No:
Milton Glaser : On Professionalism, Education, Celebrity, and Criticism
An Interview with Milton Glaser by Steven Heller, prefaced by Majid Abbasi by
After the World War ΙΙ and the bipolarization of the world into socialistic and capitalistic divisions and upon the beginning of the cold war, the United States of America changed face. |
|
No:
In silence and solitude
Interview with Ali Khorshidpour by Saed Meshki by
It’s been quite some time since we last heard from the energetic and contributing Ali Khorshidpour. Quite especially after a period of cultural works including book cover design. |
|
No:
New York, New York!
An interview with Luke Hayman by Majid Abbasi by
Please introduce yourself? Our audience would like to know where you were born, where you graduated from, your professional activities... |
|
No: 19, Spring 2009
Typography stemmed from wisdom
Interview with Masoud Nejabati by Saed Meshki
You've been living in Qom for some time now. What are you doing there?
In the name of God, the religious city of Qom was a choice to live in but soon I got involved with a job that I’ve been made for ... |
|
No: 18, Autumn & Winter 2008
Poster as a chronic illness
A review on Alain Le Quernec political graphics by Carolina Rojas
The Predisposition
As a native of Britagne, a region of first-level economy; agriculture, fishing, livestock farming, which in the 40’s was one of the most underdeveloped regions in France and was situated 600 kilometers from grand Paris, Alain Le Quernec recounts his first experience .... |
|
No: 18, Autumn & Winter 2008
The nostalgia of image
Interview with Kourosh Parsanejad by Saed Meshki
In the past few years we’ve seen many of your works with regard to children and youths especially in Kanoon. What prompted you to work on these subjects?
My involvement with children and youth subjects started with an order about ten years ago. Maktabi had done the illustration on a book called ‘Small Hands, Small Feet’ which I took over for the book design. Prior to then my orders involved subjects for adults and ... |
|
No: 17, Summer 2008
Elevating from the Subject Matter
Interview with Bijan Seifouri by Saed Meshki:
Saed Meshki: If you agree let’s start from the 1980’s. The years in which type became extensively used. What do you think yielded this growth? In those years you were ...
|
|
No: 17, Summer 2008
The criteria of a movie poster
Interview with Hans Hillman by Jens Muller
You have designed a number of German films posters. What brought you to do that?
One day during my studies, Walter Kirchner, Werner Schwier and Ernest Liessenhoff came to Kassel from Gottingen’s Neue Filmkunst. |
|
No: 15, Winter 2008
Bread, Chesse and Image
Interview with Siamak Feilizadeh by Saed Meshki
Does any of your work portray Iranian identity? Or shall I ask if you make any effort to create Iranian work?
When I work, more than anything I get involved with creativity and new ideas. I don’t intend to deliberately create Iranian works. When I ... |
|
No: 15, Winter 2008
Becoming...not being
Interview with Vahid Mehrinfar by Ali Rashidi
From working on designs for Donald Trump's shuttle airline (Trump Air) to conceptualizing and illustrating the future of downtown Los Angeles, futurist brand architect Vahid Mehrinfar had led a prolific career in the US |
|
No: 14, Autumn 2007
It is like life!
An interview with Ebrahim Haghighi by Saed Meshki
Ebrahim Haghighi is one of the most active graphic designers in Iran. Wherever there's direct or indirect involvement of graphic design... |
|
No: 13, Summer & Autumn 2007
Childhood Explorer
Interview with Farshid Mesghali by Saed Meshki
Few years ago Farshid Mesghali in an interview after the end of the 6th Graphic Design Biennial in Iran said: "There are always dreams and realities and dreams are always greater than realities. We are after dreams." |
|
No: 12, Winter 2007
Geometry of Meaning
Interview with Mostafa Asadollahi by Saed Meshki
You and your fellow college mates graduated from the university almost concurrent with the onset of the revolution when professional activities had naturally come to a halt. |
|
No: 11, Autumn 2006
From: Hans Günter Schmitz
An interview with Hans Günter Schmitz by Majid Abbasi
What is your point of view in designing Deutsche stamps and what limitations did the norms of these stamps (the usual place for the layout) make for you? |
|
No: 11, Autumn 2006
Image Alchemist
Interview with Nooreddin Zarrinkelk by Saed Meshki
It’s impossible to imagine Dr. Nuredin Zarinkelk in white uniform behind the counter ... |
|
No: 10, Summer 2006
Our feet are strange companions.
Interview with Morteza Momayez
by Saed Meshki
Saed Meshki: You have been praised more than any other artist of visual arts. Much has been also written on your biography and ... |
|
No: 9, Spring 2006
A Kind of Spiritual Dance
An interview with Sadegh Barirani by Saed Meshk
1923 Was bom on March 23rd in Bandar Anzali, Iran ... |
|
No: 9, Spring 2006
Excerpts from an
Interview with Armin Hofmann by Felix Studinka Lucerne, February 2003
You signed on for courses at the Kunstgewerbeschule in Zurich in 1937 and 1938. What did you expect from the school? |
|
No: 8, Winter 2006
Behind Closed Dooors
Interview with Maid Balouch by Saed Meshki
…I do not have academic education in graphic design. Perhaps you would find it an interesting point although I think we should talk about logos, logotypes and organizational identity. |
|
No: 8, Winter 2006
Corporate Identity Consist in language, Solid in Style
Interview with Massimo Vignelli by Majid Abbasi
What is the relation between the image of a company and its corporate identity? Usually a corporate identity program creates reflects and expresses the image of a company. Our task is to articulate all the components to obtain the best. |
|
No: 7, Autumn 2005
Loyalty to Image, Interview with Aydin Aghdashloo
Introduction by Morteza Momayez by Saed Meshki
Aydeen Aghdashloo is strongly present in the art community, yet it is very difficult for me to write about him and his works because ... |
|
No: 6, Summer 2005
Reaching Iranian Graphic Design Identity
Interview with Ghobad Shiva
by Saed Meshki
What is the process of your design work? |
|
