Silver Graphics, Illustration and Visual Communication Design · 2025
Color Rhythms Music Festival Identity
by Naser Nasiri
- A' Design Award 2025 Silver Winner in Graphics, Illustration and Visual Communication Design
- Awarded April 15, 2025
- CLIENT: Nasser Nasiri Design Studio
- Estimated Number of Design Views: 82,646
- Verification code E6B5C9F99A · Verify this award
About Color Rhythms Music Festival Identity
The visual identity of the Abd Al Qadir Maraghi Music Festival bridges tradition and modernity. Inspired by the rhythmic patterns of historic brickwork in Maragheh's architecture, particularly the Red Dome, the design honors a millennium of heritage. Typography, influenced by Kufic inscriptions, reflects the region's legacy. Illustrations of musicians' hands playing traditional instruments emphasize the fusion of history and rhythm. The logo embodies cultural preservation while embracing a modern visual approach.
Within the rich tradition of visual communication design that bridges cultural heritage with contemporary graphic expression, Naser Nasiri's Color Rhythms Music Festival Identity emerges as a sophisticated exercise in typographic illustration that honors classical calligraphic traditions while embracing the vibrant possibilities of modern design language, the work demonstrates remarkable facility in integrating figurative elements namely the gracefully rendered hands engaged in musical performance directly into the flowing architecture of ornamental letterforms creating a unified visual system where typography and illustration become inseparable partners in meaning-making, the chromatic strategy employing deep navy as ground with warm ochre gold as primary figure establishes immediate visual authority while the strategic deployment of turquoise in the illustrated hands introduces complementary temperature contrast that activates the entire surface, this triadic harmony extended through small white accents and the punctuating crimson triangle reveals sophisticated understanding of color theory in service of hierarchical communication, the compositional decision to cascade typography along a diagonal axis generates kinetic energy appropriate to musical subject matter while the careful integration of traditional instrument silhouettes including stringed instruments and percussion speaks to respectful engagement with cultural musical heritage, technically the work exhibits controlled variation in stroke weight flowing from thick to thin that characterizes accomplished calligraphic practice yet deploys these forms with contemporary spatial awareness, the viewer might consider how this identity system successfully negotiates between honoring venerable artistic traditions and speaking to contemporary audiences, inviting reflection on how visual design can celebrate cultural continuity while embracing creative evolution.
Press Kit
- Unique Properties
- This design stands out for its focus on illustration and typography. Its composition is inspired by the brickwork patterns of Maragheh's historical architecture, incorporating rhythm and movement to create a dynamic effect. Hand-drawn illustrations of hands emphasize the ancient roots of the music and the city. The visual forms are harmonized in an Eastern style, blending regional identity with modern aesthetics. This unique approach combines tradition with contemporary minimalism, making the design truly distinctive.
- Dimensions & Packaging
- For the second edition of this event, a logo symbolizing the number two was designed. The designs include the festival's main poster (120 x 80 cm), a stage banner (3 x 6 meters), two side banners (3 x 2.5 meters) for the stage, exhibition stands for environmental graphics, large-scale billboards and strobe boards (6 x 4 meters) for urban spaces, tote bags, tags for event organizers, and a 300-page book in a royal octavo size (21 x 29.7 cm).
- Tags
- Visual identity design for the event, logo, poster, stage design, music, design for music, Eastern music, graphics for music.
- Production Technology
- In designing the visual identity for this music event, I integrated architectural motifs to align form with content and adhered to the principles of design and personality. The typography, inspired by an inscription in Maragheh with ancient Kufic Maqeli calligraphy, is featured in the title and overall identity. The event logo combines the visual form of the number two with an illustration of a hand playing the daf. The colors lapis lazuli blue, crimson red, verdigris, and gold are rooted in the Iranian miniature tradition and the cultural heritage of Maragheh.
- Design Challenge
- The hardest part of designing the visual identity for the Abd al-Qadir Maraghi Music Festival was integrating historical, cultural, and musical elements. Challenges included limited access to historical inscriptions and accurate architectural details, requiring intensive fieldwork, library research, and expert interviews. Balancing Maragheh's architectural heritage with musical symbolism demanded creative synthesis, while limited production options and modern technology constraints were also overcome.
- Project Duration
- The design for this poster was commissioned on December 11, 2024. After a week of research on the background, motifs, and related elements, the final visual identity was completed and delivered to the client on December 22, 2024. Following the printing process, it was installed the same day at Nikkhah Auditorium in Maragheh. The festival took place from December 23 to December 25, 2024, with support from Maragheh Municipality, the City Council, and the Iranian Music Association, honoring Abdulqadir Maraghi and showcasing musical talents.
- Operation Flow
- In designing this event, I incorporated advanced typography techniques alongside illustrations depicting hands playing local and international musical instruments. These illustrations are crafted to be universally comprehensible, making the musical nature of the event immediately clear to audiences from all cultures. The combination of professional typography and precise, globally relatable illustrations effectively conveys the event's message.
- Research
- The visual identity design for the second National Music Festival of Abdulqadir Maraghi was developed through comprehensive research. This process included library studies on the history of music and historical inscriptions in Maragheh, field exploration of local architecture, interviews with experts in architecture, music, and cultural studies, and internet research to analyze visual forms of music from Abdulqadir's era. The findings formed the basis for creating a distinctive identity that reflects Maragheh's cultural heritage.
- Inspiration
- The visual identity of the Abd al-Qadir Maraghi National Music Festival is inspired by the historical architecture of Maragheh, particularly the Kufic inscriptions on the Sorkh Dome. The design features geometric patterns and turquoise tiles, reflecting the city's rich cultural heritage. The poster integrates illustrations of traditional Iranian instruments with the festival title, blending music, history, and architecture. The color palette includes lapis blue, gold, and turquoise.
- Image Credits
- Image 1: The main poster of the festival, designed by Naser Nasiri.
Image 2: An image of the fusion of illustration and typography used in the visual identity design, designed by Naser Nasiri.
Image 3: An image of the Red Dome, one of the buildings in Maragheh, which inspired the typography. Photo of the building by Siamak Javid, design by Naser Nasiri.
Image 4: An image of the event logo alongside a photographed image of the stage in its published state. Event photo by Masoud Moghadam, design by Naser Nasiri.
Image 5: An image of the screen design on the event stage alongside a photographed image of the stage in its published state. Event photo by Masoud Moghadam, design by Naser Nasiri. - Patents
- Registration Number: 330/31235 in the Iranian Music Association.
Colors of Color Rhythms Music Festival Identity
Get Color Rhythms Music Festival Identity
Design Interview about Color Rhythms Music Festival Identity
The core idea of my design lies in reviving historical Iranian visual culture through a contemporary lens. I used typographic composition inspired by the ancient Kufic-Banna’i script, particularly from an 800-year-old inscription on the Red Dome mausoleum in Maragheh. This inscription became the structural foundation for the poster’s typography, bridging architecture, history, and graphic design.
Hand-drawn illustrations of musicians' hands playing traditional Persian instruments complement the typography, adding a tactile, human element that honors the musical legacy of Abd al-Qadir Maraghi—recognized as the last great music theorist of the East. The logo of the festival integrates the Persian numeral 2, crafted in the shape of a hand striking a daf, a centuries-old frame drum, symbolizing both rhythm and celebration.
Color choices—turquoise, lapis lazuli, oxblood, ochre, and gold—are rooted in the aesthetic language of Persian miniature painting, tilework, carpet design, and classical Iranian visual arts. These colors were selected not only for their historical presence but also for their symbolic resonance, representing spirituality, nobility, vitality, and sacredness.
Ultimately, the principle guiding the design was to harmonize past and present: reviving a visual memory from our architectural and musical heritage while presenting it in a contemporary visual system that speaks to today’s audience.
Hand-drawn illustrations of musicians' hands playing traditional Persian instruments complement the typography, adding a tactile, human element that honors the musical legacy of Abd al-Qadir Maraghi—recognized as the last great music theorist of the East. The logo of the festival integrates the Persian numeral 2, crafted in the shape of a hand striking a daf, a centuries-old frame drum, symbolizing both rhythm and celebration.
Color choices—turquoise, lapis lazuli, oxblood, ochre, and gold—are rooted in the aesthetic language of Persian miniature painting, tilework, carpet design, and classical Iranian visual arts. These colors were selected not only for their historical presence but also for their symbolic resonance, representing spirituality, nobility, vitality, and sacredness.
Ultimately, the principle guiding the design was to harmonize past and present: reviving a visual memory from our architectural and musical heritage while presenting it in a contemporary visual system that speaks to today’s audience.
My main focus in designing this work was to express the essence of Eastern artistic behavior—intuitive, improvisational, and fluid—while grounding it in a deep and ancient structural logic. Much like traditional Persian music, which is based on spontaneous vocal expression rather than fixed compositions, I aimed to create a layout that feels free and organic, yet solid, deliberate, and precise. This tension between freedom and structure was central to my design.
I also wanted to ensure that the visual identity resonates with the cultural context of the audience. Cultural relevance was a key goal—reflecting familiar visual forms, symbols, and emotions—while also presenting them in a contemporary visual language. In this way, I aimed to strike a balance between tradition and modernity, crafting a design that is both rooted and forward-looking, both local and timeless.
I also wanted to ensure that the visual identity resonates with the cultural context of the audience. Cultural relevance was a key goal—reflecting familiar visual forms, symbols, and emotions—while also presenting them in a contemporary visual language. In this way, I aimed to strike a balance between tradition and modernity, crafting a design that is both rooted and forward-looking, both local and timeless.
I plan to continue presenting this design in various cultural centers and design festivals, as I believe it holds significant visual, conceptual, and cultural value. It is a carefully balanced fusion of the ancient and the modern, the East and the West. While deeply rooted in academic traditions, it also embraces a folkloric spirit that makes it accessible and emotionally resonant.
Technically and visually, the design has been developed with great care to ensure that it remains both regionally authentic and globally relevant. My aim is to share this work more broadly to initiate cross-cultural dialogue and to highlight how traditional aesthetics can still inspire contemporary design on an international scale.
Technically and visually, the design has been developed with great care to ensure that it remains both regionally authentic and globally relevant. My aim is to share this work more broadly to initiate cross-cultural dialogue and to highlight how traditional aesthetics can still inspire contemporary design on an international scale.
From the moment the project was commissioned to the final delivery, it took me approximately one full month of dedicated work. A large portion of that time was spent on research—studying the historical and visual context of the forms, symbols, and imagery I intended to use.
While the illustration and execution of the concept also required considerable time and focus, what consumed most of my energy was composing a layout that could function effectively across different media. Achieving a composition that was visually strong, culturally meaningful, and adaptable to various formats was both the greatest challenge and the most rewarding part of the process.
While the illustration and execution of the concept also required considerable time and focus, what consumed most of my energy was composing a layout that could function effectively across different media. Achieving a composition that was visually strong, culturally meaningful, and adaptable to various formats was both the greatest challenge and the most rewarding part of the process.
This design was commissioned, and my primary focus was to study and carefully address all the values that this topic embodies. I needed to ensure that the design not only moved forward towards modernity but also retained its historical essence. The challenge was to balance the ancient with the new, making sure that the design stayed true to its roots while also speaking to contemporary audiences. This required in-depth research, reflection, and meticulous execution to ensure both cultural authenticity and modern relevance.
This design was specifically created for a unique purpose and commissioned for a particular event. It has fulfilled its intended role and function. However, due to its visual potential and cultural significance, I believe it can now be showcased in various centers, festivals, and exhibitions. It could serve as an educational tool, offering insight into the blend of tradition and modernity. Additionally, the design holds the potential to bridge past and future, helping future generations connect with the cultural heritage it represents.
The motivation behind designing this work stemmed from my desire to explore the intersection of tradition and modernity. As a designer, I was inspired by the deep cultural heritage of Persian music and art, particularly through the lens of Abd al-Qadir Maraghi’s influence on Eastern music theory. I wanted to create a visual identity that could capture both the free-flowing, improvisational nature of Persian music and the structured, academic elements it carries.
Additionally, the need to respect and integrate the cultural context of the festival was a driving force. I aimed to create something that felt both rooted in the past and relevant for a contemporary audience, ensuring that the design could bridge generations while remaining visually and culturally meaningful.
Additionally, the need to respect and integrate the cultural context of the festival was a driving force. I aimed to create something that felt both rooted in the past and relevant for a contemporary audience, ensuring that the design could bridge generations while remaining visually and culturally meaningful.
While designing this work, I was deeply influenced by the rich history of Persian visual arts, particularly the traditional craftsmanship in miniature painting, tilework, and calligraphy. These centuries-old art forms provided a foundation for the visual language I wanted to create. In terms of specific designers, I drew inspiration from past masters of Iranian graphic design who have successfully bridged cultural heritage with modern design—figures whose work preserves cultural authenticity while resonating with contemporary audiences.
Additionally, the design of the typography was inspired by ancient Kufic-Banna’i script, particularly the inscription on the Red Dome mausoleum in Maragheh. This historical piece served as a guiding reference for the typographic composition, and the way it has influenced my design emphasizes the delicate balance between tradition and modern execution.
Additionally, the design of the typography was inspired by ancient Kufic-Banna’i script, particularly the inscription on the Red Dome mausoleum in Maragheh. This historical piece served as a guiding reference for the typographic composition, and the way it has influenced my design emphasizes the delicate balance between tradition and modern execution.
The client for this design was the House of Music in Maragheh, which commissioned this work to celebrate the cultural and historical significance of Abd al-Qadir Maraghi, one of the greatest figures in Eastern music. Therefore, the target audience for this design primarily consists of music enthusiasts, cultural institutions, and individuals interested in the rich history of Persian music. Additionally, the design speaks to both local and global audiences who are engaged with cultural preservation and the fusion of traditional and modern artistic expressions.
What sets this design apart is its deep connection to Iranian and Eastern culture, which is not only reflected in its visual elements but also in its conceptual depth. The design is based on thorough research, ensuring that the work is rooted in the rich history of Persian music and art while embracing a modern and contemporary approach. Unlike many digital-based designs, this piece is driven by human-centered illustration, reflecting a more personal and tactile artistic process.
Additionally, the layout combines modern composition techniques while respecting traditional forms, allowing it to maintain a timeless, cultural relevance. This balance between modernity and tradition, along with its research-based foundation and human illustration approach, distinguishes this design from other similar concepts.
Additionally, the layout combines modern composition techniques while respecting traditional forms, allowing it to maintain a timeless, cultural relevance. This balance between modernity and tradition, along with its research-based foundation and human illustration approach, distinguishes this design from other similar concepts.
The name of this design is inspired by the movement of visual forms toward music. Music, being abstract in nature, often transcends direct representation, whereas images are more commanding and concrete. I've always strived to bring visual elements as close as possible to the interpretive nature of music. The challenge is to maintain the essence of the image while not losing its message—because if the graphic design loses its clarity, it can turn into mere painting, which is not the goal. This balance between abstraction and clarity is something I’ve always aimed for, and this design is an example of that. It’s about blending the fluidity of music with the precision of visual language, without compromising either.
The rhythms in this design are derived from music, and the colors are drawn from visual arts. This interplay between rhythm and color is what gives the design its unique dynamic, reflecting the harmony between the auditory and the visual, the abstract and the concrete.
The rhythms in this design are derived from music, and the colors are drawn from visual arts. This interplay between rhythm and color is what gives the design its unique dynamic, reflecting the harmony between the auditory and the visual, the abstract and the concrete.
I always start by sketching ideas by hand, as it helps me to visualize the concept and solidify the direction of the design. Once the idea is clear, I transfer it to the computer and use software like Illustrator and Photoshop to integrate the images with the typography. For layout purposes, I often use InDesign as well. However, what always remains crucial is the handcrafted nature of the design—this human touch is what gives the design its unique character. It’s not mechanical or emotionless, but rather carries the warmth and personality that comes with being handmade.
The most unique aspect of my design is the strong and authentic combination of typography with the illustration of musical instruments and hands. The typography, inspired by the classical calligraphy of the Kufic style, seamlessly integrates with the hand-drawn imagery of the instruments and hands playing them. This fusion creates a harmonious visual language that reflects both the precision of design and the fluidity of music, giving the work a unique, personal touch that distinguishes it from other designs.
For this design, I did not collaborate with anyone as all the technical and specialized skills required were within my own capabilities and extensive experience. Typically, I work alone on projects, handling most aspects of the design myself. However, in areas where I feel someone else might be better suited or bring additional expertise, I do collaborate with others. But for this particular project, I was able to handle all aspects on my own.
In this design, technology played a supportive role in transforming my initial hand-drawn concepts into a polished final product. While the core of the design, including the typography and illustration of the musical instruments and hands, was developed through traditional sketching and handcraft, technology helped me refine and complete the composition. Software like Illustrator, Photoshop, and InDesign allowed me to seamlessly integrate the elements, perfect the layout, and add the necessary details to ensure clarity and visual impact. However, the essence of the design remains deeply rooted in craftsmanship, with technology serving as a tool to enhance and execute the idea more effectively.
Yes, absolutely. Every detail of this design is based on extensive research. I relied heavily on historical, visual, and cultural sources both within Iran and beyond. This involved studying the ancient Kufic calligraphy style that inspired the typography, as well as examining the rich cultural heritage of Iranian music and its symbolic representation. I also explored various visual references from different periods of history and regions to ensure that the design resonates with both traditional and contemporary aesthetics. This research not only informed the visual aspects but also helped me create a design that honors the deep cultural significance of the subject while remaining relevant to modern audiences.
One of the main challenges I faced was working with typography, particularly adapting the Kufic script into the design while fitting the content into this specific calligraphic form. Kufic is a very structured and ancient script, so balancing its intricate geometry with the need for legibility and the artistic flow of the design was quite difficult. Additionally, the integration of the hand-drawn illustrations of musical instruments and hands with the typography posed its own challenges in terms of harmony and balance. It was essential to create a composition that felt unified, yet dynamic, with each element contributing to the overall message without overpowering one another. Another challenge was ensuring that the design could be effectively translated across different mediums, maintaining its integrity and visual impact regardless of scale or format. It required careful planning and iteration to achieve the desired result.
I have always had a strong desire to participate in prestigious design competitions, and over the years, I’ve entered numerous contests, won awards, and had my work exhibited in exhibitions around the world. I’ve been following A'Design Award for a long time, and it was always a goal for me to be a part of such a respected platform. When I saw the opportunity to submit my design, I felt it was the perfect chance to showcase this project on an international stage. I am incredibly happy and grateful that A'Design Award recognized the value of my work and awarded me for it. It’s a proud moment to have my design appreciated by such a prominent competition.
Design, when rooted in research, always leads to personal growth and improvement. Through this process, I had the opportunity to connect with parallel worlds from different cultures and historical contexts, which greatly enriched my understanding of design. I learned a great deal, especially in terms of the historical background, execution, and visual performance of the work. The research deepened my appreciation for the significance of cultural and historical references and how they can be integrated into modern design while maintaining their authenticity. This experience has helped me refine my skills and broaden my perspective on the role of design in bridging past and present.
I don't have any specific additional points to cover, but I do hope that these works contribute to the advancement of the status of culture and art, and help strengthen the relationship between all nations based on this shared understanding. Design has the power to transcend borders and foster deeper connections, and I hope my work plays a part in that.
Grand Interview about Color Rhythms Music Festival Identity
In developing the visual identity for the Color Rhythms Music Festival, I drew significant inspiration from the intricate brickwork patterns found in Iran’s historic architecture, particularly those featured in the Red Dome of Maragheh. These patterns—especially from the Seljuk era—demonstrate a remarkably advanced use of positive and negative space, a profound geometric logic, and a highly calculated relationship between form, material, and ornamentation. This approach to architectural composition reflects not only technical precision but also a deep sensitivity to aesthetic harmony and rhythm.What fascinated me most about the Red Dome was its ability to communicate through a highly expressive and intelligible visual language. The formal clarity of its patterns makes them highly adaptable to modern visual systems. My goal was to extract this timeless logic and reinterpret it within a contemporary design context, without losing its cultural essence.To achieve this, I applied a minimalist approach by simplifying complex ornamental details and focusing on the underlying structures. I carefully preserved the rhythm and motion embedded in the original brickwork and tile compositions—qualities that intriguingly align with the essence of music. This rhythmic continuity between architecture and sound became the core conceptual bridge in the project.Ultimately, I aimed to create a visual identity that functions as a cultural dialogue between historical memory and modern expression. By merging the geometric discipline of Seljuk brick architecture with the energy of music and contemporary aesthetics, the identity for Color Rhythms honors its origins while offering a globally accessible and forward-looking design.
In the Color Rhythms Music Festival Identity, I intentionally chose to highlight the hands of musicians rather than depicting their full figures. This decision was deeply rooted in the belief that hands are the most essential and expressive agents in the act of making music—particularly in traditional music, where the nuance of touch, rhythm, and gesture plays a critical role in shaping sound and meaning.Hands are not merely technical tools; they are the visible interface between the musician’s inner ideas and the external world. They embody motion, structure, and harmony. By focusing on the hands, I aimed to strip away individual identity markers such as faces or clothing, and instead emphasize the universal language of musical creation. The hands become symbolic—not of any one person—but of the act of music-making itself.In terms of visual execution, I deliberately pursued a handcrafted aesthetic in the illustrations. I avoided highly polished or overly digital renderings in favor of a more raw, tactile, and human quality. This visual approach resonates more deeply with the emotional and sensory nature of traditional music, which is often intimate, analog, and deeply personal. The illustrations are meant to feel “performed” in the same way the music is—organic, imperfect, and alive.Ultimately, this choice allowed the visual identity to forge a more authentic connection to the spirit of the festival’s musical heritage, while also inviting viewers to engage with the imagery on a more emotional and intuitive level.
My research process for designing the visual identity of the Color Rhythms Music Festival involved extensive fieldwork and in-depth interviews with experts in both music and traditional architecture. Throughout this journey, I made several unexpected and profound discoveries about Abd al-Qadir Maraghi and the architectural heritage of Maragheh, which significantly shaped my final design decisions.Abd al-Qadir Maraghi, often called the “Miracle of Eastern Music,” was a multifaceted genius—not only a masterful musician but also a poet, mathematician, philosopher, and theologian. His comprehensive mastery of Iranian and Eastern musical modes was remarkable. What truly sets his music apart is his innovative approach to composition: for each instrument, he wrote a distinct melody that, while independent, harmonized perfectly with the others in ensemble performance. This balance between individual musical lines and their integration into the whole created a rich and dynamic polyphony that was ahead of its time.Another striking feature of Maraghi’s music is its dense rhythm and highly intricate percussive patterns. These rhythmic complexities were thoughtfully aligned with the emotional depth and narrative of the music. The pieces attributed to him, as reconstructed by great Iranian maestros like Farhad Fakhreddini and Mohammad-Reza Darvishi, and performed by singers such as Homayoun Shajarian, are renowned for their technical difficulty and expressive depth. Despite the challenges inherent in performing his works, the result is an extraordinary beauty and sophistication.During my field studies, I found a fascinating parallel between these musical characteristics and the traditional architecture of Maragheh—particularly its brick domes. The rhythmic movement, curved forms, and detailed brickwork of the dome’s columns are not only unique in Iran but also rare worldwide. Much like Maraghi’s music, where each instrument’s melody maintains its own identity while contributing to a cohesive whole, every architectural element in these domes exhibits its own rhythm and form, yet integrates harmoniously with the overall structure. This interplay of rhythm and pattern in the brickwork deeply resonated with me, especially since I have been fascinated by these combinations since childhood.With careful study of architectural texts, hands-on examination of brick patterns, and conversations with specialists in traditional architecture and music, I realized that my design had to be equally special. The visual identity and especially the poster needed to convey a modern, minimalist aesthetic while simultaneously honoring the rich heritage and singular beauty of the region. To achieve this, I drew inspiration from the striking rhythmic patterns in Maraghi’s music—the pulsating beats that guide the listener’s ear and create spatial dimensions within the sound. These musical rhythms became a guiding metaphor for directing the viewer’s gaze and interpreting the visual narrative.Ultimately, the intricate rhythms of Abd al-Qadir Maraghi’s music and their architectural reflections in Maragheh’s heritage became foundational to the identity I created. This approach allowed me to craft a visual language that is both contemporary and deeply rooted in cultural history, bridging music and architecture into a cohesive, expressive design that invites interpretation and appreciation.
In designing the typography for the poster and visual identity of the Color Rhythms Music Festival, I based my work primarily on the Kufic Banai script found in the Red Dome of Maragheh. This historical calligraphic style carries a rich cultural and artistic heritage, and preserving its essence was essential.However, I intentionally made very minimal modifications to the letterforms to prioritize readability. For me, effective communication with the audience was more important than maintaining all the intricate complexities or decorative details. At the same time, I made sure to keep a strong reference to the authenticity of the brickwork architecture and the Kufic Banai script.I paid special attention to the broad baseline of the letters, which is one of the defining characteristics of Kufic script and plays a key role in maintaining visual identity and a sense of authenticity. I also carefully considered the spacing between the strokes and the white space around the letters to preserve balance and harmony, ensuring the script remained true to its original character while being clear and legible for contemporary viewers.This approach allowed me to create a blend of tradition and modernity—a typeface that, while deeply rooted in historical and cultural origins, functions effectively in a modern graphic context. As a result, the festival’s typography is not only a strong visual symbol but also establishes a meaningful connection between music, architecture, and the region’s culture.
Eastern arts have always been deeply interconnected—literature, painting and illustration, miniature painting, calligraphy, poetry, and architecture. If you study Iranian architecture, you will find that poetry, calligraphy, ornamentation, illumination, and miniature painting hold as much importance as the structure itself. On top of that, color is another essential element that carries profound symbolic meaning in Eastern traditions.In this cultural context, colors are not used merely for decorative purposes but are deeply aligned with meaning. Gold, for example, symbolizes the sun (shams) and paradise, carrying connotations of divinity and grandeur. Lapis lazuli blue has historically represented pride, the heavens, and nobility—its use is always associated with a sense of majesty beyond mere functionality.Turquoise holds a sacred and authentic place in Iranian tradition; it is considered one of the most revered and unrivaled colors. This is why, in the design, I chose to depict hands in turquoise, emphasizing purity and sanctity. Gold was applied to the typography and text to convey the necessary dignity and elegance to the written elements, allowing the audience to feel the richness and importance of the messages.Crimson red, although used sparingly, is highly impactful. Eastern music, by nature, is rarely heroic; rather, it is deeply meaningful and spiritual, serving thoughtful reflection and contemplation. Therefore, in the overall composition, I aimed to prioritize a sense of security, calmness, and solemnity.Together, this carefully selected color palette bridges the festival’s cultural roots and its contemporary identity. It evokes a timeless connection to Iranian miniature painting traditions while communicating a modern, refined aesthetic that resonates with today’s audience.
Maintaining visual consistency while adapting the Color Rhythms Music Festival identity across diverse formats and scales—from standard posters to large-scale billboards and stage backdrops—posed a significant challenge that required both thorough research and nuanced design strategies. To truly understand the environmental context where these graphics would live, I undertook a detailed site visit to Maragheh. This fieldwork was essential for grasping how the festival’s visual elements could interact with the unique architecture, colors, and ambient light of the locations. It was clear that the design needed to assert itself strongly without overwhelming or disappearing into the surroundings.One of the main technical challenges was ensuring that the core identity elements—particularly the Kufic-inspired typography and the iconic hand motifs—remained recognizable and consistent, regardless of scale. However, other design components such as the depiction of musical instruments, ornamental details, and color accents were thoughtfully adjusted for each format to maintain both legibility and visual harmony. For instance, turquoise or brick-red bands were sometimes introduced into the palette to echo the texture and color of local brickwork and architectural features. This helped anchor the design in its place while creating a seamless dialogue between the visual identity and its physical context.Given the different viewing distances and environments, I applied fundamental principles of environmental graphic design. Posters viewed at close range required intricate detail and typographic clarity, while billboards and stage backdrops—often seen from afar—called for bolder, simplified compositions with strong contrasts to communicate quickly and effectively. The layout’s rhythmic visual patterns, inspired by the complex, layered rhythms of Abd al-Qadir Maraghi’s music, were employed to guide the viewer’s eye and establish a dynamic hierarchy. This rhythmic approach mirrors the musical inspiration and reinforces the festival’s cultural narrative.From a production standpoint, maintaining consistent color fidelity and print quality across different materials and sizes was crucial. This demanded rigorous control over color profiles, vector scalability, and material-specific adjustments to ensure that the vibrancy and sophistication of the visual identity translated seamlessly across media.Ultimately, this project was a delicate balance of honoring the rich cultural and architectural heritage of Maragheh while meeting the practical demands of modern, large-scale environmental graphics. The resulting identity is both deeply rooted in tradition and adaptable to contemporary presentation, achieving a striking presence that resonates powerfully across all formats and settings.
In designing the logo for the Color Rhythms Music Festival, I have always tried to avoid a strictly academic and rigid approach. In my view, design, while needing to be precise and systematic in solving problems and meeting audience needs, must also be rich in creativity, innovation, and forward-thinking. It should function beyond a static object in the user’s lived experience — enabling transformation and dynamic interaction between the individual and the environment, even within seemingly classical systems.For this logo, I aimed to ingeniously combine the form of the number two, symbolizing the festival’s second edition, with an image of a hand playing the daf drum. This dual symbolism serves two simultaneous purposes: first, emphasizing the identity of the number two as a key element for the festival’s second iteration; second, highlighting music as the festival’s core essence.This represents a harmony and fusion between form and content, where the shape of the number two organically integrates with the hand of the daf player. This allows the audience not only to quickly and simply recognize the logo but also to engage in a deeper discovery that encompasses both formal and functional, conceptual layers. Such a multilayered form is highly regarded in contemporary design for its ability to offer multiple interpretations and allow future development.Technically, this integration demanded careful attention to visual balance, rhythm, and the interplay of positive and negative spaces. It was essential that the logo evoke both the number two and the daf while remaining legible, memorable, aesthetically pleasing, and impactful. Moreover, it needed to perform well across various scales and contexts—from small posters to large billboards—without losing its meaning.Furthermore, this type of design functions as a multifaceted symbol capable of adaptation and expansion. It can be reinterpreted in diverse ways in the future, enabling other artists and designers to preserve its core essence while adding new layers of meaning.This approach actively engages the audience with the design, transforming the logo from a mere mark into an integral part of the festival’s visual culture and semantic process. Such design is especially vital for cultural and artistic projects rooted in historical and social contexts.In previous interviews and critiques regarding this logo and the award it has received, I have emphasized that this project exemplifies the precise fusion of tradition and modernity, functionality and aesthetics, meaning and form, and has gained international recognition.Ultimately, this logo not only signifies the festival’s second edition but also acts as a bridge between past and present, tradition and innovation, and between the audience and the design itself. This was my primary objective in creating it.
As a graphic designer with nearly three decades of professional experience, primarily focused on cultural graphic design, my work has consistently intersected with music, poetry, literature, and the arts. Over the years, I have designed more than a thousand book covers dedicated to literature and poetry, alongside numerous posters and visual materials for concerts and music albums. Additionally, I have been involved in academia for almost thirty years, teaching graphic design at universities and higher education institutions, mentoring a large number of students, supervising many theses, and actively engaging in research and scholarly work.This extensive background has given me a profound understanding of both classical and modern design languages. I deeply appreciate how classical forms carry a distinct, authentic, and impactful tone and language, deeply rooted in cultural heritage. At the same time, I recognize how modernity can meaningfully and healthily draw from this rich past, creating a dialogue between tradition and contemporary sensibilities. This fusion is crucial to engage younger audiences who seek modern aesthetics, relevant visual languages, and contemporary experiences, while simultaneously connecting them to a rich cultural heritage that informs and enriches their understanding.In designing the Color Rhythms Music Festival Identity, I consciously balanced these two poles—preserving the authenticity and profound symbolism of traditional Iranian and Eastern visual elements while implementing contemporary design principles such as minimalism, clarity, and scalability across multiple media. This approach ensured that the visual language could resonate with older generations who value cultural continuity and heritage, as well as with younger, more cosmopolitan audiences who appreciate innovation and fresh, modern aesthetics.The fusion was not merely aesthetic; it was conceptual and strategic. By integrating elements such as Kufic-inspired typography, color palettes rooted in Iranian miniature painting traditions, and rhythmic visual motifs inspired by musical structures, the design speaks a culturally rich language. Simultaneously, through clean compositions, thoughtful spatial arrangements, and adaptable scaling, it addresses the practical needs and visual preferences of today’s diverse audience.Moreover, my academic experience and research informed how this design would function as a living system—allowing flexibility and interpretative openness, inviting continuous exploration and dialogue between past and present. This helped create a meaningful bridge where visual identity acts not just as a static logo or poster but as a cultural narrative that evolves with its audience.In short, my goal was to craft a visual identity that is at once a tribute to tradition and a beacon of modern design, ensuring inclusivity and relevance across generational and cultural lines. This synthesis reflects my broader philosophy that design, while rooted in function and problem-solving, must also be creative, evocative, and transformative—empowering audiences to connect deeply with cultural memory while embracing contemporary life and innovation.
As a designer deeply engaged in cultural graphics for nearly three decades, I believe environmental design requires both sensitivity and precision. For the Color Rhythms Music Festival, I faced the crucial challenge of ensuring that the identity not only stood out visually in the urban landscape of Maragheh but also harmonized with the architectural and historical soul of the city. Before even beginning the design process, I traveled to Maragheh to carefully study the festival venues and the surrounding urban spaces. I explored how the posters, banners, billboards, and other visual materials would behave within those environments—not just as visual stimuli, but as meaningful cultural elements.One of my key strategies was to study the color and material palette of the city itself. Maragheh is steeped in traditional architecture, especially the brickwork and turquoise tiles of its monuments such as the Red Dome (Gonbad-e Sorkh). To create resonance with this context, I integrated colors like lapis lazuli, gold, verdigris, and brick red into the identity system. These hues weren’t chosen merely for aesthetic appeal; they hold symbolic significance in Persian visual heritage and align naturally with the built environment.When scaling designs for different formats—from intimate posters to massive 6×4 meter billboards—I maintained a consistent visual core, especially the typography based on Kufic Maqeli calligraphy and the motif of hands playing traditional instruments. However, I adjusted compositions and peripheral elements to respond to the specific challenges of environmental scale and visibility. For instance, I expanded background fields or added bands of turquoise or brick tone to create visual continuity with their architectural surroundings.My goal was to make the design system flexible and site-responsive without compromising its visual identity. Each placement—whether a billboard by a brick façade or a banner in a park—was treated almost like a micro-exhibition. The design needed to assert its presence without overwhelming its context.This approach reflects my long-standing belief that environmental graphic design is not just about visibility, but about site integration and cultural continuity. By allowing the identity to “speak the visual language” of Maragheh’s architecture, it became part of the city’s cultural narrative rather than an outsider’s intervention. This was essential not just for aesthetic success, but for the festival’s ability to truly belong to its place and people.
My response is that the design system created for the "Rhythms of Color" festival is not merely a graphic project but a dynamic and living cultural language. From the very beginning, one of my main goals was that this visual identity should not be limited to a single edition but should have the capacity for continuity, reinvention, and expansion in the years to come. For this reason, in designing this system, I drew on historical sources, urban textures, and symbolic elements of Maragheh — a city whose architectural richness and colors, from the Red Dome and turquoise tiles to the ancient brick pavements, hold a vast heritage within them.One of my key approaches was a deep study of Maragheh’s color palette and materiality. Colors such as lapis lazuli blue, gold, verdigris green, and brick red are not only visually striking but also carry symbolic meanings in Iranian visual culture. These colors harmonize perfectly with the city’s physical and historical environment, while also having the potential to be reinterpreted in future editions, depending on the theme and tone of each festival cycle.However, I must emphasize that this path will not be easy for the designers of future editions. I believe their work will be even more challenging, as they too will need to strike a meaningful and precise balance between two opposing poles — authenticity and innovation, tradition and modernity — just as I tried to do. They will have to study the historical legacy, indigenous architecture, traditional forms, and cultural signs with equal care, while at the same time advancing these concepts with today’s language and modern design tools. Finding such an intersection is not easy but is essential.Despite its difficulty, I am confident this is a path that has been opened and must continue. Because this approach not only addresses the cultural and emotional sensitivities of the people but also has a solid academic and scientific foundation. The design employed is based on principles of color semantics, Islamic-Iranian formal studies, and audience psychology, establishing a standard whose continuation is both a responsibility and an opportunity.Ultimately, what I have created is not just a visual identity system but a platform for connecting cultural memory with contemporary life — a platform that future designers can develop, reinvent, and express in their own voice with fidelity to its spirit — without losing this language’s bond with the land, the people, and the history of Maragheh.