ART WORK FOR SALE
Wednesday, October 14, 2009
An interview with "Ali Vazirian
An interview with "Ali Vazirian" in a feature on Iranian graphic design for the A2 Arts and Culture section of The Age newspaper in Melbourne by "Dan Rule".This discussion is relevant to be released a selection of graphic works by Vazirian in Melbourne Australia.
Dan Rule: Your work seems to have less of a Western influence or aesthetic than some of your Iranian contemporaries; it seems to have more of a distinctly Iranian flavour and feel...
Would you agree?
Ali Vazirian: I will be glad if such characteristics can be found in my works, But I must say that this Iranian taste and this kind of Aesthetic that you pointed to ,is present mainly because I live in an atmosphere of a civilization and culture that I belong to it. So it is natural that some parts of my inner world reflect in my works. In fact, I have never tried to make my works purely Iranian. This happens in the inner of the artist and relates to the way of his/her life and also his philosophical look to the world around him. Being interested in a culture is far different to live on manners and customs of that culture. political personalities can keep their thoughts hide from people, say something and do something else , but the artist cannot act this way as Basically art of every single artists would depicts his world of opinion and believes.
DR: What are your chief influences?
AV: Now there's nothing. My works takes form spontaneously and based on studies and visual experience of my former. But in the past, I affected by many things .From Iranian traditional paintings (Persian painting) with pure colors and full of masterly portrait atmospheres of Gustav Kilimet and Henri Matisse and even Georges Rouault. I cannot really talk about just a specific one. But to tell the truth, what affected me more than anything and has affected the creation of my works was part of Iranian Poem and literature that is full of allegory and scenography. An inspiring treasure which never ends.
DR: Do you draw any direct inspiration from Western graphic design?
AV:Inspiration happens at the beginning or at least in my case have been so.
DR: Do you also strive to transcend national boundaries? Would you like your work to be read and understood in an international setting?
AV:Understanding of an artist works in international level is a privilege that is consistent with the essence of art. Graphic works are not created to be confined to stay in geographical bounderies or a single room. These works created to transfer the concept that designer bear in his/her mind, for being observed, for make a connection to people, so its natural that more audiences make the artist happier.
DR: Notions of globalisation possess a dominantly Western slant and could be accused of eroding cultural differences and differences in visual language.
Should artists always be aware of their own culture and where they come from?
AV: The artist job His is awareness to his native culture and protection of it. We must not ignore the fact that the global movement in the meantime is irresistible and indivisible. Globalization is attainable by uniformity of the ways of behavior .But it needs the plurality which reflects in variety of ways: national identity, ethnic identity, religious identity. A culture with spirit of invention seems fearless of the concept of globalization.
DR: Is the idea of a universal visual language detrimental to the art of specific countries?
AV: The graphic art belongs to The public not to elites who owned private museums and galleries as their resort. So the artist needs a language to reach to a wide spectrum of people with different cultures who are able to understand and communicate with it. Accessing such a language you can show the indisputable features of your visual art without ignoring the positive dimensions of other cultures. For example, I can mention a Poster which I designed for a film festival in Italy a year ago. (Enclosed with this email).
DR: Do you see Iranian graphic design as a point of resistance?
AV: There is no resistance, I don’t know why the word is used as usually the word” resist “ being used in situations like the invasion and occupation and in the field of the world graphic I don’t believe in any invasion. Graphic designers with the showing a part of their visual culture can have a part in globalization of graphic designing. Iranian graphic design is the of Iranian culture in the global culture. Any claim as the resistance of Iranian graphic against its western counterpart is not more than just a slogan. We should not forget that one of the prerequisites of globalization is about the concept of relation, with rhizomatique identity, and to accept each other with mutual valuation. Cultural relationship is no exception.
DR: What do you feel makes Iranian graphic design unique?
AV: Every single one of Iranian designers is presenting some specific sight of Iranian visual culture in their works, but specifically using traditional reliefs and Persian letters distinguishes Iranian cultures from others.
DR: Calligraphy and typography seem to hold much more of a significance to Iranian design than their Latin counterparts in the West...
Would you agree?
AV: I absolutely agree.
DR: Tell me about the significance of calligraphy and typography. They seem to play a prevalent role in your work....
AV: Basically, Iranian culture roots in religion which the miracle of his prophet, “Quran”, is a divine book. It means God speaks to their servants by words. Therefore writing its words and letters, especially calligraphy, find a special place in Iranian culture. Using Farsi letters and calligraphy rooted back before the revolution in 1979, but the Iranian artists’ inclination toward it has been increased. Anyhow I reject your emphasis that my works are dominated by calligraphy. This is only the characteristic of some of my works. Although I believe that using words and writing words give an indigenous identity toward the works, it may cause an ambiguity for an audience who doesn’t know the Farsi language, and cannot understand their meaning. And it is opposite of the identity of graphics. So because of this I believe that using of visual elements in graphic works is far more important.
DR: What effect do you feel the Islamic revolution of 1979 had on Iranian visual culture?
AV: The effect of Iranian revolution was rather in content than form just like what happened in cinema, but in the field of graphics, it made the artists focused more in their own roots of visual culture which is specifically distinguished from other Islamic nations.
DR: Do you feel that creating art in autocratic political situations has influenced your work in a particular way?
AV: I consider the field of culture premier to caduceus politics and acrobats politicians and always tried to keep the distance. Thus it cannot shadow my works.
DR:Tell me about your earliest influences to become an artist...
AV: In fact, I Haven’t gone after the art, whole my life the art have been my companion.
DR: What inspires you today?
AV: It is a while I am in the least work in graphic design and painting, because I have to spend a plenty of time on Filmmaking and literature and novel calls me more than ever.
DR: What should good graphic design do at a fundamental level?
AV: Seeking for an independent visual language to establish communication and transfer the messages without any need to use language .Plenty of visual studies on distinct international graphic works, reading poetry and novels, listening to music and….
Dan Rule: Your work seems to have less of a Western influence or aesthetic than some of your Iranian contemporaries; it seems to have more of a distinctly Iranian flavour and feel...
Would you agree?
Ali Vazirian: I will be glad if such characteristics can be found in my works, But I must say that this Iranian taste and this kind of Aesthetic that you pointed to ,is present mainly because I live in an atmosphere of a civilization and culture that I belong to it. So it is natural that some parts of my inner world reflect in my works. In fact, I have never tried to make my works purely Iranian. This happens in the inner of the artist and relates to the way of his/her life and also his philosophical look to the world around him. Being interested in a culture is far different to live on manners and customs of that culture. political personalities can keep their thoughts hide from people, say something and do something else , but the artist cannot act this way as Basically art of every single artists would depicts his world of opinion and believes.
DR: What are your chief influences?
AV: Now there's nothing. My works takes form spontaneously and based on studies and visual experience of my former. But in the past, I affected by many things .From Iranian traditional paintings (Persian painting) with pure colors and full of masterly portrait atmospheres of Gustav Kilimet and Henri Matisse and even Georges Rouault. I cannot really talk about just a specific one. But to tell the truth, what affected me more than anything and has affected the creation of my works was part of Iranian Poem and literature that is full of allegory and scenography. An inspiring treasure which never ends.
DR: Do you draw any direct inspiration from Western graphic design?
AV:Inspiration happens at the beginning or at least in my case have been so.
DR: Do you also strive to transcend national boundaries? Would you like your work to be read and understood in an international setting?
AV:Understanding of an artist works in international level is a privilege that is consistent with the essence of art. Graphic works are not created to be confined to stay in geographical bounderies or a single room. These works created to transfer the concept that designer bear in his/her mind, for being observed, for make a connection to people, so its natural that more audiences make the artist happier.
DR: Notions of globalisation possess a dominantly Western slant and could be accused of eroding cultural differences and differences in visual language.
Should artists always be aware of their own culture and where they come from?
AV: The artist job His is awareness to his native culture and protection of it. We must not ignore the fact that the global movement in the meantime is irresistible and indivisible. Globalization is attainable by uniformity of the ways of behavior .But it needs the plurality which reflects in variety of ways: national identity, ethnic identity, religious identity. A culture with spirit of invention seems fearless of the concept of globalization.
DR: Is the idea of a universal visual language detrimental to the art of specific countries?
AV: The graphic art belongs to The public not to elites who owned private museums and galleries as their resort. So the artist needs a language to reach to a wide spectrum of people with different cultures who are able to understand and communicate with it. Accessing such a language you can show the indisputable features of your visual art without ignoring the positive dimensions of other cultures. For example, I can mention a Poster which I designed for a film festival in Italy a year ago. (Enclosed with this email).
DR: Do you see Iranian graphic design as a point of resistance?
AV: There is no resistance, I don’t know why the word is used as usually the word” resist “ being used in situations like the invasion and occupation and in the field of the world graphic I don’t believe in any invasion. Graphic designers with the showing a part of their visual culture can have a part in globalization of graphic designing. Iranian graphic design is the of Iranian culture in the global culture. Any claim as the resistance of Iranian graphic against its western counterpart is not more than just a slogan. We should not forget that one of the prerequisites of globalization is about the concept of relation, with rhizomatique identity, and to accept each other with mutual valuation. Cultural relationship is no exception.
DR: What do you feel makes Iranian graphic design unique?
AV: Every single one of Iranian designers is presenting some specific sight of Iranian visual culture in their works, but specifically using traditional reliefs and Persian letters distinguishes Iranian cultures from others.
DR: Calligraphy and typography seem to hold much more of a significance to Iranian design than their Latin counterparts in the West...
Would you agree?
AV: I absolutely agree.
DR: Tell me about the significance of calligraphy and typography. They seem to play a prevalent role in your work....
AV: Basically, Iranian culture roots in religion which the miracle of his prophet, “Quran”, is a divine book. It means God speaks to their servants by words. Therefore writing its words and letters, especially calligraphy, find a special place in Iranian culture. Using Farsi letters and calligraphy rooted back before the revolution in 1979, but the Iranian artists’ inclination toward it has been increased. Anyhow I reject your emphasis that my works are dominated by calligraphy. This is only the characteristic of some of my works. Although I believe that using words and writing words give an indigenous identity toward the works, it may cause an ambiguity for an audience who doesn’t know the Farsi language, and cannot understand their meaning. And it is opposite of the identity of graphics. So because of this I believe that using of visual elements in graphic works is far more important.
DR: What effect do you feel the Islamic revolution of 1979 had on Iranian visual culture?
AV: The effect of Iranian revolution was rather in content than form just like what happened in cinema, but in the field of graphics, it made the artists focused more in their own roots of visual culture which is specifically distinguished from other Islamic nations.
DR: Do you feel that creating art in autocratic political situations has influenced your work in a particular way?
AV: I consider the field of culture premier to caduceus politics and acrobats politicians and always tried to keep the distance. Thus it cannot shadow my works.
DR:Tell me about your earliest influences to become an artist...
AV: In fact, I Haven’t gone after the art, whole my life the art have been my companion.
DR: What inspires you today?
AV: It is a while I am in the least work in graphic design and painting, because I have to spend a plenty of time on Filmmaking and literature and novel calls me more than ever.
DR: What should good graphic design do at a fundamental level?
AV: Seeking for an independent visual language to establish communication and transfer the messages without any need to use language .Plenty of visual studies on distinct international graphic works, reading poetry and novels, listening to music and….
8 Ways to Drive a Graphic Designer Mad
As everyone knows, graphic designers are the reason there are so many wars in this world. They get inside our heads with their subliminal advertising, force us against our will to spend money on the worst pieces of shit, and eventually, drive us to depression and random acts of violence. And of course, most of them arecommunists.
So to do my part to save the world from them, i made a list of things you can do when working with a graphic designer, to assure that they have a burn-out and leave this business FOREVER.
1-Microsoft Office
When you have to send a graphic designer a document, make sure it’s made with a program from Microsoft Office. PC version if possible. If you have to send pictures, you’ll have more success in driving them mad if, instead of just sending a jpeg or a raw camera file, you embed the pictures inside a Microsoft Office document like Word or Powerpoint. Don’t forget to lower the resolution to 72 dpi so that they’ll have to contact you again for a higher quality version. When you send them the ‘higher’ version, make sure the size is at least 50% smaller. And if you’re using email to send the pictures, forget the attatchment once in a while.
2-Fonts
If the graphic designer chooses Helvetica for a font, ask for Arial. If he chooses Arial, ask for Comic Sans. If he chooses Comic Sans, he’s already half-insane, so your job’s half done.
3-More is better
Let’s say you want a newsletter designed. Graphic designers will always try to leave white space everywhere. Large margins, the leading and kerning of text, etc. They will tell you that they do this because it’s easier to read, and leads to a more clean, professional look. But do not believe those lies. The reason they do this is to make the document bigger, with more pages, so that it costs you more at the print shop. Why do they do it? Because graphic designers hate you. They also eat babies. Uncooked, raw baby meat.
So make sure you ask them to put smaller margins and really, really small text. Many different fonts are also suggested (bonus if you ask for Comic Sans, Arial or Sand). Ask for clipart. Ask for many pictures (if you don’t know how to send them, refer to #1). They will try to argument, and defend their choices but don’t worry, in the end the client is always right and they will bow to your many requests.
4-Logos
If you have to send a graphic designer a logo for a particular project, let’s say of a sponsor or partner, be sure to have it really really small and in a low-res gif or jpeg format. Again, bonus points if you insert it in a Word document before sending it. Now you might think that would be enough but if you really want to be successful in lowering the mental stability of a graphic designer, do your best to send a version of the logo over a hard to cut-out background. Black or white backgrounds should be avoided, as they are easy to cut-out with the darken or lighten layer style in photoshop. Once the graphic designer is done working on that bitmap logo, tell him you need it to be bigger.
If you need a custom made logo, make your own sketches on a napkin. Or better yet, make your 9 year old kid draw it. Your sketch shouldn’t take more than 5 minutes to make. You don’t want to make something that’s detailed and easy to understand, because the less the designer understands what you want, the more you can make him change things afterwards. Never accept the first logo. Never accept the 9th, make him do many changes, colors, fonts & clip art. Ask him to add a picture in the logo. Bevels. Gradients. Comic Sans. And when he’s at his 10th attempt, tell him that you like the 2nd one the most. I know, it’s mean but remember: graphic designers are the cause of breast cancer among middle aged women.
5-Chosing your words
When describing what you want in a design, make sure to use terms that don’t really mean anything. Terms like ‘jazz it up a bit’ or ‘can you make it more webbish?’. ‘I would like the design to be beautiful’ or ‘I prefer nice graphics, graphics that, you know, when you look at them you go: Those are nice graphics.’ are other options. Don’t feel bad about it, you’ve got the right. In fact, it’s your duty because we all know that on fullmoons, graphic designers shapeshift into werewolves.
6-Colors
The best way for you to pick colors (because you don’t want to let the graphic designer choose) is to write random colors on pieces of paper, put them in a hat and choose. The graphic designer will suggest to stay with 2-3 main colors at the most, but no. Choose as many as you like, and make sure to do the hat thing in front of him. While doing it, sing a very annoying song.
7-Deadlines
When it’s your turn to approve the design, take your time. There is no rush. Take two days. Take six. Just as long as when the deadline of the project approaches, you get back to the designer with more corrections and changes that he has time to make. After all, graphic designers are responsible for the 911 attacks.
8-Finish him
After you’ve applied this list on your victim, it is part of human nature (although some would argue weather they’re human or not) to get a bit insecure. As he realises that he just can’t satisfy your needs, the graphic designer will most likely abandon all hopes of winning an argument and will just do whatever you tell him to do, without question. You want that in purple? Purple it is. Six different fonts? Sure!
You would think that at this point you have won, but don’t forget the goal of this: he has to quit this business. So be ready for the final blow: When making final decisions on colors, shapes, fonts, etc, tell him that you are disappointed by his lack of initiative. Tell him that after all, he is the designer and that he should be the one to put his expertise and talent at work, not you. That you were expecting more output and advices about design from him.
Tell him you’ve had enough with his lack of creativity and that you would rather do your own layouts on Publisher instead of paying for his services. And there you go. You should have graphic designer all tucked into a straight jacket in no time!
Tuesday, October 13, 2009
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