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Molavi,
designed by Bijan Sayfouri, 2004
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Iranian
typography
by Bijan Sayfouri
An introduction for "Molavi" catalogue
During recent decades, today's world graphic design, entering new
visual spaces, has started a movement a prominent example of which
is typography. Undoubtedly, the most obvious definition of typography
is its use of the letters as the main element to create graphicÊworks.
In western graphic design, the arrangement and application of Latin
letters manifest the specific features of western aesthetics, philosophy,
and visual infrastructures. Latin letters, due to their own structure
and arrangement, provide abundant possibilities for designers to
create new forms. On the other hand, the variety and systematic
geometrical structure of Latin letters yield a wide field to make
some changes in the letters or mix them in order to reach novel
samples. They also furnish plenty of chances for personal experiences.
In Iran, although Persian letters are similar to Arabic letters,
their evolution inside the Iranian culture, like other kinds of
arts in this country, is quite distinguished among the other comparable
cultures. The position of the letters, method of writing, and calligraphy
in Iranian visual arts dates back to a far point in history. The
ancient background of calligraphy and its application in pottery
and handicrafts, the Koranic method of transcription, and the application
of the letters and characters in Iranian architecture are brilliant
samples of the tradition of Persian method of writing and its popularity
in the society. The spiritual background of writing and calligraphy
in Iran has originated a unique type of aesthetics which has been
polished and evolved during centuries and has increasingly gained
its everlasting beauty.
Some questions, however, are raised. Can this tradition itself be
called typography? In Iranian typography, should the letters, used
in typewriters, only be used? Can a typographic work be created
by Nastaligh, for instance? Is the definition of Iranian typography
equivalent to its western counterparts? Has the peculiar aesthetic
and arrangement of Persian letters been the only responsible factor
for the difficulties in designing Iranian letters which, in turn,
have caused limited variety of the typefaces?
Considering all this, what is the actual reason of the attractiveness
of Iranian typography? Although the specific feature of the Iranian
typographic style which has been introduced to the world of graphic
design is characterized by Persian letters, it seems that more work
should be done in order to reach the position that Persian letters
and characters deserve in today's typography. One of these experiences
is Molavi, being the second exhibition of a set of Iranian typography
exhibitions.
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