Graphic Master's Thesis
Abstract
Through the information obtained from the library method, the upcoming research deals with Iranian typography in the field of social political cover design and examines the aspects affecting its strength. After that, it deals with the mutual influence of politics and graphics in the book covers of the imposed post-war period and seeks to investigate the style called Iranian typography in the field of political and social book covers. It discusses the background of typography on the cover and shows its effects on the work of designers of these two decades. Mention the factors influencing the progress of typography on political and social covers, discuss the impact of audit on the cover design, and discuss its role in the development of typography.
Explain the influence of calligraphy and some active designers in the publishing field on the coherence of Iranian typography style on the cover, and explain the discussed ideas through the statistical community.
Typography - calligraphy - calligraphy - Cover design
Introduction
The important issue in the field of publishing and press in Iran and its importance is mostly due to the fact that according to many graphic designers, who currently make up the major part of their work, cover design, the scope of many cultural orders, such as posters, was not and is not as large as the cover. To show the graphic capacities of Iranian designers and, of course, in the topic of discussion, a context to show typography. We live in a country where compared to many countries, we face a small number of poster orders, the poster has features that are pleasing to the designer. When the poster order is small, as a result, the designer displays all his thought and creativity in the form of that potential field.
This was an abstract of Koresh Parsanjad's speech, who according to himself has designed more than a thousand book covers. This high number is the best basis for a periodic analysis of Iranian graphics. Although a large number of book titles does not necessarily mean a high circulation, but; In the field of graphics, circulation is not important or is of secondary importance.
After the Islamic revolution, Iranian society was overthrown and suffered a prolonged war, after which the government started to publish its ideas, and in the meantime, government publishers came forward.
Governments need to speak and this need to speak is done by governments in different ways. Historically, political parties, mass media and affiliated groups have all collaborated directly and daily in collective dialogue. We see it everywhere. All these ads are similar in one way. All of them are designed to persuade the masses to accept the legitimacy, initiatives and concerns of governments. In the post-war period, which coincides with the late sixties and early seventies, the Islamic Propaganda Organization, whose artistic field is one of its derivatives, works in the field of publishing and covers a wide range of political and social issues, including war memories and religious issues, poetry and literature. and the social political volumes of the 70s widely begin with this publication, the government's support for it causes its double occurrence. Accordingly, private publishers also enter the field. This existing field for graphic design is taking shape little by little and it involves the field of typography in these years. This period of time is associated with the digital revolution and it becomes the main effect of covers because of the ease of moving letter and point intervals and the introduction of multiple fonts and many other reasons. Of course, it is possible to deal with typography in the field of publishing in two ways.
1- From the aspect of text typography, which is mostly the relationship between letter spacing and line spacing, and the use of written marks.
2- From the aspect of display typography, which in addition to letter and word spacing, covers the area and numerous techniques in the direction of cover graphics.
Undoubtedly, the discussion that we will discuss in this area is about dramatic typography in combination with social political issues, in the context of preparing the book cover.
After the early years of the seventies, letters slowly came forward and were accompanied by factors such as the limitations of using images, the digital revolution, the spirit of Iranian calligraphy and political conditions, and became one of the important elements in Iranian graphics.
The metaphor of the image and its lack of clarity in comparison with the writing show the effectiveness of the letters that have remained stagnant for years after Golpaygani's work in the field of cover typography and have not made any progress. The designer's hand is much more open in dealing with a concept like a poster. It was for the designer to reduce the set of implied meanings and create a meaning.
A meaning consistent with other signs that does not imply secondary issues. This was the direct connection and contractual nature of writing that the government, publisher, and designer were looking for.
After discovering writing as the perfect material for designers, it was necessary to follow its rules, and after looking at Western typography and understanding its meaning, Persian letters turned to Iranian calligraphy in order to reveal their capacities.
Heftad begins with strength and weakness, and due to the symbolic and conventional identity of the writing, it is welcomed both by the officials of the publishing field and by the designers, and it becomes an attitude in Iranian graphics that has never been given such importance before.
In the first chapter, the general explanations about the subject of the research and its necessities are discussed in general, with the title of the generalities of the research.
The second chapter deals with the history of Typography and cover design and its beginnings in Iran and the sparkles of typography on the cover are dedicated. The third chapter deals with the role of typography on social political covers of the discussed decades and presents the reasons for the high use of typography. In this chapter, the dominant methods of using typography in Iran are also discussed on the cover, and the solutions of Iranian designers to give order to the angular and meandering Persian letters on the cover are examined. The fourth chapter under the title of methodology presents all the collected information in the form of a whole, and the results of the statistical society are also recounted. Finally, in the fifth chapter, the conclusion about
Chapter 1
Generalities of the research
1-1- Statement of the problem:
Perhaps one of the most widely used graphic media is book cover design, and from this point of view, book titles and its shape are formed with words, therefore, proposing and displaying the book cover, as well as creating an image of the concept of the book through the words that are placed on the cover as typography and a method of graphic design. , is one of the most obvious ways to integrate graphic design with the text of the book and the semantic affinity of the two. According to the concepts and contents of social political books and cultural categories of our society and avoiding ambiguous topics and imaginary images to clarify the contents of the book, it is necessary to use brief vocabulary and words in the form of graphic design (typography) for cover design. From this, typography is a suitable perspective for dealing with and designing such books, and perhaps it can be said that in the 70s and 80s of Iran, the works that were created with this method in the design of book covers have become very visible. is political) his image-making spirit was influenced by schools such as Polish, French and