Mathematical Interpretation of Graphic and Poster Design in Iran

Nahid Tootoonchi
Proceedings of Bridges 2010: Mathematics, Music, Art, Architecture, Culture (2010)
Pages 379–382 Short Papers

Abstract

Posters have long been the primary medium in which Iranian designers work and these works have attracted a great deal of international recognition during the past ten years. Most of that attention has focused on the content of the posters as it often overtly addresses social issues, politics, the environment, and education, and as it clearly reflects the influence of movies, concerts, and other areas of the arts. Few international critics have acknowledged that though this new generation of Iranian designers demonstrates exposure to modern international concepts of design and to contemporary concerns about issues of our time, it is often grounded in the ancient history of Iran. These modern designers readily borrow the signs, symbols, media, and literature of the past as a language in which to communicate with the present, and their posters often challenge the beliefs and conventions of our day via references to the calligraphy, typography, and other artifacts of their Iranian heritage.

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