value in the country’s developmental programs. Political mentality, both within society and government, views this sector as precarious therefore no actual progression is put in place. The market extends to suffer and solely sells in order to generate a quick turnaround in profit to simply subsist. With a severe shortage of market presence, universities and students see no point to attend to this scene. Academia stands still without any consideration to improve or innovate. And once more, the concept is placed within a dejected movement, and just like the past, the road to adequacy carries on obsolete.

 Among the artistic and enthusiastic Iranian community of graphic designers, since many years back, there’s existed a highly awaited aspiration for a specialized journal on graphic design. And through the occurrence of diverse cultural, societal and political events during the first decade of the 21st century, this need came to surface. Neshan became the first Iranian graphic design publication established in Iran.

Before Neshan was born, the graphic designer’s community developed the Graphic Designers Society in the early 2000’s. Shortly after, the Society became a venue for graphic designers to gather and adopt group interests. This collaboration was of the first and foremost preeminent cooperation of graphic designers under one umbrella, which bloomed through major steps until its establishment. The joining of such artistic expertise created power and support amongst the designers and encouraged them to express their insights and knowledge to the rest of society.

At the time, Iranian graphic design had passed the post-Revolution and post-war era, which together created a period that drastically lacked expressive activity. The works of Iranian graphic designers had found way into the international scene participating in a variety of exhibitions frequently in different parts of the world. Simultaneously, the generation gap between accomplished graphic designers of different periods was quickly filled with the entrance of university graduates. Given socio-political conditions, cultural milieu had grown open and accepting of a more modern outlook. Those years, we witnessed a boom in publication of books, journals and newspapers. Social gaiety was witnessed of economic and political alteration therefore the demand for a prestigious journal to represent Iranian graphic design was even greater.

In October 2002, a group of graphic designers came together to do exactly that – to publish a specialized journal about Iranian graphic design with the outlook of both domestic and international audiences. It took nearly 14 months from the start to the publication of the very first issue of Neshan. There were numerous discussions and dialogue concerning the content and form of the journal. And to assure the potential and expertise behind such ideality, many connoisseurs were consulted during the preparation time span. In fact, some accompanied us part of the way and others remain as significant contributors to date. The primary group included Majid Abbasi, Reza Abedini, Mostafa Asadollahi, Saed Meshki, Morteza Momayez, Ali Rashidi, Firouz Shafei and Iraj Zargami. Reza Abedini left after the first few meetings. Then, Mostafa Asadollahi then took over the responsibility of organizing design and layout of Neshan.

The critical role of Morteza Momayez as editorial-in-chief in founding and formatting Neshan is undeniable. He exerted his entire knowledge and expertise for the improvement an enrichment of Neshan. Although he witnessed the birth of Neshan, he passed away and we lost this unrivalled treasure. After his death, the Editorial Board took over the responsibility of editor-in-chief. Ebrahim Haghighi, who was in close contact since the first issue, formally joined us from then on, and still remains contributor until recent day.

The hardships emerged at the very beginning; especially continuous writing! The Editorial’s determination to ensure that articles published in Neshan had not been formerly published anywhere else increased the difficulty of the overall job. The lack of sufficient and inaccessible sources, and the reliance of existing sources from oral memories made our task more complicated and rendered our researches more intricate.

We devoted each issue to a specific topic as the main focus. These topics were usually issues of concern or subjects of interest to graphic designers of the time. Editorials of Neshan were written on the same subject and acted as an entry to the covered theme.

Among these topics were visual national identity in graphic design, 8th Tehran International Poster Biennial, design education and international schools, book cover, logos, theater posters, stamps, music, typography, sports, cinema, political graphics and advertising.

Iranian graphic design pioneers’ perspectives were reflected in all issues of Neshan as an effort to record the history of graphic design in Iran, which had not yet been written. In a number of the latest issues, we have also expanded our introductions to contemporary graphic designers of Iran.

Based on the subject under discussion, we have published an article of pathological significance with a historical approach in each issue. We have delved deep into the matter as far as available sources allowed. One of the permanent valuable parts of Neshan is Iranian Motifs. In each issue, this component deals with a historical period or a special case. It is considered one of the most usable sections for contemporary Iranian graphic designers and is in fact a recording of the visual documents of this land.

Another element of Neshan is the introduction of international graphic designers, which includes both contemporary designers, and significant designers of past generations. Up to present day, Neshan has written and interviewed 66 foreign designers and 38 Iranian designers in 20 issues. The Cold Sight section covers criticism and pathology of a special topic in contemporary Iranian graphic design. “Book Review” is another section where the books on Iranian graphic design or relevant subjects are introduced. A large number of new books of world graphic design from reputable international publishers have also been made known for Iranian audiences. In other cases, we have also looked at graphic design websites.

Neshan’s presentation, layout and cover design has always been and still remains of the main concerns of its founders; as all are graphic designers and are very sensitive to this matter. Their tendency has continued to this very issue and although there is always a distance to the optimum format, it has been one of the permanent topics for discussion among us.

A close study of Neshan, since the first issue to date, indicates a smooth growth in content and a structure development in line with the growing experience of the founders and more cooperation of the colleagues. Our initial decision was to devote about 70% of the space in Neshan to visuals and 30% to copy. In practice, however, the need to discuss theoretical subjects and explain different topics disrupted this balance in favor of copy. Today, we can claim that Neshan has succeeded to encourage some of our colleagues to continue writing, and to attract some of the writers to expand in other areas of graphic design.

Neshan has enjoyed the presence of distinguished Iranian writers and art critics including Aydin Aghdashlou, Ebrahim Haghighi, Mehdi Sahabi, Farshid Mesghali, Mohammad-Reza Riazi and others. Major international writers such as Steven Heller, Rick Poyner and Emily King have also cooperated with our editorials.

Neshan is the result of a collaboration of Iranian graphic designers and their experiences that have always called upon other colleagues and individuals to contribute. Today, graphic designers in Iran and all around the globe are familiar with Neshan. We are a member of ICOGRAD’s (International Council of Graphic Design Associations) Media Network and mutually cooperate with reputed international journals.

Neshan is the most prestigious journal of graphic design in the Middle East and has achieved to gain a position parallel to the most distinguished world journals of graphic design.

Seven years of activity and five years of publication have brought several ups and downs, and pro and cons for all of us. We pride ourselves in our achievement of publishing twenty issues worthy of the prestige which Iranian graphic design and Iranian graphic designers hold. However, we have always criticized ourselves and have tried to set the future path and add to the open and hidden values of Neshan. Like all people in the press, we have our own obstacles to face but wish to see our efforts yield better results and to see our Neshan shine more brilliantly.

In the past, among the advertising professionals in Iran there didn’t exist an entity and a problem called ‘creative idea’ as we are witnessing it today. If the need were felt the active advertising people could easily eliminate the need and create advertisement that would draw consumer attention and affect his mind. In those times there was no trace of the broad media that we see today. The market and media unlike the chaotic and borderless world of today were extremely limited and simple. By spending little advertising budget, the manufacturers or service providers could have introduced and marketed their products and services.
Nowadays, the advertising industry has been subjected to major changes. The excessive diversity of products and services and tight and breathtaking competition of various brands on one hand and presence of abundant media such as radio, television, the press, outdoor media and recently the internet and alternative media on the other hand have lowered the focus and attention of consumers. The traditional methods of advertising by no means are efficient enough to establish a relation with and transfer the message to the consumers, bewildered amidst mass of information.
No need to gloss over. It must be boldly said that compared to the staggering media growth in our country, the subject of generating creative ideas is going through childhood in advertising and most of the graphic designers who assume themselves as creative, expose their ineffective ideas to the public with enormous budgets that the client or the campaign expends on the products.
On an interesting note there’s growing trend on immature and at times completely useless ideas. The superficial and deceiving effect of these ideas that temporarily create an illusion of success in clients draws only a small number of consumers to their products and services. Truth is, the reason for their prosperity is not because their advertising works have penetrated the consumer’s mind by way of creative idea but as result of numerous and unsystematic repetition of the advertisement. Even for an amateur person it takes little time to find out that the short life of these commercial activities with regards to their spending is not at all cost effective or justifiable.
It comes as no surprise if brand owners and advertisement clients have no knowledge of their advertising needs because their duty each involves to acquire knowledge and experience within the scope of their profession but many of the advertising professionals who should offer consulting to these clients, unfortunately fail to recognize ‘concept’ or ‘creative thinking’ or have not yet discovered its significance because majority of the visible advertisements in the city’s outdoor media-that were apparently made by consultation from these colleagues-basically lack the element of ‘creative thinking’. If they are each asked for their opinion certainly they will all confess to the merit of idea and concept. One of the characteristics of creative concept which is definitely the product of in-depth specialized work is to be capable of development and long term effect and only then it can remain as a source of inspiration for creating new and memorable ideas. Advertising is not a picture or a sentence at random. Commercials with no recognition of important advertising elements will not produce results. This communicative process that’s become science today and its marshaled practical methods undergo change for the better every year, like all sciences encompasses specific phases that although each independent, they follow a harmonic course in reaching the goal. Undeniably, the process of commercial dealings in every age completes only through mutual satisfaction and profit and its continuity guaranteed.
Unfortunately in many of the present advertising works the lack of heed to this principle is noticeably felt to the extent that at times it seems some of our colleagues ignore or have no clue as to the oldest elements of this process meaning the ‘brand’, ‘time and place’ and ‘audience’, whereas a creative idea in order to deeply affect the consumer has to stem from one the following three cases:
1)    Brand: Sometimes the origin and background of a brand reveals unspoken values that through exposure will occupy every consumer’s mind. For example, Iranian carpet possesses such an identity. Apart from any other message if information is given to the consumer about the place the carpet was woven they will know about its value and exquisiteness. This is an important point even in international advertising.
2)    Context: In some cases the content of a product/service in a specific time frame and with regards to socio-cultural circumstances can create potential for an effective advertising idea. The subject of electronic banking for instance, may not seem so significant in a western country but in our country where people until a certain age are unfamiliar with computers and its aspects and where the next generations grow up with the electronic phenomenon, the concept of progress can be a suitable content to communicate with a group of audience in a certain age group.
3)    Consumer: the most suitable case among the three is the consumer. Meeting the needs, demands and dreams of the consumer creates suitable grounds for the appearance of advertising ideas and usually the most effective creative ideas rise from this source. With a quick look at advertising campaigns of famous brands such as Nike, Adidas, Kit Kat, etc., you will notice that none of them have neglected this effective method.
You can’t find any effective advertising idea that does not take root in at least one of the above cases especially in the third one, which involves consumer behavior and habits.
Normally, the most lasting ideas are created from the heart of the consumer. A close look at the behavior, culture and habits of the consumer, ideas can be achieved that apart from artistic creativity can deeply penetrate the consumer heart and according to an Iranian proverb, “words come from the heart reach in the heart”.
Nowadays, the world’s biggest brands use every advertising tactic and technique to penetrate the hearts of the consumers and affect their emotions in every way they can.

Final word
Advancement and ultimately success is a slow process and valuable on the same note. As a child’s growth cannot be daily measured, brand growth as well becomes evident after years. For such a growth that resembles a valuable treasure or a mine and can avail benefits to many individuals in the society, we must be patient and take every step correctly. Advertising ideas make up an important part of the relation between the brand and its consumers. Creation of such ideas is beyond the power and capabilities of a graphic designer and it requires collective collaboration of marketers, creative directors, designers, copywriters, media specialists and researchers. An idea that results from this collective effort becomes worthy of public exposure. It can influence the consumer and besides promotion and growth in product/service sales it creates a valuable niche for the brand. In today’s world only an idea with such quality deserves the remarkable media spending.

Eighteen years ago, the day the Berlin Wall was being torn down some said, “Stop! You are destroying a country’s history.” Parts of the wall were still remaining when suddenly people started to collect wall pieces filled with graffiti and political sketches. Collectors from around the world especially America came to Berlin and bought some of these pieces for a few million dollars. Some sold them to museums and galleries while government officials protected parts of the wall that had not yet been torn down as memorial. Since then, millions of tourists from around the world have visited the remains.
It was in the early post-revolution days when I accidentally ran into Momayez on Ferdowsi Square, which was my usual route. He was holding a small camera and was photographing the walls filled of graffiti about the revolution. He told me he wanted to publish a book of these images calling it the Revolution Handwritings.
Momayez was clever and insightful. He knew what he was doing. And that was thirty years ago. I was thrilled at Momayez’s innovation and told him that it was an interesting work that would last long. He had taken many pictures. Familiar with his patience and precision, I greatly encouraged him. Later on, a book was published of these images that were extremely beautiful and unique. I never saw the book again. Perhaps many didn’t either…
With the onset of the Constitutional Movement, political graphics like many other imported matters such as suits, ties, bow ties and hats, came to Iran. Up until then everything was created in admiration, praise and fawning the kings and despotic lustful and gluttonous rulers.
With the publication of newspapers and magazines, political graphics were also born in Iran. If we turn the pages of newspapers and magazines from back then we will see many of these historical documents. After several years, political graphics in Iran found a new niche in the 1950’s. Certainly, the special circumstances of that period affected this rebirth; the presence of leftist and rightist parties and enthusiasts of political ideologies, the supporters and opponents of the nationalized oil industry, the Shah’s opponents, etc. The walls, posters, advertisements and the press displayed a new face of Iran’s political graphics.
Back then I was a fifth grader at Amir Atabak Elementary School in Ekbatan Street next to the Ministry of Culture and close to Baharestan Square. Many of Iran’s important political events have occurred in this square. One day when I was coming out of school, on the wall across the way, there was a slogan that was said to have been written by Mohammad Masoud, the brave journalist, in his own blood since they had executed him by that same place. There was dried blood on the wall. The writing read, “I gave up my life, wrote with my own blood, either death or Mosadegh.” And everyday people visited that spot. (Mosaddeq was an Iranian political leader and the prime minister of Iran from 1951-1953 who was removed from power by a coup.)
In the 1960’s, with the rise and continuation of the Vietnam War and America’s defeat in the world, a surge of peace seeking movements and demonstrations against the war emerged and on the occasion hundreds of posters were published throughout the world with some reaching Iran. At that time many leftists, Tudeh Party members, communists, Maoists and Leninists were active and found Iran’s intellectual community greatly influenced by them. In other words, being leftist had become fashionable and brought prestige. In the homes of young intellectuals and even the wealthy, the posters that had come to Iran from abroad were seen on the walls in large sizes; posters of Che Guevara, Castro, the Peace Dove, Picasso, the famous poster of ‘Why,’ which showed a shot dead American soldier, posters of John Lennon and his wife, the poster of Make Love Not War, the famous poster in which a flower was put in a rifle’s tube and domestic posters from Iranian intellectuals such as Shamloo, Forough Farrokhzad and Golesorkhi.
During the time of the Shah, Iranian caricaturists were among the first that published their objections and criticisms by way of political graphics despite the presence of SAVAK (Shah’s intelligent service) censorship. The most famous publications that printed political ideas and criticisms included Togfigh, Haji Baba Shamal, Chalangar, Ahangar and Kashkiat which each was closed down several times. Also at that time, the caricaturists produced valuable works on political graphics. Hassan Tofigh, Gholamali Latifi, Sakhavarz, Ardeshir Mohases, Mostafa Ramezani, Nikzad Nojumi and myself are to name a few.
Around the end of the Shah’s time and the victory of the Islamic Revolution, political graphics in Iran also entered a new phase. Religion, people’s religious beliefs and the Islamic Revolution were intertwined with political graphics; an issue that did not exist up to then. In the last months of the Shah’s rule gradually Shariati’s posters (Iranian religious intellectual) appeared on the walls and in the streets, schools, universities and bookstores and posters of Imam Khomeini with over a million in circulation were published and distributed throughout Iran. This was also one of the prodigious changes of those times. Prodigious in the sense that up until that day the extent and circulation of political posters barely reached a thousand.
Of course, amidst all that, other surprising events also occurred. After the Shah left Iran and the Islamic Republic established, a group of graphic designers and caricaturists who deemed to have awakened began to print and publish posters, books, brochures and caricatures with themes of death to the Shah; a Shah that had fled and who had politically died and that death to the Shah was meaningless.
With the occupation of the American embassy, yet another interesting event took place in the realm of Iranian political graphics and it began from the same embassy walls. Paintings and graffiti that revealed people’s objections and rage against America and later on England, and the world hegemonies and the Zionist regime were added. The imposed 8 year-old Iran-Iraq war yielded political graphics in Iran to expand by the day and people’s despise and rage towards Saddam, the Iraqi dictator, was displayed on the walls and posters. The martyrs and the disabled therefore who were among the honors of Iran and Islam and dear to people became permanent icons on the walls, posters and billboards.
What about the Iranian political graphics today? There is none due to the lack of publication of a satirical political-critical-social magazine similar to what we had in the 1950’s and 1960’s.
The red tapes, self-censorship and the closing down of some newspapers because of printing a few caricatures that were misunderstood, or the mistake and ignorance and fear of managers and chief editors of the closing down of their newspaper and unemployment of journalists, dependence of the press on left and right political currents, ridiculous and insulting low wages, low circulation, lack of people’s welcome of the press and many other reasons has brought political graphics to a halt. Unfortunately, I have to say that political graphics at the present is boycotted, abandoned and looks meek and of course closed until further notice.

Posters have the duty to inform. In fact, their main and general duty is giving out correct information. It is the graphic designer’s special recount, however, that shapes the significance and creative credibility of a poster and brings it close to and ultimately turn it to an artwork. It’s been almost a century since Posters have appeared in our social life having gone through a long winding path from simple announcements to becoming complete artworks.
While informing, our graphic designers have attempted to express their personal, internal and contemporary aesthetical beliefs. Sometimes they have sufficed to giving out straight information and sometimes direct information has been buried under masses of their visual and playful probes with the main duty put to oblivion. The Iranian contemporary graphic designer, at least from the 1960’s on, searched for an ideal balance to enable him to follow contemporary world models while not forgetting his visual historic identity and there are and were many examples in that regard that did constructively communicate with their audience The film posters fall in that category. We will read the 50 year old history of film posters in this edition. This long probing and its ups and downs can render a meaning beyond an exact chronology. It can reveal how the posters on cinema door tops were gradually taken seriously and that was more on the part of the graphic designers than the clients and how brilliant experiences took shape and continued up until a decade or two ago.
It continued up to the present where almost all of the prophecy resulting from long years of work becomes worthless and in an irresponsible and unrestrained haste the uniform heads of unknown people are arranged in line so along with the yet current Persian films the posters too are aided by trite and enjoy the Photoshop, the instrument of part time nonprofessional graphic designers. And of course, the correct use of the word trite is right here.
The work of a graphic designer is subject to the order and consequently the client’s choice, taste and courage. Cinema graphics too has always been to a great extent the result of collaboration between the client and the graphic artist and since the return of investment was always been a top priority (the first screening of the films back then did not last long), inevitably the graphic designer too, influenced by this haste and pressure, found little chance for good and proper work and only those designers were important and famed who could convince the clients of their different and special proposed design and execute it.
There were a handful of clients who possessed a certain savvy and culture that enabled them to find and choose a suitable graphic designer for their film and this linkage and relation often produced a lasting result. Graphic designers in areas such as film titles had more liberty and created special and appealing examples. At times the graphic artist was more extensively present and participated in all of the visual scopes of a film. A successful example of this kind of collaboration is one between Morteza Momayez and Sohrab Shahid Sales where Momayez was effectively present in all of the phases of making and executing the film’s graphics including set and lighting design and film color.
I pointed to the works of creative and committed graphic designers in these fifty years, the search they started and to the peak of their activities from the 1970’s to the decline and decadence of their recent years. There are however graphic artists who are concerned with their works and engage in the diverse surfaces of this sparkling prism-I mean the art of graphics-and devotedly endeavor to create optimal balance in giving out information, economic profitability and creativity, concepts and interpretations, personal judgments and the general and the elite audience.
The crisis of contemporary graphics and the cinema graphics alike does not only stem from poor taste and hastiness of its executors (clients and graphic designers) that has become so widespread, long and institutionalized. The decadence and degeneration of the society’s general taste has also provided and prepared a broad table for unrefined and unpleasant cooking lined up without any shame and consideration and forcibly fed to people who are still concerned with adequacy or inadequacy and good and bad.
If at some point and time we refuse to accept that money is the ultimate criterion perhaps by holding contests, giving prizes and placing orders, we can print creative, functional and clever works next to the mass digital posters and flimsy titles and regain the lost reputation.

The value and importance of visual identity is not covert to any graphic designer but it seems that this importance has remained unknown for most managers and authorities and there is a lack of harmony between the professional sector of graphic design and the decision making authorities. It will suffice to take a look at the cultural, art, sports and social activities in our society and notice the missing integrity and harmony in their visual elements.
Sports events are considered one of the most exciting activities in every society. Nowadays, the sports activities in the world can be classified into two general groups. One, the periodic or occasional and second the continuous and nonstop events. Sports clubs or permanent committees such as the Olympic committee fall in the latter group. The graphic designers can considerably affect both groups. This role is both effective in giving out information and better introduction of events and consequently attracts greater audience and financial income.
In our country the wrestling games of World Champion Takhti Cup, the Islamic Countries International Women’s Games, The Asian International Youths Basketball Games, the Quadrilateral Football Games and many other small and major events are held every year in different seasons. Who does create the visual identity for these events? Who designs the posters, tickets, logos, statues and other visual elements?
If sports are supposed to become public-a federation has been named after that-and if championship sports are supposed to create national pride and unite our nation-and of course we have established a federation by that title too-how is it that the information on sports events is not properly spread visually?
If indeed World Champion Takhti is our national asset, how come except for a few posters that enthusiastic fans have voluntarily printed there are none befitting his athletic and ethical character? Isn’t it true that wrestling is our number one sports and we have to display it to the Iranians and the world in the best possible way?
We all know that football for several reasons is the most popular sport in the world.  Persepolis and Esteghlal are among the most popular sports club in Iran. They both have zealous and passionate fans willing to travel long distances and sleep a night or two behind the stadium doors to finally obtain tickets with difficulty for their favorite games. These two and all of our country’s football teams supply their finances through governmental budget meaning the Physical Education Organization or through large industrial or private companies and of course they are always in debt. Let’s look at some of the most reputable clubs in the world naming Milan and Juventus in Italy, Manchester and Arsenal in England, Bayern Munich and Dortmund in Germany and Barcelona and Real Madrid in Spain. If you visit the websites of these clubs you will find many products to buy all designed under one organizational identity. The fans of these teams by purchasing these products prove their support of their teams. If we consider half of the fans of each of the two most reputable clubs in Iran which number between two to three million, as buyers of their team’s specific products and if every one gives a profit of about 2000 tooman (2 dollars) to the club by their purchases annually, the total profit for every club will amount to 6 billion toomans(6 million dollars) in a year. In that case, there will be no need to ask for governmental support or dependency on it.
On one hand if a little percentage of the exorbitant sums of money spent on holding sports events every year is appropriated to graphic design it will both bring great profits to sports and it will lead to people taking the slogans and beliefs seriously.
There is a course in graphic design major in our country’s art universities titled comprehensive practical design which is in fact same as designing organizational identity. Students by use of their knowledge in four years create a visual identity for a real or imaginary place or subject. These projects at the end of the term and after receiving the grades are given to the student’s personal archives. If in every term the students follow a specific subject under the guidance of their professor and find it more applicable, we can be hopeful that at the end of every term some suitable projects have been selected and ultimately, by emendation and contact with the related mangers the importance of designing organizational identity becomes more tangible. Unfortunately, most governmental and private managers lack a correct understanding of the subject and because of this lack of knowledge they are unable to order the design. It may be better to choose the opposite direction meaning to use the ability and skill of students-that often remains futile-in order to create a visual identity for sports and cultural centers and events.

In the modern day world, a competitive market which guarantees a lasting brand is a concept known as brand management. Although brand management has been applied for years and is considered as one of the main indicatives of marketing, it is not measured as precedence in our country and despite its significance, it dates back only a few years.

Naturally, brand owners desire that their product/service becomes the consumer’s first choice. To accomplish such a goal in the past, Iranian brand owners embarked on the change of prices and the increase of advertisements, which at one point passed. Later human societies grew to be more intellectual and consumers needed more convincing reasons to select the brand. These methods gradually lost their effects and nowadays are deemed as entirely remote. They have been replaced with managing and preserving the position of the brand; a method whose realization has no way to work but through brand management.

With regard to creating the structure and management of a brand, there are generally two approaches. The first involves designers, creative directors and advertising agencies, which concludes the creation of brand structure only in visual identity. The fans of this approach believe that product logo and packaging design along with colorful advertising can lead any brand to success. Although this belief can be reasoned as necessity for any brand creation, it is never enough for its success and continuity. Without possessing enough information about the market, target audience and competitors environment, only series of visual elements for the brand are created that lack scientific and practical backup. This perception results in numerous short-term brands that are extremely varied and chaotic without any strategy or emphasis on brand values.

The second approach belongs to the brand owners. This group perceives the brand in the result of producing a product or offering a service, and summarizes brand management in sales. The loyalists of this theory usually do not regard the role of a creative idea or design as significant enough and are always after the least expensive price in advertising affairs. The simple mindedness part of this group can often bring irreparable results for the entire respective collection. Proof to this approach is the existing organizations whose advertising consultants are as raw as newly graduated students who quickly turn into executors for management and change all of their needed visual elements according to orders.

Iranian government organizations and institutions are clear examples of this type of mindset. This group by no means believes in research and analysis of the market and strengthening their brand positioning. They run their organization in the same traditional way by relying on experience, trial and error and their sense of trading. These managers, often owners of the industry, are infatuated with production and see brand success in increasing the number and type of products. This is why every day we are exposed to new products that have been produced with no reflection for brand management standards and without the least logical, scientific and visual backup. They seek to gain a niche in the market only through baseless advertising. Without a doubt, big organizations that rely solely on their magnitude and financial strengths will succeed on a trial and error system but after a while are bound to change their methods because it has been proven today that brand success is only plausible with the help of marketing, design and brainstorming groups coupled with an integral program.

In today’s world, successful companies are identified through research and review of market conditions. Although each may have approached it through different manners, they have attained efficient methods in brand management. Some brands continue their path relying on new and integrated marketing perceptions and by innovation in manufacturing their products and creativity in offering their services, which eventually gain the trust of their consumers as well as creating reputation for their brand. Among the brands that have opted for this outlook, a worthy example is DELL computers. Through complete strategic understanding and correct marketing, they have achieved brand success. DELL Company has removed all distribution channels from its circle and has allowed the consumer to review his/her computer capabilities according to his/her needs before actual order and purchase from the factory.



Before focusing on different marketing methods, some other brands emphasize on the design and innovation of their products. Though incidentally active in the same category, Apple is by far the most notorious of this kind of marketing method.
Apple, in addition to introducing new technologies and products, has always paid special attention to artistic aspects of designing and advertising for their products. It gained considerable success through its unique advertisements. A quick look at the body design, packaging and advertisements of the ipod, iphone and other Apple products, one can easily understand how this brand has been able to mold its name with innovation and creativity. Apple’s strengths in the arena of competition and people’s increase for demand of their products are indicative, if not reality of how much the role of design can affect creation, maintain product position and expansion of any brand.

Although the era of designers, who by mere artistic impression of their work did not allow the client to intervene or impose any opinions, has passed yet their vital role cannot at all be ignored. The problem is that in one hand the effect of creative design and the idea of brand success are not easily measurable or tangible for the client. On the other hand the cost of design and advertising has increased by the day making it hard for the client to decide. Because of these two reasons, nowadays clients whom are aware of brand management communicate their needs more precisely and usually refrain from traditional methods and personal judgments on the sense of trading.

Considering what was said earlier it is understood that designers and creative people greatly contribute to the making and management of brands. But before clients and brand proprietors find out about this fundamental role, it is the designers that have to arrive at that belief and stop limiting their professional duties to solely sitting behind desks and working with computers.

In modern society, brand management has become increasingly important to brand owners in Iran in order to continue their successful presence in a competitive market. They have to inevitably relinquish traditional methods that can at times put a brand at high risk. In the first place, such a need requires that practitioners and the informed make a pathological review of professional relations between the main groups on two sides of this process; meaning brand owners and creative agencies. It seems that mutual understanding and respect towards a professional specialty can greatly help the expansion and consistency of the brand management process in Iran.

By a quick review of the relationship between brand owners and creative agencies, we will notice that the majority of these entities change their partners almost every year, after becoming disappointed by one another and then in search for alternative client/agency. Unfortunately, these shortcomings and unfinished relationships can bring along disappointing results and slow down the spread of a concept such as brand management. Perhaps client confusion towards their demands and lack of presenting a logical and plausible solution on the part of the creative agency is the most prevalent reason for the appearance of this conflict. The main root of this problem stems from lack of information of specialties and the application of unprofessional erroneous methods. If the client is aware of his needs and demands, and the craetive agency, by studying the market and client’s professional backgrounds, becomes familiar with his concerns and problems, achieving a logical and final resolution with high work output can be a simple task.

Nearly 50 years ago, a group of outstanding educational experts in Iran untied the use of writing style in our educational textbooks from relative idleness. To determine and address the subject, especially in primary educational textbooks, they employed an interesting and based on experience method. The question was which style of writing was more legible to the public to use in official textbook typeset. At the time, relying on statistical data and questionnaires did not suffice to arrive at answers; therefore they posed the question before the post office. What writing style do people use to print information-sender/receiver address-on envelopes? They assumed that senders use a more legible type of writing on envelopes because they want to be certain that the letter reaches the right destination, therefore observation of several mailings was examined.

According to answers from the post office it became clear that the general public used some kind of Naskh (newspaper style) writing on postal envelopes. That type of writing became the basis for the existing fonts that were designed in typesetting textbooks in order to gain general acceptance; although years later rectified fonts for the matter of education and literacy were added on. Of course, the subject could have also been inferred from people's other necessary writings. For example, religious texts or prayers, whether in the form of books or inscriptions, and also in mosques (that are necessary to be read correctly and flawlessly) were also usually written in a kind of Sols (Kufic) and Naskh writing.

It is likely that Gutenberg was similarly preoccupied with choosing a writing style and ultimately designing the fonts for his first printed book. He had to design a writing style that in addition to being beautiful, had to be easily
legible to the people. Of course, Gutenberg's main concern was reproduction of _exts and their publication as cheap and beautiful books. The texts prior to his time were confined in luxurious royal libraries, temples and shrines. And except for a few scientists that were close to those centers no one had access to them. Any religious, historical or literary texts were only available as one or more handwritten manuscripts. The difficulty in preparing texts and their rarity required decorating and beautifying employment of calligraphy and elegant paintings so as to pay respect to and honor the books. The print industry was born with Gutenberg liberated books and manuscripts from their golden cage and placed in the streets for public access.

Choosing a writing style was the preliminary assumption for the existence of the print industry. The style had to be familiar to the public; a legible and attractive font within the framework of current alphabets. Afterwards, every single character of this font had to be uniformly designed and hundreds of similar pieces reproduced. This uniform collection of characters that constituted complete alphabets, numbers and marks was needed for typesetting, together with a titled font. Making fonts or types provided the possibility of print, a prelude for designing fonts and typography and ultimately as a result of expanding and blending with other visual art branches. It led to the appearance of the art and profession of graphic design in modern day world.

Designing a writing style as type letters is an extremely tough, complex and broad task. The fonts we use today have been almost readily presented to us. Fortunately there are many legible and suitable Farsi fonts, though few are originally done by Iranian graphic designers. We do not have diligent, specialized and experienced Farsi font designers. And if some sporadic work has been done, it was periodic and out of love.

If we had known the countless graphic sensitivities and concerns involved in designing a font, we would not have easily changed and metamorphosed them; something that is visible in important informational texts and at times even in books. We would not have brought needless expansions or compressions in words. We would have paid attention to the font's original spaces and position, and would have chosen according to subject and text and many other points that should have been observed but were not.


Nowadays, fortunately many graphic designers recognize the shortcomings and seek to design versatile Farsi fonts. We know that the writing style used for children's books should differ from academic scientific texts. The thick reference book needs to find its own suitable font and be different from a novel. We know that the fonts used in many utility bills, questionnaires or bank documents are not proper. We do not have enough necessary Farsi fonts for use in computers and the internet. This is an issue that needs to be addressed and worked on. We recognize that the prerequisite for having a good font is that all of it should be available as a complete family of black, thin and even italic letters which we do not have. We know that many fonts are too delicate to suit for printing in newspapers. We identify that a font with Nastaliq properties exists but this time we recognize its correct position. The fonts used on street billboards are less used for newspapers, magazines and book titles. At least for the first time we extensively discuss and debate over this subject. Furthermore, we know that recognizing the shortcomings and weaknesses is the first step to resolve it.

Graphic design and in particular font designing, is one of the most important constituents and has been from day one for the people with a democratic characteristic. Graphic design has generally serviced inexpensive and beautiful publications; the beautiful, easy and fluent publication of knowledge and culture. Works that push us to dark, incomprehensible and suitable-for-the¬ elite corners are reminders of the golden and gloomy old eras in which
knowledge rested with the elite. The works of whole virtue and beauty of successful graphic design lies in their sweetness, simplicity and eloquence for all people. Font design is in fact one of the most sensitive areas in the graphic design field that can better display this characteristic to stimulate and delight everybody so they'll look.. .so they'll read.

Lithography is one of the late 18th century European inventions. Prior to that time printing of pictures was done by engraving on wood or metal. This invention brought forth a revolution in printing and indirectly in the art of graphic design.

Lithography was first initiated by the German Aloys Senefelder in 1798 B.C. in Bavaria and after that throughout the 19th century it became a widespread and popular technique that drew the attention of artists. Painters shifted from engraving on metal to lithography because they could more delicately and completely work on shading. Many early 19th century great artists such as Francisco de Goya and Jean Auguste Dominique Ingres also turned to this technique and from the second half of the 19th century colored lithography with several stones and prints became popular. Great impressionist artists including Henri de Toulouse Lautrec and Edouard Manet, Paul Gauguin and. others greatly welcomes it.

In the 20th century lithography was replaced with more advanced printing techniques but it was still used by artists in their original artworks in limited numbers titled as graphic works displayed in museums which is still pretty much current.

The print industry and engraving on wood and metal in Iran dates back to the 17th century. The first print shop was set up in Isfahan at that time by Christians and copies of the Holy Book were typeset and printed. Iranians although being familiar did not show much interest and although great painters such as Reza Abbasi used engraved examples as models but use of print was delayed until 200 years later and with the opening of the first print shop by Abbas Mirza Qajar in the first half of the 19th century, Iranians practically became familiar with the technique of printing. It was in the same printing shop that the first religious books such as Zad al-Maad were typeset and printed.

Lithography however, later on was extensively used during the time of Mohammad Shah Qajar and around 1837 in a newspaper that Mirza Saleh Shirazi published. Gradually reputable Iranian artists printed their works in various newspapers that became the first examples of Iranian printed graphic illustrations.

Lithography in Iran has a long precedence and it was almost used for seventy years in various newspapers, announcements, books and texts. Some of the most prominent calligraphers of the Qajar era and especially Mirza Reza Kalhor used lithography technique to print their works. From the second decade of the 20th century, lithography gradually became obsolete in Iran and it only continued to be used in Europe and America in their important print works. With the founding of the Faculty of Fine Arts in the University of Tehran, every now and then desolate lithography workshops were set up that did not last long and the stones and tools were just stored and deteriorated in them.

The interest and attention to illustrations in lithographic books in Iran in recent years is an indication of the deep curiosity and extensive search of a generation who has aimed to find and reconstruct its roots searching every remote corner to draw ever more completely the course of evolution of its past culture.

In conclusion, I must add that contrary to books and merited and detailed researches that have been published on Qajar era photography, lithography and review of its status and functions in Iran has remained quite obsolete and unknown. Except brief mentions in dissertations placed in abandoned libraries of art departments, there is not a significant resource available for those interested in research and this is a great unkindness towards one of the most successful periods of Iranians graphic design art; a period in which proper blending and balance occurred between tradition and modernism and it can be a significant model for contemporary Iranian graphic designers still facing the problems and issues resulting from mixing tradition with modernism and who are experiencing different resolutions.

"From a psychological point of view our mental and excitatory capacity is as much limited as it is indefinite. Every ordinary subject therefore, stimulates musical contexts or on the contrary music can provoke contexts beyond musical purposes."                                                                    -Arnold Schonberg­

Music is a sheer and abstract art that can independently express itself and needs no interpretation. Esthetically, music is music and nothing else. But everyone according to his own subjective mind, upbringing and culture finds an image and definition of his favourite music that swings with his moods in different times. Many of the musical masterpieces, however, are descriptive or programmatic. The Symphonie Fantastique by Berlioz, Beethoven's Pastoral Symphony, the Manfred Symphony by Tchaikovsky based on Byron's writings, etc. Fall into this thought system. In 19th century composed works for piano such as the Ballades, Nocturnes, Requiems and Fantasies, the image of romantic and definitive music is completely evident and clearly they benefit from literature. Also, we know many
visual works that have inspired musicians. The Isle of the Dead by Rachmaninoff was composed with inspiration from a painting by the same name by B6cklin and Segantini's Trittico della
Natura painting inspired Webern in his string quartet (1905) , but when we speak of cover designs for musical products such as LPs, music cassettes, CDs, etc., we enter a realm of design that directly deals with competition, sales and the commercial sphere.

Since early 20th century when everybody found the opportunity to listen to their favourite music in the convenience of their homes, the need for cover design arose and over time, typesetters,
painters, illustrators, designers and photographers stepped into this arena. Every cover became a narration of the designer or illustrator who presented his own impression of a specific music. Album cover designs became reagents of various kinds of music and they started to compete with each other. It was there that music as a consumer product faced the need to bear different commercial brand names. A full review of the course of change in this particular field of design which is not limited to a certain company, country or kind of music is not possible in this article but definitely pointing to an important part of graphic designers' works that play an eminent role on the culture and in society as far as visual communications is worth deliberating.

As the music of every country is expressive of their culture, graphic design also holds its own history making role today as the most important implement of visual communication. designing for musical products can be reviewed from the three Perspectives of the kind of music, the time capacity and the designer. The single song gramophone records were replaced with LPs with a larger capacity for recording. Meanwhile, both sides were used and the design area included a 32X32 square centimetre. Since 1970's when rock music reached its peak, music cassettes were produced with a recording capacity of 30 to 120 minutes on both sides and the 1 OX6.5 square centimetre rectangular area left the designer with more limitations to work. But since 1979 when CD was invented by Philips and Sony Corporation and reached the market in late 1982, the possibility of digital recording of about 70 minutes appeared and the design area reduced to a 12X12 square centimetre and the transparent cover provided new possibilities for the designer.

Various kinds of music such as jazz, blues, rock, pop, classic and folk required their own particular designs which were the result of the designers' special outlook in different periods. Andy Warhol and Robert Rausch6nberg were among pop artists that designed the covers of some of the rock albums of their time. The public interest and attention to this kind of music prompted the designers to bring versatility in their designs. The blue jean design with a real zipper on the album cover of the Rolling Stones, The Wall for Pink Floyd or the green apple for The Beatles are prominent examples of this kind of diversity.

The cover design for motion picture scores is often limited to a major scene of the film or the created image is used for the film's poster. Taxi Driver by Bernard Hermann, The Godfather by Nino Rota, Papillion by Jerry Goldsmith, Once Upon a time in America by Ennio Morricone, Star Wars by John Williams are reflective of this kind of perception.

The extent of classical music and its vast repertoire from Baroque and CI11ssical to Dodecaphonic and Electronic brings with it a large and diverse scope of designs that throughout history have changed many times. Phillips, HMV, RCA, Columbia, Decca and Deutsche Grammophon each were a founder of this kind of design. Images that have blended with the musical piece and became
lasting.

The graphic designer creates the lasting image and picture of the music and eternalises it with the music. Have you ever remembered your favorite music without the image on the cover whether it is a music cassette, LP or a CD? But as time goes on, music cover design may be replaced with other forms and become transformed. New technology development, the appearance of new compressed formats for music albums and the accompanying video clips speak of the paling of this kind of design work.

Up until 20 years ago stamps were found in between pages of pocket calendars, in the desk drawer or some where at home when needed. Letter writing was a necessity for every one and keeping a few stamps at hand was a relief. Today, nobody writes letters like they did in the past and the development of electronic communication and the Internet has rendered stamps obsolete.

Today in stamp holders we see small cards that guarantee our connection to the Internet and broad communication. Stamps may not be headed towards annihilation but they are certainly changing shape. Vast information transmitting utilities and cultural-national advertisements that made the presence of stamps meaningful in the past help us find a way to draw public attention to these small cards. Considering the unexpected hike in these cards among people perhaps they can substitute for stamps.

Despite all this change stamps are still the most official symbol and identity documents in every country after the flag and paper money and upon seeing them one can find out about a country’s significant interests and values. The small surface of stamps from the beginning became mirror to reflect the faces of nations, the established government identity, a magnificent display and civilization greatness, introduction of cultural pride, national occasions and memorials, friendship between two countries, sports, art, etc. and anything the mind can think of.

Governments might be replaced. Countries are created or destroyed. National slogans and prides are revolutionized and even interim governments are established. But every regime before printing their paper notes initiates print of stamps to introduce and prove themselves. Once a stamp is printed it goes everywhere. Their audiences are people of the world. Everyone sees, buys and uses them. The message of the design also penetrates their minds to an acceptable degree.

Right or wrong, stamps are divided into two groups of postal and memorial. Postal stamps are designed to meet the needs of the post office and to insert immediate items such as price and country name. Often on government postal stamps the official emblem or pictures of high officials are printed. Memorial stamps as their names reveal are printed on various occasions, memorials and commemorations.

Stamps are the world’s smallest posters. What need to be addressed, image and text are composed right here on the stamp surface. The small surface requires a brief text yet on the same small surface transfers plenty of information.

Stamps are the smallest financial document and proof for advance payment of services. Naturally, like other financial documents certain security measures are applied to prevent print of fake stamps. The print ink, special paper, hidden watermark and symbols on the surface and within the paper and the number of perforation around the stamps are among such measures although not significant in the design. Stamps are the only graphical works whose collective value reaches several hundred times more if deliberately or not a mistake is made in their printing.

Stamps are the smallest informative surface in the world. It is only big enough for you to hold by two fingers, wet the back and stick onto envelop. Some people as soon as receiving an envelope throw it in the garbage can and some keep stamps in special albums like precious paper jewel and transfer it to their children as priceless legacy. In fact, no graphic work in this volume and value have ever been collected and kept in the world.

The obscurity of this medium from the eyes of the officials in charge of print and circulation of stamps followed by graphic designers in the past few decades is a subject worth a discussion. It is not an exaggeration if we consider the value of stamps and their informative importance more than advertising posters and signs in some cases. Poster circulation under optimal conditions especially in our country does not succeed 3000 copies and its comparison with stamps at a five million circulation even further reveals the importance of this tiny piece.

Momayez, always whit us! It was December 2005. Momayez had passed away but none of us were ready to believe. He was beside us with his laughter, advices, admonishes, angers, guidance, criticism and with his entire being in full attire. Those days, every were was the word of Momayez. The volume of materials published in the media about this event was above imagination. He had gone, but we felt his presence fully to the limit that we left the editorial space blank on the following issue of Neshan. We didn’t like to mourn him or to remind ourselves of his loss. At the same time, we decided to publish a special issue in 2006 on the anniversary of his 70 th birthday. Three weeks after his loss, we started to work on this special issue. It was a difficult job. We reviewed our memories from him. We remembered that it took 14 months from the first meeting of the editorial board of Neshan until publication of the first issue. He was always emphasizing on the seriousness and serenity of the magazine. He used to say that Neshan will become a document witnessing our work and our time. He wanted us not to think of single issues but to see the future.

After publishing each issue, he used to criticize us. May be it was also a kind of self-criticism as the editor-in-chief. Even when he was stick to bed at home, he never fell short. Once he called while we were in a meeting and asked to turn the loudspeaker on.
Then he started criticizing all of us around the table, one by one. In his last few months, he did not take part in the meetings but did nit fail to call one of us at the end of each meeting. He was curious to know the stage of affairs. He was so impatient he couldn’t wait till morning. Gradually, we got used to his calls and expected them. Whenever one of our telephones rang, we used to say jokingly that it’s him, it’s Morteza. His voice was so willful and zealous that he could not conceal anything and his memory was so strong that we could not ignore any job. Sometimes we met in his house. Un those meetings, he was even more open the criticism. We were his guests and he used his upper hand as the host very well. His criticism grew harsher and more curuel.
However, his love for the profession and his care for Neshan were so evident in his words nobody could fee any insult in his criticisms.
He used to read each published issue very carefully. In one of the issues, two dots were missing on a letter in the name of a Swiss designer. He made us to change the cover and print it all over again. He told us: “Do you like to receive a magazine with your name wrongly spelled on its cover?”

Just two nights before his death we went to the hospital to pay him a visit. He talked about the subject of the five coming issues and discussed his points. He said he will come to the editorial meetings to complete those issues after his current therapy cycle.

It is said that only good deeds and happy memories survive human beings. Now, we have happy memories from Momayez for the future 70 years and we still enjoy recalling his words, his jokes and his intelligent wit.

To be frank, we don’t wait for him anymore. As ever, he is the most punctual of all. Every Saturday, at 17:30 sharp, he comes to a weekly meeting of Neshan. His chair is empty but he is present. At the end of the meeting, he still calls one of us. Nobody is on other side of the line, but we can hear his voice. He is beside us and will remain with us, forever.

Long before cinema and football attracted large and infatuated crowds to movie theatres and stadiums, other performing arts such as ballet, circus and theatre filled people's leisure times and besides offering entertainment, gave people the pleasure of being together and expressing their emotions. People were delighted or shed tears and learned about living better, their status as humans and their rights. The performing groups therefore, had to attract audiences by posting announcements in traffic areas.
The history of posters and announcements thus, dates back to the history of theatre arts in urban areas.

With the accelerated course of modern arts and development of printing equipments, posters also become increasingly more beautiful, attractive and independent. Every country according to its own range of performing arts also becomes more versatile in the production of posters. The history of the circus and versatility of theatre groups bring forth diversity in circus and theatre posters, respectively.

The debut of modern Iranian theatre dates back to the era of enlightenment and the Constitutional Revolution.
The awareness and desire for knowledge and recognition of the modern world began with cities that experienced modernism or were the vanguards of struggles. Tabriz, Rasht, Tehran, Shiraz and Isfahan were the first cities in which modern based scripts were performed as plays. This need and course of development went beyond Ta'azieh (Passion play) in religious theatres and resulted in the establishment of theatre stages and the number of stages demanded newer theatre groups. These theatres and groups needed announcements, posters or newspaper advertisement for informing the public of their upcoming performances.
The performances and theatres in Iran were classified according to their particular or general audience. Although, intellectuals always sought mass audiences but with the effect of growth or halt in political culture, separation occurred and division seemed inevitable.

The August 19th Coup followed by suppression of intellectual movements led to the shut down of theatres. Their re-opening though, was accompanied by the establishment of auditing offices, cafes and theatres that brought on stage harmless performances in the name of popular plays while conscious and powerful groups sufficed to their few but eager audiences.

The separation of various types of plays and performances that were later called as 'Lalehzari' and intellectual needed their own kind of announcements and therefore, posters were

The revolution led to a hiatus and some time later theatre was rejuvenated in the form of professional and intellectual student groups.

In essence a poster begins with an order out of need.
The presence or absence of the poster directly relates to that of the order and the client determines the type. The designer does not decide on whether a poster should be commercial (popular), experimental or suitable for student performances. He is but obliged to adapt his understanding and perception to the order. The same applies in Iranian cinema and music. Our posters suffer exactly what our theatre suffers from.
The number of professional theatre stages in Iran compared to other countries is very few. Consequently, the number of plays performed also diminishes and inevitably they depend on Tehran only. The posters in Tehran are distinct and in other towns meager and poor. The financial ability of theatre in Iran does not depend on box office sales and the budget for theatre arts in Iran and even Tehran are extremely insufficient. This budget does not suffice for the livelihood of the performers and obviously, they have to spend a small share on advertisement and yet even a smaller share on posters.

The history of this suffering is long and it does not just include the present time conditions. There are very few theatre posters in Iran measured larger than 50 x70 cm.
The design and print of posters in small dimensions and circulation with only two or three colors has long been a command of the Performing Arts Office and the financial disability of student theatre groups is inherent and unnecessary to mention. The designer is totally limited.
The even level of water in communicating vessels does not happen without a reason. Yet, a new look at theatre posters in Iran makes the efforts of professionals in theatre and graphic design worthy of attention and respect.

Ancient human beings with admirable and extraordinary talent in expressing their thoughts and building relationships left behind signs and signals and prior to writing books they founded a structure to record thoughts and transfer them to their fellow citizens. They innovated simple meaningful signs on stones and caves and beautiful images on pottery and artifacts and created images of every day life that finally led to the creation of wonderful visual writing.
Now after thousands of years, thousands of symbols and tokens play an undeniably important role in communication, guidance and education, preserving security and help in execution of laws in the world community and contribute actively to the process of economic development.
The source of this continuity that has turned into a vital necessity in present day world situation must be sought in the essential interest of mankind to creation of symbols and tokens. A necessity that since midway through the past century until today has forced designers to create an abundant collection of symbols with distinct explanations of duties and exact specialized applications.
Nowadays, the world trade system that affects political, cultural and social outcomes of the society, a group of logos among this versatility and abundance of choice effectively present the records of quality and virtues to facilitate our decision making. Another group with their preventive warnings become sincere companions that protect our lives and finances from harmful damages and threats.
Among important characteristics of logo design in contemporary times one is the scientific look at various aspects and observation of contrivances whose desired success of the duties for it would be completely predicted and guaranteed by the designers.
The extensive application of logos in different media and places requires that an integral identity be taken into account in developing forms and hues in order to have broad visual impressions and expose new horizons before the eyes.
In Iran, apart from the ancient precedence of visual and written logos that can be charged as rich backing for our designers, the modern day presence of logos concurs with the appearance of printing machine and its commercial qualities are western and imported.
Much later, upon founding a logo studies course in art universities, grounds were provided for the introduction of the principles and new foundations of this phenomenon and its broad applicable aspects became visible.
Gradually, and with the appearance of specialized graphic design resources examples were designed that possessed relatively correct structures and modern bodies.
In another period we are witness to the excitement of employing traditional motifs in Iranian graphic design and logos are no exceptions to that. Efforts at first appear in superficial changes and consequently leave traces behind whose special distinction involves abundance and exaggeration in written and visual elements.
The preliminary excitements as a result of continual education and holding of specialized graphic design exhibitions slowly moved in the direction of changing the perspectives and seeking modern ways to gain an indigenous identity. The result turned into considerable works created with a special look at the aesthetics of authentic Iranian images and elegant calligraphy in the recent years.
These works for the most part are concentrated in the realm of cultural activities and in other areas of logo design fewer examples are spotted that can compete with the collection of logo designs in the world.
Culture and economy are inseparable from each other in modern day world situation and currents are moving in the direction of becoming extra specialized. Financial output of logos therefore, play a major role in the configuration of planning.

In all, continued expansion of the world communication has yielded a broad network of simple and effective visual and written logos that have marked undeniable impressions in making the lives of present day humans better and safer.

In the age of computers we have become needy of a multitude of new signs that are speeding us away towards an uncertain future. In order to prepare and join the unwanted path spread ahead of us, constant study and knowledge of the mechanism of logos today has become more important than ever for our designers and the reflection of new changes in the curriculums of our educational and specialized centers is entirely necessary.

Morteza Momayez died on November 25, Friday night at 23:30 in Tehran in Aban hospital, leaving Iran’s art and culture with a great loss. Morteza Momayez dedicated his fruitful life to almost all categories of Iranian contemporary visual arts especially graphic design. Iranian contemporary graphic design could develop because of his uninterrupted effort and management therefore, it would be right to call him “The Father of Iranian Graphic Design”.
He graduated in painting from The Faculty of Fine Arts of University of Tehran and he himself introduced graphic design in the same faculty, teaching there since 1968 as well as other reputable faculties. He was one of the founders of Iranian Graphic Design Society (IGDS), a member of Alliance Graphique Internationale (AGI), president of Tehran International Poster Biennial, Editor-in-chief of “Neshan”, Iranian graphic design magazine and was in charge of many cultural institutes, exhibitions and graphic design publications, building a good relationship between graphic design in Iran and in the world. Morteza Momayez was one of the most eminent artistic and cultural figures of our time in Iran. Concerning inclusiveness, effectiveness, management and commitment; he was a perfect artist and a unique teacher. Although he is forever missed in the field of Iranian graphic design, the way which he began with great effort, fondness andperseverance will be followed by his numerous students and colleagues.

Books are commodity and a commodity has various identities. Negative and positive identities, and of course with some in between. In introducing this identity or commodity or asset therefore, we have to choose as much as possible a precise criterion. One of these criteria is book design in the general sense that pays attention to technical aspects and graphical balances. This point is especially sensitive. For instance, sometimes the book's technical measures and values whether positive or negative blend with the contents making it difficult to judge because every object innately bears different representations and aspects that perform their duties either positively or negatively. One cannot therefore, mix the evaluation of a book's graphic work which must be professional and technical with other aspects. In every professional and specialized field the principle lies in employing correct technical distinctions because in the framework of design and graphic art as in many other arts alike there is cultural range and skillfulness and that should not absolutely be used to the advantage or disadvantage of the subject, its design or the deception of the consumer. This is a delicate point and the designer with that awareness enters the difficult phase of experiment and expansion of consumer culture. The simplest inexperience in designing books is the designer's technical and psychological unfamiliarity. For that reason the profession of graphic design as well, enters an arena of specialized skills that generally cause for the correct ethical discipline and fall and rise of minds which in turn leads to the principle of professional commitment and righteously serving the culture and raising the level of public intellect.
The topic on this issue of Neshan involves designing the book itself which is different from front cover design only. The goal in designing books includes the display of bright atmospheres and creating a desire to read. The designer has to thoughtfully choose a proper Font in accordance with the contents on one hand and determine the margins and the necessary contents of each page on the other. Another part of designing books relates to the beginning and last pages as to how the reader can patiently and with interest become familiar and involved in getting to know the book's subject in every step. Despite seeming simple this part is much more difficult that passing through a needle hole. With no exaggeration it requires knowledge and recognition of psychological and visual matters, colors and forms of a variety of writings and fonts. In so much as the font and type designs may be in completely different languages but the design contains a nation's visual culture that reflects its special identity in the alphabets. A simple example perhaps will clarify the issue: Nastaliq writing which is a combination of three kinds of calligraphies has a completely Iranian identity and particular to our culture. By paying close attention to the works of Nastaliq calligraphers you can become familiar with the psychological ups and downs of every era in history and become more profoundly aware of this culture's many facets and that itself is a Book Design & Cover Design very beautiful and attractive discussion on our society's psychologically oriented visual and graphic researches.
Book cover design is actually designing the window of a book which in any case in addition to the mentioned criteria has to bear a proper harmony with the contents and the design of the book in whole. The function of a book cover is to protect the pages of the book. This is a role that it has always played and the traditional book covers in the illustrative sense have the same function as those of modern-day books. Of course, the scope of creativity and the designers' maneuvering of thoughts were much more limited in the past than now because making covers was not an individual specialty but specialists and artists such as binders, Sookht va Moaragh Karan (leather-inlayed artists) and others would get together and design the cover of a book with their own special skills. It must be noted that despite the presence of limitations in the filed of activity their selected methods were quite creative and attractive and generated a distinguished branch in book illustration. New developments have been emerged after the appearance of different methods of print in the last couple of centuries and this time it functions with regards to capabilities of embossed and letterpress prints. Consequently in this art, traditional ideas are expressed by a modern perspective. What has not changed though is the adequate design and harmony between the cover, and size of the book and its contents. In fact this type of design is employed for subjects that reveal historical books and texts. One of the broad arenas of designing modern book covers is the translation and conveyance of the book contexts into other languages and present day designers have been forced by using graphical elements of each culture make the readers of their societies familiar with the texts of others. According to some modernism in designing book covers is utilizing the methods of their counterparts that appear fresh to the society but truth is that modern book cover design pays attention to the issues and concepts such as composition and use of new discipline that the industry of print has granted the designers and publishers.
Nowadays the modern book cover design is attributed to such compositions and its mathematically oriented techniques and the new disciplines are efforts that designers and artists and innovators perform for transforming the perspectives and harmonizing them with the culture that is currently needed in new circumstances in the world. Modernism then should not be regarded as having a contradictory perspective with history and tradition because in many instances employing the authentic element of tradition combined with modern perspective helps a great deal in enriching the artists and researchers.