Neshan Magazine | مجله نشان

Learning through observation
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.