نوع مقاله : مقاله پژوهشی
نویسندگان
1 هیئت علمی دانشگاه دانشگاه هنر تبریز
2 دانشکده هنرهای تجسمی، دانشگاه هنرهای اسلامی تبریز، ایران
3 گروه هنرهای اسلامی، دانشکدهنر های صنائی،دانشگاه هنر اسلامی، تبریز، ایران
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Abstract:
There had been numerous factors and bases included in improving graphic design and using typography in artists’ works in Iran, from the very beginning of its modern graphics design genesis. In this way, various discourses such as critical, cultural and social ones had been actively affecting in sense-making and creating typography works. If we consider the typography posters as a product, it is the artist on one side, as a producer, and the audience who receive and understand the intended design, on the other. The aim of this study is to identify the social origin of typography posters signs existed in online Museum of Iranian Graphic Designers, and how to represent the cultural discourse in these posters. The combination of two semiotic analysis methods of Kress and Van Leeuwen, and critical discourse analysis of Norman Fairclough is used for cultural discourse analysis of typography posters in Museum of Iranian Graphic Designers. This study is going to reply to the following questions: 1- What approach did the typographists take with cultural identity in 1390s [of Iranian years (the years between about 2010 to 2019)]? 2- What are the influencial ideologys on artists perform? This paper is a basic type of aim and descriptive-analytical of method. Data collection is done through library and documentary research method. This study’s statistical population is the typography posters in Museum of Iranian Graphic Designers in 1390s in Iran, this museum has started its activity on the Color Palette website In 2014, with the aim of introducing graphic designers and their works to the public and has made it possible so that in addition to presenting the designs of prominent artists, unknown artists can also expose. amongst which thirteen designed posters in the above-mentioned gallery are chosen aimfully. Data analysis method is of qualitative type, and for information interpreting the combination of Norman Fairclough’s “Critical Discourse Analysis” and Gunter Kress’ “Social Semiology” are used. In the case of necessity for these posters' semiotics, it can be said; since Identifying the cultural identity of the 90s tyopgraghy posters is the most important issue of this research, In order to achieve this recognition, it must be in addition to examining the field of culture and society, which is done in the approach of Fairclough's critical discourse, It is necessary to identify all the signs and attitudes that are coded, and with the help of social semiotics of the mentioned posters, it reached the discourse of cultural identity represented by the designer;Therefore, the analysis of the discourse of the cultural identity of the posters helps to understand the dimensions intended by the typographer in 90s. Based on the results come out of this present research, it could be said that formalism is turned to a need in 1390s, to make the designers differentiate the letters from each other; as if these artists know the formality of letters as a part of modernity creation style. In other words, the content is not an urgent characteristic for the 90s typographers in designing the letters. Because the form has safely accomplished its mission in creation of letters visual joy. The artist is going to start a new chapter in modern art benefiting unimpressively from Iran cultural and historical components. In this decade, they don’t intend to stop in historical moment and try to represent and submit their art in letters designing, rather than giving scope to cultural controversies; and as culture activists value their works culturally by creating letters which meet the social process; and as publicizers and producers of impressive letters with abstract and formal appearance, they have a rightful role in art economy.
کلیدواژه‌ها [English]
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