Being a designer like Reza Abedini in a country such as Iran means juggling with an incredible artistic, visual and calligraphic heritage that is 3000 years old.
To grasp the genius of Iranian graphic design one must understand its incredible heritage in the arts, and the current upheavals. A short journey from ancient Persia to the most contemporary graphic design.
Used mechanically and out of context, certain typographies convey cultural stereotypes. We call them “stereotypographies”.
Fortunately, as I turned down an alleyway, I came across the “Istanbul Design Center”. It’s a school of applied art, a venue for exhibitions, workshops and conferences, a publishing house… in short, just what I was looking for!
A few posters have piqued my curiosity!
Unfortunately, I had to drop in outside opening hours… not a single student, just a calligraphy teacher who suggested I drop in again the following week… sniff… So it’s back in France that I find out more about this place and discover an amazing communication made by the founder of this place: Faruk Akın ( with a “ı” without a dot ! like in our Graphéıne logo! :-) )
San Serriffe typographic Island
Design, creativity and oblique strategies!
Tote bag, a new social totem?
Sister Corita Kent, the Pop Art nun
Donald Trump, the martyr who makes history
ICC Immersion – Visual identity
Louise Michel Social Centre – Visual identity
Montluçon’s riverbanks project – Visual identity
Théâtre-Sénart, Scène Nationale – Visual identity
Global POS, retail performance – Brand identity
The Great Cassandre 1901/1968
Toblerone’s new mountain: when packaging brands a territory
Flat design vs Skeumorphism : The game !
Typorama #05 : Times after time
A good illustrator idea !