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cations on Israeli cultural themes.
cations on Israeli cultural themes. In Iran, graphic design
has developed an increasingly idiosyncratic flavor,
demonstrating the influence of both traditional Persian
art and European modernism. In the late 1960s, Morteza
Momayez, universally considered the father of Iranian
graphic design, left Tehran to study in Paris. There, he
was exposed to the work of his European contempo-raries and was deeply inspired by the Swiss school of
international typography and the Polish poster move-ment. Momayez did not seek to copy their work. Rather,
he sought to develop his own style, drawing from Iran’s
distinctive visual culture. By combining Iran’s centuries-old traditions in illustration and calligraphy with new
approaches to working with typography and image, he
created something new and uniquely Iranian. Even after
his death, Momayez continues to inspire new genera-tions of Iranian designers.
Majid Abbasi, who was as student of Momayez, has
also stylistically broken away from—but not aban-doned—traditional approaches to Persian illustration
and calligraphy Rather, he embraces these traditions and
has developed an increasingly idiosyncratic flavor,
demonstrating the influence of both traditional Persian
art and European modernism. In the late 1960s, Morteza
Momayez, universally considered the father of Iranian
graphic design, left Tehran to study in Paris. There, he
was exposed to the work of his European contempo-raries and was deeply inspired by the Swiss school of
international typography and the Polish poster move-ment. Momayez did not seek to copy their work. Rather,
he sought to develop his own style, drawing from Iran’s
distinctive visual culture. By combining Iran’s centuries-old traditions in illustration and calligraphy with new
approaches to working with typography and image, he
created something new and uniquely Iranian. Even after
his death, Momayez continues to inspire new genera-tions of Iranian designers.
Majid Abbasi, who was as student of Momayez, has
also stylistically broken away from—but not aban-doned—traditional approaches to Persian illustration
and calligraphy Rather, he embraces these traditions and
0/5000
cations on Israeli cultural themes. In Iran, graphic design
has developed an increasingly idiosyncratic flavor,
demonstrating the influence of both traditional Persian
art and European modernism. In the late 1960s, Morteza
Momayez, universally considered the father of Iranian
graphic design, left Tehran to study in Paris. There, he
was exposed to the work of his European contempo-raries and was deeply inspired by the Swiss school of
international typography and the Polish poster move-ment. Momayez did not seek to copy their work. Rather,
he sought to develop his own style, drawing from Iran’s
distinctive visual culture. By combining Iran’s centuries-old traditions in illustration and calligraphy with new
approaches to working with typography and image, he
created something new and uniquely Iranian. Even after
his death, Momayez continues to inspire new genera-tions of Iranian designers.
Majid Abbasi, who was as student of Momayez, has
also stylistically broken away from—but not aban-doned—traditional approaches to Persian illustration
and calligraphy Rather, he embraces these traditions and
has developed an increasingly idiosyncratic flavor,
demonstrating the influence of both traditional Persian
art and European modernism. In the late 1960s, Morteza
Momayez, universally considered the father of Iranian
graphic design, left Tehran to study in Paris. There, he
was exposed to the work of his European contempo-raries and was deeply inspired by the Swiss school of
international typography and the Polish poster move-ment. Momayez did not seek to copy their work. Rather,
he sought to develop his own style, drawing from Iran’s
distinctive visual culture. By combining Iran’s centuries-old traditions in illustration and calligraphy with new
approaches to working with typography and image, he
created something new and uniquely Iranian. Even after
his death, Momayez continues to inspire new genera-tions of Iranian designers.
Majid Abbasi, who was as student of Momayez, has
also stylistically broken away from—but not aban-doned—traditional approaches to Persian illustration
and calligraphy Rather, he embraces these traditions and
đang được dịch, vui lòng đợi..
cations on Israeli cultural themes. In Iran, graphic design
has developed an increasingly idiosyncratic flavor,
demonstrating the influence of both traditional Persian
art and European modernism. In the late 1960s, Morteza
Momayez, universally considered the father of Iranian
graphic design, left Tehran to study in Paris. There, he
was exposed to the work of his European contempo-raries and was deeply inspired by the Swiss school of
international typography and the Polish poster move-ment. Momayez did not seek to copy their work. Rather,
he sought to develop his own style, drawing from Iran’s
distinctive visual culture. By combining Iran’s centuries-old traditions in illustration and calligraphy with new
approaches to working with typography and image, he
created something new and uniquely Iranian. Even after
his death, Momayez continues to inspire new genera-tions of Iranian designers.
Majid Abbasi, who was as student of Momayez, has
also stylistically broken away from—but not aban-doned—traditional approaches to Persian illustration
and calligraphy Rather, he embraces these traditions and
has developed an increasingly idiosyncratic flavor,
demonstrating the influence of both traditional Persian
art and European modernism. In the late 1960s, Morteza
Momayez, universally considered the father of Iranian
graphic design, left Tehran to study in Paris. There, he
was exposed to the work of his European contempo-raries and was deeply inspired by the Swiss school of
international typography and the Polish poster move-ment. Momayez did not seek to copy their work. Rather,
he sought to develop his own style, drawing from Iran’s
distinctive visual culture. By combining Iran’s centuries-old traditions in illustration and calligraphy with new
approaches to working with typography and image, he
created something new and uniquely Iranian. Even after
his death, Momayez continues to inspire new genera-tions of Iranian designers.
Majid Abbasi, who was as student of Momayez, has
also stylistically broken away from—but not aban-doned—traditional approaches to Persian illustration
and calligraphy Rather, he embraces these traditions and
đang được dịch, vui lòng đợi..
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