Home

Skip Preload

  • Conversation Montreal Lyon2

    Initiated by curators Marthe Carrier and Chloé Grondeau, Galerie B-312 (Montreal) proposes Conversations, an exhibition project in which Lyon and Montreal meet to place emphasis on the art scenes in their respective cities; two territories, and most importantly two groups of artists benefiting from significant public recognition. This transatlantic proposal, which involves a plurality of media and a range of artists at different stages of their careers, will take place in two phases, in the spring of 2018 in Lyon and later in Montreal.

    Artists :

    Philippe Allard, Jean-Pierre Aubé, Thomas Bégin, Julie Favreau, Isabelle Guimond, Noémi McComber, Tricia Middleton, Guillaume Adjutor Provost

    Curators :

    Marthe Carrier, Chloé Grondeau

    Places :

    LaBF15, Néon, Bikini, Galerie_Tator, Factatory (From 5 avril to 31 mai 2018)

    Graphic Design :

    Sina Fakour

    Typeface :

    Faune, Alice Savoie / Cnap

  • Metabolism Architecture

    The Nakagin Capsule Tower realizes the ideas of metabolism, exchangeability, recycleablity as the prototype of sustainable architecture. This editorial experimentation tries to convey the essence of Japanese Metabolism through typography and layout.

    Typeface :

    Wim Crouwel 68 by Wim Crouwel

    Print :

    Riso and black and white Laser print

    Text source :

    Kisho Kurokawa architect & associates website

  • ENSBA Lyon Conferences Posters

    Concept for Lyon fine arts school conferences poster series.
    While we are communicating about the next conference, we are in a space-time between two happenings. One is the previous conference that has already occurred but the memory and understanding of it is still ongoing. The other one is the upcoming conference we are informing about. It is mixed with expectations and uncertainty. The poster series designed for this purpose is thus based on this concept. Posters are preprinted using offset technic. Half of the poster is about the previous conference. Where we print a summery of what has occurred using silkscreen. The other half is informing about the next conference by hand lettering.
    Each poster is unique and by putting together all the posters we achieve a continuous history of the conferences.

    Client:

    ENSBA Lyon - Non-profit Project

    Print:

    Offset Print, Silk screen print, Lettering

    Lettering:

    Louis Brousseaud

    Typeface:

    Druk by Berton Hasebe

  • Hybrid Calendars

    Calendars are oftern guided by the cycles of the moon or the sun. In Iran, three different formats are used to date time. The first format is in Farsi, denoting the Persian date that comes from the official calendar of Iran; It is determined by astronomical calculations and observations of the sun drived form the ancient predecessors in the region. The second is in Arabic, representing the Islamic calendar, which serves as the basis for many ceremonies and holidays. It is based on the lunar rhythm. The third is in Latin script, representing the Gregorian calendar, which is used for international relations and communication. It is a more modern, rule-based solar calendar and is generally seen as less accurate than the observation-based Persian calendar. Hybrid Calendar project brings attention to these three different formats. The project started in 2016 on a printed medium. In 2018 the project was exhibited in the form of an interactive light installation in Fikra Graphic Design Biennial. Visitors may switch between the three different layers, either avoiding or allowing their superposition. For me who grew up in Iran facing three different temporal and cultural realities, the oon and the sun are both in the sky. I maintain that my identity is most accurately expressed through the merging of three calendars.

    print:

    Riso on old french post calendars

    Exhibition:

    Fikra Graphic Design Biennial - Sharjah, UAE
    Department of non-binaries curated by Common-interest.

    Installation:

    Led lights, Laser cut metal calendar plates, electronic circuits.

  • Sensational by design

    Today news broadcasting channels, in competition to each other, have grown into big corporations. We witness the raise of sensationalist journalism and tabloid packaging of the news with the aim of attracting more viewers. In 2018 during a one-month workshop with Common-interest I investigated the role of design in sensationalist packaging of the news. In my research I also interviewed British designer Martin Lambie-Nairn the creative director of BBC visual identity in 1997. He and his team united all BBC channels under one brand and formed the brand identity of what we know as BBC today. In this research I investigate how sensationalist news attract viewers and how design contributes to sensationalism in news broadcasting.

    Medium:

    Riso print, sound and video installation.

    Article PDF:

    SENSATIONAL BY DESIGN

    Listen:

  • Borges' Imaginary territories

    Based on the “Library of Babel” by Borges, the program chooses randomly among 25 characters and print it on screen. Each character is associated with a line with a specific angle. The succession of the lines, forms imaginary territories. In theory if the program keeps on running forever, we would have all the existing and imaginary territories and texts. This program is then translated to a printed object. In the printing the notion of chance and accident is maintained.

    Medium:

    Riso on painted laser prints of "Library of Babel"

  • Places En Relations

    In a world where a large majority of the population lives and works in cities, the role and responsibilities of them are bigger every day. Perhaps more aware of global interdependencies, often more open and progressive than nations, they start to connect, to talk in synergy about the great challenges of our planet. In same time, are constantly growing and citizens are henceforth in front of giant administrations, hard to afford. In this prospect, Civic city decide to focus on the "public space", like a new type of proximity common area, during the 2017-18 year.
    More than 100 public squares located in Antananariva, Barcelona, Beyrut, Buenos Aires, Geneva, Grand Paris, Halle, Hamburg, Sao Paulo, Strasbourg, Valparaiso, ... analyzed, linked and transformed by more than ten schools located in these cities.
    A project developed between 2017 and 2018 by the research institute in Civic city design, initiated and coordinated by Ruedi and Vera Baur in collaboration with Philippe Macasdar from the Théâtre Saint-Gervais in Geneva and Head - Geneva.
    The identity and exhibition design is aimed to make the documentation of the various researches done in the project, possible and to built an archive accessible for analyzing and comparison.
    The dynamic visual identity reflects the idea of dynamic form of the installation where documents can be replaced or moved around dynamically.

    Medium:

    Dynamic logo is coded in processing and a softwear is made to generate different logo states. For the installation the documents are laser printed on colored machine papers.

  • Programme of Language

    As the BA thesis I worked on the role of language alongside with coding and systematic design. The researched starts by defining the notion of Programme. term developed by Karl Gerstner in his book, Designing Programmes. Then I analyzed how the programmes act like language and also how the language act like a programme in particular in the realm of art and Design.

    Medium:

    Printed on listing paper using an old dot matrix printer.

  • Arabic script from manuscript to digital. Impact of the tools on the evolution of Arabic type

    Looking at the history of the territories that use the Arabic writing system, it seems impossible to detach the question of the Arabic type from its historical, political, and religious context. The transition from manuscript to print has been accompanied by considerable simplifications and adaptations of forms. The effects of this standardization persist in most Arabic characters until the current digital age. Today, Arabic characters are more and more sold by foundries. This economic capacity has attracted the attention of researchers to look more closely at Arabic type. This recent practice calls for requisitioning predefined standards, in particular because of its complex history and the lack of suitable tools.
    In my Master’s thesis after analyzing the Arabic alphabet in depth, I try to discover the relation and impact of the tools on the transformations of the Arabic script. I analyze how the tools adapted to the script can play a role in the development of Arabic script and liberate it from the technological colonization.

    Medium:

    The marginal notes in Arabic and Farsi manuscript publications are a way to add, modify or comment the main text. This makes the book a place of dialogue. In the layout of the thesis I tried to use the same concept for notes, additional exhalations and image descriptions.
    As there was an essential need for phonetic in my research, I used Brill typeface which contains a great number of phonetic and signs glyphs. What make the choice more rational is that this typeface was designed in the first place for Brill publications. The publication which has published several major references of my thesis. For the Arabic parts I Used Adobe-Arabic by Tim Holloway.

  • Return

    Editorial design for the poetic texts of “Marie Farouza” as a part of the Parlante poetry journal - ENSBA Lyon

    Medium:

    Offset print on thin 40gr paper.

  • Even the limited choices can make unlimited Possibilities

    Contribution to Ficciones Typografika project by Erik Brandt.
    By rearranging the letters of the word "VOTE" in Persian language, the words "YES" and "COMPANIONSHIP" can be made.
    This poster was later published in Ficciones Typografika 1642. Signed by the project curator Erik Brandt, this epic book documents his almost five year long project, Ficciones Typografika.

  • Safiran

    Safiran a young french Brand, imports and sells products containing Safran from Iran. The logo is inspired by the identity of saffron as a flower and spice. Crocus sativus, the flower from which saffron is derived, has 6 petals and 3 pistils. Saffron has two distinct aspects which are translated graphically by designing two different type styles. One is a bold sans-serif character with considerable contrast which represents the strong identity and color of saffron and also large petals. The other one is a light italic type with less contrast which represents the pistils and the finesse of the taste and smell of saffron. The ‘fi’ represents also the words finesse and the filaments. These two aspects are later used to form the sign of the brand.

    Client:

    Iran-Europe Co.

  • Ajam Media Collective Dynamic visual identity system

    Ajam Media Collective is an online space devoted to analyzing society and culture across the lands we refer to as Ajamistan. We imagine this landscape as spanning from Turkey in the East across Iraq, the Caucasus, and Iran and into Central Asia, Afghanistan, and South Asia. These lands are united by a shared Persianate culture and heritage; throughout the Ottoman, Safavid, and Mughal courts that ruled these lands from the 1500s until the 18th and 19th centuries, Persian was an official language of culture and poetry and thus provided the basis for a shared cultural idiom to emerge that has been referred to as the Persian Cosmopolis.
    What I tried to develop as Ajam’s identity is not only a logo but also a new dynamic system. This approach helps having alterations in logo but at the same time keep the coherence in visual identity.Generating different variations of logo and exporting them in vector format, can be done easily with the application coded in processing. The application is available for PC and Mac with easy instructions visible on screen while using.
    The logo is based on Bannai script (calligraphic style developed in Iran for using in architectural inscriptions) which has strong connections with Ajam’s concept and area of work. Contrast is added to Bannai script (which is rooted in Qalam tilt and angle in calligraphy). This contrast makes a visual vibration and have a conceptual relation to Ajam’s content.
    Both Latin and Farsi scripts are included in the logo. As the writing direction in two languages are different, with a 90 degrees rotation of logo you can read the other writing. The idea was to put them in the junction of two lines with different directions.
    The reference for alterations in the length of the lines is the concept of Kashidas in Arabic/Farsi script. Kashidas enables us to manage the composition of text by elongation of letters.

  • Nasim Souri Logo Design

    Logo and visual identity for fashion designer Nasim Souri. Logo is based on Thuluth script, the script mostly used for tiles, architectural and jewelry inscriptions.

  • Letraset Café Visual Identity

    Café based in Tehran with the concept of farsi Letrasef transfer letters and the Nostalgia of contemperory post revolutionary Tehran. Later collages using Letraset transfers, analogue photos and old documents were made for inside of the café.

    Client:

    Letraset Café

    Print:

    Offset print

    Typeface:

    Ordibehesht, Adobe Arabic

  • Rahan Typeface

    typeface Design with calligraphic refrences. Collaboration with Louis BROUSSEAUD in workshop with Thomas Huot-Marchand and Alice Savoie in ENSBA Lyon
    Later the typeface specimen posters was generated by creative coding in processing.

    Typeface Specimen Print:

    Plotter

  • Jamaica Typeface (Revival)

    Condensed Regular typeface design based on an old liquor label.

    Typeface Specimen Print:

    Plotter

  • The Sound Of Type

    Video experimentation in which words are distorted when seen through the water that is vibrated by sound. Words and sound are edited form the THX1138 Movie. The video was exhibited in Close-up group show at Taverne Gutenberg, Lyon.

  • DE SCHOOLING

    My Iranian-American friend was going to go to Palestine to work as a journalist. on his way we met and he gave me the map of Iran he had with him noticing that he should hide his Iranian identity to be allowed to enter! in a workshop with Marco Balesteros I worked on this concept and created a geography puzzle. the puzzle consists of 9 two sided parts. one side is printed with microscopic image of the skin and the other side is printed with different parts of the Iran map. By arranging the parts one can make different imaginary territories.
    Tow objects accompany the puzzle. A poster and a publication containing photos of tattoos with real or imaginary territories.

    Medium:

    Poster printed with plotter + 9 cards printed with Riso + publication printed with Riso and laser printer.

  • The Sea

    3D CGI video made for the proposition of Lucas Volpe for the “prix de paris 2015”.

    Medium:

    26 seconds video on repeat. 3D CGI + Video composition and editing.

  • How To Build Your Own living structures

    Editorial design of “How To Build Your Own living structures by Ken Isaacs”. Group project with ANDALI Paul, BESSET Noémie, BROUSSEAUD Louis, JOHNSON Robyn, LAVERNHE Xavier, MURAT-CHARPENTIER Luca, ROY Mélanie.

    Medium:

    Offset printed publications, Offset printed technical plans on 40gr papers.

  • The Code Book

    All the book is the computer code of the cover photo. the cover photo is the screen shot of personal documents and identities left on public computers.

  • Halftone software

    The software coded in processing allow you to halftone an image by controlling the parameters such as resolution and halftone shapes. It also allows you to export the halftone in vector format.

  • Espace Mariage

    My photographic approach consists of the question of special and temporal presence. For several years I have been taking photos between Iran and France. In the photos we imagine the presence of an absent body by which space and time is influenced. When we talk about presence in one space, we talk about absence in another. The presence which can be physical or mental. The composition of the photos is attentive to involve what is outside the frame.
    The photos taken in Tehran avoid having an exotic look towards the city but reveal the spaces through the stories arise and the conversations and interpretations have been created.
    In the same way the question of the language is important in my work and it can be seen in the translation system which is set up. Poetic texts that can be translated in different ways. For some of the words of the poetic texts in Farsi, two or several French translations are proposed. This makes the reader to choose his way through the reading among various possibilities. This shows that translation as an impossible but at the same time essential act as Walter Benjamin explains in his article “the task of the translator”.
    Each text corresponds to one of the images, others to the one on the side. So by consulting the book as a whole the relations are woven.

  • Book Blacking

    This editorial design is translation of a video I took from a street book seller who tried to censor women pictures on the books autonomously supposing that they are illegal and he can be arrested if he doesn't. gradually he saw a kind of aesthetics in the blacked covers and he put attention to the formal aspect of his drawings.

    Medium:

    Laser printed publication, book cover posters, Video.

  • The Wall

    Exhibited in “Art Moves” festival – Toruń, Poland / 2013.
    Exhibited in “Image of the Year” festival – Tehran, Iran / 2012.
    23rd Place in “Walls Down” festival – Lima, Peru / 2011

  • Type in motion

    Video experiments with Latin and Arabic type in motion.