New Iranian graphic design’s identity through the unity and the multiplicity
By Cinzia Ferrara Professor, Palermo University
Special thanks to Many M. Zanjani

Identity is defined as a fundamental unity that philosophically can be reached through multiplicity. There are two completely different definitions of identity: the unity and the multiplicity. The unity of different ideas is the first meaning of the identity. It’s exactly like the human face features like nose, eyes and mouth that are very different from each other but together they make a face. To better explain the phenomenon we could use these two categories too. If we separate the puzzle pieces, it means that we want to study them one by one. So in this way we will find out many different aspects in them. But, on the other hand, when we put them together we can observe their unitary aspect.  The new Iranian graphic design should be observed in this way. First we observe their unity, their high quality design and their constant research of new expressive languages, then we observe their multiplicity and find out the different points of view of each of them. These different points of view are as an enriched garden which is full of typographical art works and weave a multicoloured scenery that offers more and more new compositions. The term “to project” comes from Latin projectare which means “to shoot”, For shooting an arrow it must be first drawn strongly back. A project must live exactly these two essential phases: connection to the past and facing towards future. It is just like the Iranian graphic design which makes its root in a land enriched of the typographical tradition and ancient handwriting in beautiful Farsi language, official Iranian language.

The new Iranian graphic design is compared with a recent past and a maturing future. We must underline three fundamental phases in the Iranian graphic history. In this way we can observe the activity development of many graphic designers in very difficult social conditions such as the expulsion of the Shah and the revolution of 1979, the war against Iraq in 1980, which lasted eight years. The first phase begins with introduction of typographic printers in early 900, official and international affirmation of graphic design as a subject in 60s and foundation of Iranian Graphic Designers Society (IGDS) in 1968, thanks to the persistent efforts of some of graphic designers such as Morteza Momayez (b. 1936), Ghobad Shiva (b. 1940) and Farshid Mesghali (b. 1943). In their art works we can observe an unconventional capacity of mixture such as text and handwriting, picture and illustration, colour and absolute black, harshness and irony, manipulation and reproduction. Looking at such art works we deduce their importance to educate the following generation that was growing up in such fruitful field. Talking about new Iranian graphic design, it’s obvious that we are talking about four very important Iranian graphic designers whose their group name is The 5th Color. Their art works are very important and widespread not only in Iran but also in several other countries around the world. They represent the second phase and an important connection between past and future. They are formed under the guidance of Morteza Momayez who they call him “father” not teacher. He himself invited The 5th Color to teach at the University of Teheran. The 5th Color is founded in 2001 by Majid Abbasi (b.1965), Saed Meshki (b.1964), Alireza Mostafazadeh (b.1962) and Bijan Sayfouri (b.1968). The name of this group is very connotative. The 5th Color is the secret and hidden colour that is invisible but exists and tries to find a balance between past and future. It is hidden in the beauty of a typographical work, in which the forms are in a perfect harmony, but of course the beauty of written Farsi language helps to it more beautiful. These four young artists represent an important meaning of unity. They want to widespread the subject through their cultural society to all over the world. They are like a bridge between their country and the rest of the world. They are always ready to exchange and discuss different ideas. They themselves represent an important meaning of multiplicity too. Although the “The 5th Color” members are completely different individuals with different feelings and ideas, but they constantly create new art works through their glance, sensibility and culture which is absolutely complementary and supplementary among them as colours in a chromatic scale. At the end we remind you that, there are young future graphic designers who study in the Fine art faculty in Teheran and represent the third phase and the third generation who live and work together. They work exchanging their ideas that undoubtedly link past and immediate future of Iranian graphic. The 5th Color induce the young graphic designers towards knowledge, experiments and using new items and technological subjects.

Majid Abbasi says:” The audacity and the new ideas of the young graphic designers in using Iranian typography considering the modern technology, their lyricism as well as searching for new concepts with a new image of the Iranian graphic design, are part of what they have done so far. And now they claim a national graphic design with high standards.”

Colours used in Iranian typographical works are light blue as Iranian sky but the colour which predominates is ochre earth. It seems that their paper works are born from the earth, just like structures made by mud and water which once disappeared, nothing remains except their memory. That’s like small chickpea cookies which melt in the mouth and Iranians bake them for Now-Rouz, new year.

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