OUGD504 - Studio Brief 02 - Study Task 03 - Logo requirements - Colour in Iran

The connotations of the colours used in the Iranian flag.

The use of red in America from Iran could be somewhat political as
 the description here could relate to terrorism in America.

I think the use of green in both Iran and America is safe to use as
I can't see any political connection being created here.

Unlike the use of Green, Red is more provocative and the Iranian relation
 to Matrydom (seen earlier) could be offensive in America.

A quote from the forum: http://www.irpedia.com/iran-forums/f7/t443/ms/

A quote from the forum: http://www.irpedia.com/iran-forums/f7/t443/ms/

A quote from the forum: http://www.irpedia.com/iran-forums/f7/t443/ms/

The development of the Iranian flag.

A ratio I may consider when designing my logo. 

"A geometrically symmetric form of the word Allah ("God") and overlapping parts of the phrase lā ʾilāha ʾillà l-Lāh, (There is no God Except Allah), forming a monogram in the form of a tulip it consists of four crescents and a line. The four crescents read from right to left the first crescent is the letter aleph, the second crescent is the first laam; the vertical line is the second laam, and the third and fourth crescents together form the heh. Above the central stroke is a tashdid (a diacritical mark indicating gemination) resembling "W". The tulip shape of the emblem as a whole memorializes those who have died for Iran and symbolizes the values of patriotism and self-sacrifice, building on a legend that red tulips grow from the shed blood of martyrs."

The use of eastern symbols in the west have a sense of uneasiness around them due to recent political happenings between the two so I have to consider this when creating the logo and colour palette.

This awkwardness created by eastern letterforms is due to the abstraction from context, we cannot understand what is written therefore we simply relate it to our exposure to eastern propaganda and extremism, creating a sense of caution.

Taken from the mission statement of the project:

"The Beyond Borders exhibit – is NOT a political event – is designed to help promote an open dialogue and exchange of design and cultural ideas."

Now, I don't think the relationship between the use of red in America and it's relation to Martyrdom in Iran is going to be strong enough to cause any kind of insult.

The exhibition is in America therefore this relation between an Iranian context of red is weakened dramatically.

There is no political movement, message, religion or belief associated with this project, although a little caution may arise due to past exposures to eastern letterforms as discussed previously, I have to take such implications into consideration.

OUGD504 - Studio Brief 02 - "Logostarter" (one week brief) - Kickstarter research - Who are AIGA?

The Beyond Borders exhibition is to be held at AIGA's National Design Centre Galley in NY.

 AIGA's National Design Centre Galley in NY.

 AIGA's National Design Centre Galley in NY.

 AIGA's National Design Centre Galley in NY.

"Founded in 1914 as the American Institute of Graphic Arts, AIGA remains the oldest and largest professional membership organisation for design and is now known simply as 'AIGA, the professional association for design.'

Who we are and what we do

A vision for AIGA

AIGA brings design to the world, and the world to designers. As the profession’s largest community, we advance design as a respected craft, strategic advantage and vital cultural force. From content that defines the global practice to events that connect and catalyse, we work to enhance the value and deepen the impact of design on business, society and our collective future.

The mission of AIGA

AIGA advances design as a professional craft, strategic advantage and vital cultural force. As the largest community of design advocates, we bring together practitioners, enthusiasts and patrons to amplify the voice of design and create the vision for a collective future. We define global standards and ethical practices, guide design education, inspire designers and the public, enhance professional development, and make powerful tools and resources accessible to all.

Who are we?

AIGA is a global community of design advocates and practitioners.

What does AIGA do?

AIGA advances design as a professional craft, strategic advantage and vital cultural force by connecting practitioners, enthusiasts and patrons through regional, national and global events and by creating and curating content that:

• advocates for a greater understanding of the value of designers and design in government, business, media and the public
• enhances professional development
• defines global standards and ethical practices
• inspires designers and the public
• establishes criteria for design education that meets the needs of the profession
• makes powerful tools and resources available and accessible
• celebrates and enhances the value of design
• mobilizes a global design movement"

OUGD504 - Studio Brief 02 - "Logostarter" (one week brief) - Kickstarter research - Contemporary Iranian Graphic Design 4 - Yusef Alahmad

Yusef Alahmad

"Yusef Alahmad is a 29-year-old designer from Al Khobar, Saudi Arabia, but currently lives in San Francisco, California. Alahmad is a freelance graphic designer/illustrator and a graphic design student at the local Academy of Art University. "

http://www.alartemag.be/en/en-art/qa-with-graphic-designer-yusef-alahmad/

http://yusefalahmad.tumblr.com/

"Modern Saudi Arabia is experiencing many drastic changes with the Internet boom and globalization. This resulted in a growing popularity and high demand for bilingual publications, Arabic fonts, personal/business websites, blogs, apps, art, and products that reflect the Saudi culture. 

This new popularity and sudden increase in demand has been met by a generation of mostly self taught designers resulting often in low standards and unacceptable design ethics. "

OUGD504 - Studio Brief 02 - "Logostarter" (one week brief) - Kickstarter research - Contemporary Iranian Graphic Design 4

Right to Left Exhibition

http://www.right-to-left.net/en/ 

"THE RIGHT TO HAVE LEFT IS A PRIVILEGE"

The artist feature on RIGHT-TO-LEFT

OUGD504 - Studio Brief 02 - "Logostarter" (one week brief) - Kickstarter research - Contemporary Iranian Graphic Design 3

http://www.printmag.com/imprint/local-not-local/

"A woman who grew up in Syria and a man with Persian roots walk into CalArts. Jump ahead six years: They’re now passionately united in their goal to inspire a widespread design movement."

"Each are from opposing sides of a region that’s long been ripped apart by religious fanaticism and deadly political power struggles. But together they developed a concept they now apply to their design called “the third space.”

And their first step in spreading their concept and achieving their goal is having curated a new Los Angeles gallery show that just opened, titled Local Not Local. They’ve united a group of Iranian and Arabic designers under one roof, with the Arabic alphabet as their commonality. The exhibition includes local and Middle East client work as well as self-initiated projects."

Pouya Jahanshahi: Persian Beauty, 2011. “Perhaps amongst all artifacts, the Persian carpet best signifies the Persian culture, a symbol of timeless value, and a work of art that exudes beauty and elegance. This poster is built to resemble a carpet frame, with threads that weave the central typographic form of the word ‘Gileem,’ which means Persian rug. It’s a metaphorical reference to the the hybrid culture that exists amongst Iranian diaspora: Western forms and Latin words are mixed with Persian writing to communicate the content. Bringing forth a pragmatic dimension, a street map identifies prominent carpet stores in Tehrangeles.”

Pouya Jahanshahi: Teherangeles, 2011. “Tehrangeles is a neighborhood of West Los Angeles. It’s home to the largest community of Iranian Diaspora. Here, the metaphorical form of a Persian carpet – as a map – celebrates the structures that host various generations and dimensions of Iranians culture in this unique geographic area. On a typo-linguistic dimension, Persian and English typographic forms are fractured and melded together. This refers to the hybrid language heard all along the Tehrangeles vicinity, at times referred to as ‘P-English.’” - See more at: http://www.printmag.com/imprint/local-not-local/#sthash.a3mFZojn.dpuf

Sam Anvari & Pouya Jahanshahi, in collaboration with Peyman Hamed: The Love of Arabic, Ottoman, and Persian Calligraphy event poster (screen print, metallic on matte grey), 2012. Anvari: “The Runi poem, ‘Sun’s beauty is the answer for its own existence,’ forms the figure of a whirling Dervish, referring to dance and perfection and the beauty of existence.”

Maece Seirafi: Pointillist Zoomorphic Horse (pen and ink), 2014. “This zoomorphic pointillist approach was something I cultivated at CalArts with hybrid methodologies in typography. This process includes illustrating letterforms and the zoomorphic integration of Arabic letterforms and their curvaceous nature. The horse reads: “If there exists a home devoid of books, it is a home without a soul.” Each of the animal forms in my series is composed of a quote in Arabic using the technique called Zoomorphic calligraphy. Instead of using traditional ink with a bamboo stick I decided to experiment with pointillism, with areas of dark and light to emphasize depth within the form.”

Maece Seirafi: Zoomorphic Peacock (lasercut cardstock, framed), 2013. “This self-initiated project, from my eagerness to experiment with tactile typography. It reads: “I Dream Daily.” Many of the animals from this series – tiger, elephant – were used in my wedding reception and became the main theme of our big event.”

Ebrahim Poustinchi: World of Right and Licenses in Publication poster, 2013. Client: Tehran Book Fair. “The interplay between the classic typewriter of the past and the three-dimensional typography of present illustrates the interaction between language and culture throught time.”

Yusef Al-Ahmad: Fann #2, cover design for Oasis magazine. “Oasis is the premier arts & culture magazine from Saudi Arabia that celebrates cultural heritage and a modern, progressive and young generation that is coming up with new ideas and excelling at them." 

Kourosh Beigpour: Scientific Meeting of Iranian Theatre Posters conference poster, 2013. Client: the Iranian Theater Poster Designers Society. “the poster was printed in Tehran for a conference about Iranian theater posters.”

Shilla Shakoori: Eternity (canvas fabric stitches), 2013. “This piece is based on a Rumi poem: ‘We are not from here, and not from there; we are from nowhere, and to nowhere we go.’”

Maece Seirafi and Pouya Jahanshahi: silkscreen poster, 2014. Jahanshahi: “The logo type is comprised of the English, Arabic, and Iranian translations of the name of the show.”