My interest in type design and typography was not merely an aesthetic concern, but rather stemmed from my curiosity about the interaction of letterforms with readability and visual recognition. In recent years, my main focus has been on experimental design and improving the legibility of Persian/Arabic typefaces.

To expand my knowledge and experience, I conducted specialized research for two years in the READSEARCH research group under the supervision of Prof. Dr. Ann Bessemans. Subsequently, I received my second Master’s degree in Graphic Design, specializing in readability in type and typography, from PXL University College (School of Media, Arts and Design). My final project was the design of a Persian/Arabic typeface for very small texts (4 to 7 points), with a letter body height (corpus size) between one and two millimeters, optimized for laser printers. This project was selected at the 2023 annual festival showcasing top talents from the next generation of higher education in Belgium, in the fields of graphic design, industrial design, motion graphics, architecture, and game design.

Education

Master of Arts, Graphic Design, Specialization in Readability in Type and Typography (“Reading Type & Typography”), PXL-MAD School of Arts, Belgium, 1402 SH (2023/2024 CE).

Master of Arts, Visual Communication Design, Islamic Azad University, Science and Research Branch, Tehran, 1398 SH (2019/2020 CE).

Bachelor of Arts, Visual Communication, Enghelab-e Eslami Technical College (TVU), Tehran, 1393 SH (2014/2015 CE).

Associate Degree, Graphic Design, Enghelab-e Eslami Technical College (TVU), Tehran, 1389 SH (2010/2011 CE).

Diploma, Graphic Design, Hamedan Province Fine Arts High School for Boys, 1385 SH (2006/2007 CE).

Awards and Honors:

Selected, Annual Festival of Top Future Generation Talents in Belgian Higher Education, Master’s Project, Summer 2023.

Selected for Type Design, Second Research and Applied Conference on Art and Advertising in Islamic Culture and Civilization, for Pouya Font, Qom, 1395 SH (2016/2017 CE).

Second Place, 35th Fajr International Theater Poster Festival, for the poster “Who’s Afraid of Virginia Woolf?”, Tehran, 1395 SH (2016/2017 CE).

First Place and Best Work Trophy, Type Design Section, Fourth “Silver Cypress” Biennial of the Iranian Graphic Designers Society (IGDS), for Amir Typeface, Tehran, 1394 SH (2015/2016 CE).

Certificate of Appreciation, 10th Image of the Year Celebration, Iran, for the poster “Bach and Mozart Night” Classical Music Concert, Tehran, 1391 SH (2012/2013 CE).

Selected for Logotype Design, First Shokoufa Regional Competition, Tehran, 1386 SH (2007/2008 CE).

Selected for Type Design, Rasaye Qalam Calligraphy and Type Design Competition, Hamedan Province, 1386 SH (2007/2008 CE).

Second Place in Photography, Hamedan Province Student Cultural Competitions, 1385 SH (2006/2007 CE).

Academic and Research Activities:

A Western Souvenir for Persian Type! (Article), Second Book of the Tehran Type Week Event, 1403 SH (2024/2025 CE).

A Review of the Life of ‘Hossein Abdollahzadeh Haghighi, Architect of Persian Font’ (Article), Sanate Chap Magazine (Printing Industry Magazine), Issue 507, 1403 SH (2024/2025 CE).

A New Encounter with Letters: Mohammadreza Baghapour Changed Tehran’s Face with the Traffic Font (Article), Hamshahri Newspaper, 6th Dey 1399 SH (December 26, 2020 CE).

A Journey Through 80 Years of Persian Lead Type to the Digital Age in Iran (Article), Herfeh Honarmand Quarterly, Special Issue on Type and Typography, Issue 68, 1397 SH (2018/2019 CE).

What is a Poster? An Interview with Ghobad Shiva (in collaboration with Azam Eslamikhah), Naqsh Visual Arts Bi-monthly, Hozeh Honari of Hamedan Province, Issue 314, Year 2, 1387 SH (2008/2009 CE).

Seminars, Lectures/Talks

Talk: “The Role of Font in Branding and Packaging“; Panelist and Speaker at specialized sessions: “‘What Do Eyes See?'” and “‘The Importance of Documentation and Archiving for Persian Type'”, 31st Tehran International Printing and Packaging Exhibition, 1403 SH (2024/2025 CE).

“Seminar and Workshop on Persian Typeface Design,” Research Week, Bu-Ali Sina University, Hamedan, 1403 SH (2024/2025 CE).

“Microtype: The Key to Letter Recognition or Readability!” (Lecture), Second Tehran Type Week Event, Iranian Artists’ Forum, Tehran, 1403 SH (2024/2025 CE).

“Silent but Influential Power” (Lecture), National Brain Mapping Laboratory of Iran, 1403 SH (2024/2025 CE).

“How to See and Talk About Typefaces!” (Lecture), Tabriz Type Week, 1403 SH (2024/2025 CE).

“The Story of Persian Letters and Typography” (Lecture), Grand Ayatollah Borujerdi Library (Masjed-e A’zam Library), Qom, 1401 SH (2022/2023 CE).

“The Role of Point Size in Standardizing a Typeface’s Font” (Lecture), 6th “Silver Cypress” Biennial of the Iranian Graphic Designers Society (IGDS), Iranian Artists’ Forum, Tehran, 1398 SH (2019/2020 CE).

“History of Persian Type Design in Iran” (Lecture), Jaryan Institute for Contemporary Creative Communications, Tehran, 1397 SH (2018/2019 CE).

Interviews, Discussions

“Bi-linear (Bilingual) Logotypes,” Live discussion with Reza Bakhtiari Fard, (Live) on PersianLogo page, 1402 SH (2023/2024 CE).

“The First Persian Lead Types Produced in Iran,” Ketab Gozar 3, Live discussion with Majid Jaliseh, 1401 SH (2022/2023 CE).

“Persian Fonts,” Interview for Jahat-e Ettela (For Your Information), Publication of the Iranian Graphic Designers Society (IGDS), 1394 SH (2015/2016 CE).

“Persian Fonts and the Challenges for Young Generation Designers,” Interview, Amoozesh TV Network (IRIB Education Network), 1394 SH (2015/2016 CE).

“A Poster Must Be Attractive and Successful in Conveying its Message,” Interview with Hamshahri Mahalleh Tehran Bi-weekly, Issue 435, Aban 1391 SH (October/November 2012 CE).

“Inauguration of Hamedan Graphics House,” Naqsh Bi-monthly, Hozeh Honari of Hamedan Province, Year 3, Issue 16, 1388 SH (2009/2010 CE).

Professional Experience in Type Design

Proprietary/Custom Typefaces:

Resaneh Typeface Family; Role: Design Consultant and Font Developer; Client: IRIB University, 1403 SH (2024/2025 CE).

Makan Arabic Typeface Family; Commissioned by TighType Foundry, Germany, Autumn 1402 SH (Autumn 2023 CE).

Jaryan Typeface Family; Client: Jaryan Institute for Contemporary Creative Communications, 1396 SH (2017/2018 CE).

Topaz Typeface Family; Client: Topaz Economic, Cultural, and Social Monthly Magazine, Summer 1396 SH (Summer 2017 CE).

Harmonization and Redrawing of Yekan Typeface; Client: IRIB News Network, Summer 1395 SH (Summer 2016 CE).

Pouya Typeface Family; Client: IRIB Children and Young Adults TV Network (Shabakeh Pouya), Autumn 1394 SH (Autumn 2015 CE).

Kgoo Typeface Family; Client: Kgoo Educational Aids Publishing Organization, Summer 1393 SH (Summer 2014 CE).

Publicly Released Typefaces:

Pesteh Typeface; Released on: FontIran Online Store, Mordad 1403 SH (July/August 2024 CE).

Venoo Typeface Family (13 weights); Released on: FontIran Online Store, Dey 1402 SH (December 2023/January 2024 CE).

Koolak Typeface; Released on: FontIran Online Store, Bahman 1400 SH (January/February 2022 CE).

Aan Typeface Family (6 weights); Released on: FontIran Online Store, Tir 1400 SH (June/July 2021 CE).

Ilia Typeface Family (6 weights); Released on: MaryamSoft Online Software Store, Azar 1398 SH (November/December 2019 CE).

Damavand Typeface; Released on: FontIran Online Store, Bahman 139X SH (Year incomplete in source; January/February 201X CE).