mehdi saeedi: from script to calligraphy

at the recent icograda congress in beijing, the iranian graphic designer mehdi saeedi
gave a lecture entitled 'from script to calligraphy'.

we quote here:
the history of iranian manuscript and persian calligraphy and script, has an ancient bonding
with 'reed pen'. this tool found a symbolic and allegory-abstraction place more farther up its
own mean face in iranian gnosis, literary and tradition. in addition, calligraphy with the 'reed pen'.
is carrier of customs and rituals. the usage origin of reed pen can not be specified certainly and surely,
but it is clear that, the 'naskh script' (style of script used in typography) was current only until has
had spread until before safavieh period and it appeared in the nasta'aligh writing after combination
with ta’aligh nasta'aligh handwriting and basically the tradition of iran calligraphy should not be
summarized in its instrumental and technical form. its deep bonding with the gnosis and old literature
will reach the 'calligrapher' to the excellent private moral features and spirits. reaching to excellent
arrangement guides in a kind of spiritual sightseeing, refining, soul single and individual mortification.
moreover, there has been a kind of deep heart relation beyond than the training aspect and has been
accounted as the moral and spiritual growth of trainer.
processing of handwriting's in the works, which will come after this and a landscape of combination
of writing with contemporary symbol recognition trends, symbolic gaining from suitable receiving image -
writing with the traditional and custom sense. from the other side, has tried until to be used from
'seyamashgh' capacities as it is possible too, which to be an association in a rhythmic and flowing of values,
meanwhile the picture to be found its meaning deepness and has had pride in this cultural bed.
the sequence, symmetry and complexity that is similar to single, to make current the sense of 'holiness',
'secret mode' and 'meaning' in its own self and sometimes it refers to the place and text field of work.
my image had been that the handwriting should draw for human due to having ancient holiness in
iranian culture that to transfer the essence of soul and sense of calligrapher with the same primary virginity
and innovation that the famous calligraphers have had in their hand the 'reed pen' with the private decoration
and customs. it is in the direction of the same route that all writing's of these works have been written without
interface of instrument but by hand.


tools


research / studies


sketches


the 18th fadjr international music festival, 2003
poster for the music center, islamic guidance ministry


sketches for poster 'garfens of iran'


garfens of iran, 2004
poster for tehran museum of contemporary art


sketches


sadegh hedayat (the first iranian typography exhibition)
poster for 5th color


poster for boofekoor typography exhibition


the 5th persian painting islamic biennial iran, 2002
poster for tehran museum of contemporary art


three iranian look, 2004
poster for tehran museum of contemporary art


world about to explode, 2003
for 'fourth block'


all is by him, 2003
for soroush publisher


the iranianspring (iranian cultural and artistic exhibition in paris), 2004
poster for tehran museum of contemporary art


the 14th music festival (zekro zakeri), 2004
poster for the music center, islamic guidance ministry


the 6th iranian jasmin music festival (focused on women), 2004
poster for the music center, islamic guidance ministry


mehdi saeedi
portrait © designboom

mehdi saeedi
studied graphic design in iran and england. in 1998 he opened his private studio working
with some of the most prominent cultural centers in iran. mehdi saeedi has participated in
numerous domestic and international exhibitions around the world. he organized the selected
5th generation iranian graphic designers exhibition in 2006 and has attended numerous local
and international competitions and exhibitions as jury member and speaker.