NESHAN, The Iranian Graphic Design Magazine

Member of International Council of Design ico-D

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Neshan 34

Autumn 2015

Design and Function Issue

With the contributions of Ali Afsarpour, Pegah Ahmadi, Nejdeh Hovanesian, Aria Kasaei, Roshanak Keyghobadi, Saed Meshki, Jens Müller, Ali Rashidi, Ehsan Rezvani, Serge Serov, Vanina Pinter & Emily Verba Fischer

Different Shapes of Graphic Design

Ali Rashidi

Creative and original ideas in graphic design lead to results that capture and astonish audiences. Today’s graphic design succeeds if these ideas align with an organization’s objectives. Whenever design thinking and implementation are tied in with business objectives, the position of graphic design is enhanced to a targeted instrument. Strategic graphic design is a particular language that realizes and simplifies the client’s goal of better communication with its audience. Graphic design’s pioneers tended to portray graphic design as an artis... > more

Design and Performance

Nejdeh Hovanessian

“The designer we have ordered to design our new pack-ages is an eminent, gifted artist!” Without a doubt, many professional designers have heard a similar sentence from a client. At first glance, it seems that such an expression creates value for both sides of the client-designer interaction. On one hand, the designer is pleased to be called an “artist” and is proud of the conferred title. On the other hand, the client believes that putting an “artist” in charge of a design in the last stage of their production chain will bring credit to their... > more

Iranian Contemporary Design

Studio Shizaru

Ali Afsarpour

Confucius said, ‘If it is contrary to ritual, don’t look at it. If it is contrary to ritual, don’t listen to it. If it is contrary to ritual, don’t utter it.’ In the Eastern culture, the advice of the ancient philosopher is manifested as three monkeys covering their eyes, ears, and mouth, respectively. But, sometimes a fourth monkey accompanies the first three: A monkey sitting with his hands crossed, conveying: “Do no evil.” This monkey is called Shizaru. Shizaru is a tranquil, peaceful, and proactive branding studio located on Golfam Street... > more


Iranian Museum of Graphic Design: A timeless treasure

Ehsan Rezvani

On the evening of Sunday, the 18th of January, 2015, a group of Iranian graphic designers gathered at the “Arbab Hormoz” edifice in Police park, Tehran. They were there to see their old dream come true and to take part in the opening ceremony of Iranian Museum of Graphic Design. The establishment of this museum was one of the main objectives the Iranian Graphic Designers Society (IGDS) pursued since the institute’s foundation. The establishment of Iran’s Museum of Graphics is a major and influential step towards recording, collecting, and do... > more

Design Today-I

The Poster Diary

Serge Serov

Ideological conception is always under affection of the plastic one in designer’s work. Creative thinking, the hand, and the eye help the designer find ways that lay beyond the reach of logical perception. However, dull-witted clients, marketing experts and managers only see the designer’s job as a one-way process from brief to result and from content to form. This rough idea is really prevailing in the market of design nowadays. And this is exactly the thing which generates that deadly monotonous commercial design surrounding us... > more

Design Today-II

Teschner / The Fragmented Intricacy

Vanina Pinter

The work of Frédéric Teschner has emerged in France, patiently, almost against the mainstream. His resumé is both impeccable and typical of his generation. After graduating from The Ecole Nationale Supérieure des Arts Graphiques, he earned his first stripes in Pierre di Scullio’s studio, and later in Grapus co-founder Pierre Bernard’s Atelier de Création graphique. At the end of 2002, Frédéric Teschner created his own studio, developing a subdued graphic style which addressed French society through its cultural institutions... > more

Face to Face

Reduction, Objectivity, and Humanization

Majid Abbasi

Tell us about the experience of working in Stuttgart with Anton Stankowski, one of Germany’s foremost designers of the 20th century. I came to the Atelier Stankowski+Duschek (Karl Duschek was his longtime business partner) in 1982, straight out of college. It was my first job; well, an internship. The office in Stuttgart was small; we had only 10 people. Stankowski, who was already 76 at the time, but one of the freshest minds I have ever met, came every morning and made the rounds from one desk to the next.... > more


Storyteller, Mark maker, System designer

Jens Mueller

Rolf Müller was born in 1940 in the West-German town of Dortmund. At the age of twenty, he applied to the now legendary Ulm School of Design, and was accepted to his own surprise. For about four years he studied in Ulm, where Otl Aicher became one of his teachers. He spent one year of his studies in Zürich where he worked in the famous studio of Josef Müller-Brockmann. In 1964 he opened his first studio in Ulm and completed his first identity work, which included the branding of the office furniture company Wilkahn. Shortly afterwards... > more


A Modern, Profound and Important Research About the Theatre Workshop 1969–1979

Aria Kasaei

The Theatre Workshop was established in 1969 after two successful performances, namely The City of Tales and A Modern Profound and Important Research about Fossils of the 25th Genealogic Period. It was located in a two-story building on Yousef Abad Street and was funded by National Iranian Television and Festival of Arts. “The Theatre Workshop helps writers, actors, directors, and designers Exercise and experiment independent of commonly accepted professional restrictions.” This objective was presented at the beginning... > more


From Data to Information to Knowledge Visualization

Emily Verba Fischer

As a design educator who teaches information visualization, I urge my students to push past the trends and style patterns they inhale on design inspiration websites. Take risks, and let the true content and message (in combination with a unique aesthetic point of view) drive the form-making. Santiago Ortiz is a stellar example of a designer doing exactly this. A trained mathematician, he knew from an early age that he wanted to combine math with art of some kind. Ortiz leads Moebio Labs, a team of data scientists, developers, and designers... > more


Two Bowls

Roshanak Keyghobadi

Currently, a 10th century ceramic serving bowl from Iran resides at the Metropolitan Museum of Art in New York City. This bowl was probably made in Samarqand but excavated in the city of Nishapur (in northwes tern Iran).1 The bowl has calligraphic decorations in Eastern Kufic script2 that wishes its owners/users “blessing, prosperity, goodwill, peace, and happiness.”3 Two years ago in Fargo, North Dakota (in The North Central USA) a ceramic serving bowl was made by the potter Michael Strand4 as a component of a project entitled Bowls Around... > more