Structural study of writing and typography in posters in Iran

Mohammad Ali Danesh Sedigh, seyed Mehdi Norani

Design of letters or typography is the core of the design of visual communication. In a world full of infinite information and messages, the design of letters is a must-see, which should even be interesting at first before reading it. Poster art information, as part of the information system, has long been one of the concerns of today's culture makers and today's graphic designers. The poster is one of the first components to attract the audience or its motto, among which the letters and the use of it play a major role in creating visual gravity. The purpose of this research is to investigate the textual structure of posters in Iran in recent decades. The results of the research show that in posters designed in Iran, the line was used only for the transfer of concepts and information and as a mere informant, and the less form of its visual forms was considered with respect to the subject. So that the poster's priority was displayed with the image and the photo, then the letters and its place were determined and in terms of the structure of the writing, the posters of the past are more static and more orderly than today's posters. But the posters have become abundantly complex and crowded in handwritten letters or letters, and letters are considered forms and forms of visual.

Keyword:1- Poster
Keyword:2- Typography
Keyword:3- Writing
Keyword:4- Letter Design

---

File Article

Download

---

Reference

1. Van Nes, F.L., 1986. Space, colour and typography on visual display terminals. Behaviour & Information Technology, 5(2), pp.99-118. [scholar]
2. Luqman, M.M., Brouard, T., Ramel, J.Y. and Llodos, J., 2010, August. A content spotting system for line drawing graphic document images. In 2010 International Conference on Pattern Recognition (pp. 3420-3423). IEEE. [scholar]
3. Marashi, A., 2015. Print culture and its publics: A social history of bookstores in Tehran, 1900–1950. International Journal of Middle East Studies, 47(1), pp.89-108. [scholar]
4. Keyghobadi, R., 2012. Written spaces: Interpreting contemporary Iranian typography through the works of three Iranian artists (Doctoral dissertation, Teachers College, Columbia University). [scholar]
5. Meggs, P.B. and Purvis, A.W., 2011. Meggs' history of graphic design. John Wiley & Sons. [scholar]
6. Spampinato, F., 2014. Come together: the rise of cooperative art and design. Chronicle Books. [scholar]
7. Tari, M.M., Abilities of Persian Typefaces & Persian Calligraphy in Stencil Type Design. [scholar]
8. Nilsson, M., Olsson, M., Wennman-Larsen, A., Petersson, L.M. and Alexanderson, K., 2011. 5183 POSTER Actions, Emotions, and Reflections Regarding Work After Breast Cancer Surgery–a Qualitative Study. European Journal of Cancer, 47, p.S385. [scholar]
9. MCJ, Mary Catharine Johnsen, and Reza Abedini. "Giampiero Bosoni. Il Modo Italiano: Italian Design and Avant-garde in the 20th Century.[Montréal]." [scholar]