This is Part 2 of a mini-series on the Iranian book jacket book and exhibition Vitrine: A Collection of Essays on the History of Book Cover Design in Iran & A Selection of 35 Years of Contemporary Iranian Book Cover Designs (1978-2013). Parisa Tashakori, art director and graphic designer and member of the board of Iranian Graphic Designers Society (IGDS), who helped coordinate this project, speaks about it all.
Has the Iranian publishing industry remained healthy and open to creative work?
Frankly, from two to three years ago from the starting of sanctions in Iran, the cost of paper increased suddenly and lots of publishers decreased their productions. Some of them still are continuing their work with lots of difficulties.
How long did it take to produce this book?
With my colleague (Majid Kashani), we worked two years on this project, and as you see in the index, many other friends helped us in background. Fortunately, all the masters who have written introductions were so kind. They made the book more invaluable.
What is the goal that you hope the book will produce?
In the beginning of the project we only wanted to hold an exhibition of book covers but when we went further ahead we found although we are rich in this field, nobody has paid attention or collected them up to now. We worked on this because all categories of graphic designs in Iran are under the shadow of our posters, despite the fact that we have such beautiful book covers in Iran.
Vitrine is a source for publishers to find proper designers for their business and, of course, for student research. We hope this book and the exhibition will be a milestone in book cover design and attract attention to other fields of graphic designs. On the other hand we would like to show advantages of working with professional designers to publishers.
The quality of design is so high. Are there any formulas in Iranian publishing, or is it wide open?
Not at all but sometimes designers or art directors propose a format to a publisher, which can help the publisher and the rest of the designers who work with that publisher.
Book cover design in Iran is in a good condition and it is about to thrive. Each book cover is regarded as a poster for the designers, so that some designers spend as much time on designing a book cover as they do for a poster. Some intellectual publishers have understood a book with a nice cover can help them go to another level of sale.
Where can Westerners get copies of the book?
We are negotiating with the publisher to launch the book on Amazon but until then I will send the book for applicants who ask me via email (firstname.lastname@example.org) by paying the cost with Visa.
Typography is one of the most vital keys to successful design—and Print’s all-new Typography & Lettering Awards is here to celebrate it. But this isn’t just a competition for classic type designers: We’re looking for projects that feature great uses of type by any designer. We’re looking for handlettered work. And, of course, we’re also looking for original typefaces built from the ground up.
Enter today for a chance to have your work judged by Paul Shaw and Jessica Hische, and for a chance to be featured in Print magazine, and more.