تنوع حروف‌نگاری تصویری در گرافیک انتشاراتی-مطبوعاتی دهۀ 1320 ایران و مطالعۀ دو سطح بلاغتی و عاطفی آن

"Pictorial Typography" is one of the branches of Typography that is produced by intelligently combining text and images in different ways. In "pictorial typography", the visual aspect prevails over the readable aspect; That is before reading the text, the audience notices and engages in its visual-representational aspects and starts reading it after understanding the visual aspects. The meaning of "Representation" in this article is the display of natural or Conventional visual elements that are related to the physiology and geometry of the surrounding world, and the designer depicts these elements in a prominent and recognizable way in the form and structure of letters. By including representative visual elements in letters, the designer in pictorial typography design can create a distinctive and memorable visual identity for the written content while adopting a unique communication approach to convey the message. This graphic technique, by creating a visual dimension and another expressive creative layer to the writing, can affect the semantic aspect of the word and strengthen or adjust and tone it and even change its emotional-semantic load.
The 1940s can be considered the beginning of the flow of pictorial typography design in the history of modern Iranian publishing. A decade in which publishers in the political open space (caused by the departure of Reza Shah from Iran) and in the face of foreign occupying governments (Allied Front) made different works compared to the previous two decades; The works that found emotional and self-expressive values with the hope resulting from the collapse of the suppression and censorship system and the anger caused by the occupation of the homeland; These values appeared in the graphics of some published works and in the form of pictorial typography in the mentioned decade.
it should be noted that the 1940s was about a decade before the establishment of the graphic arts department in Iranian universities; Also, the mentioned decade was about one and a half decades before the entry of Iranian designers into the field of typeface design and two decades before the specialization of the graphic profession (as a branch of design) and the formation of the "Saqakhaneh movement" in Iran. Therefore, it can be said that the most successful works of publishing and press graphics in the 1940s, especially the few visual typography works in this decade, were the result of the experimental and tasteful efforts of Iranian authors and publishing managers or press painters and on the other hand, it is the result of the two-sided imitation of the mentioned people from the traditional book layout and published works imported from the West. Works that, although based on writing, can create a greater or deeper impact on their audience due to additional visual values. In this regard, two questions are researched: 1. What are the variations of pictorial typography in Iran's 1940s publishing-press graphics? 2. What is the performance of these pictorial typography works on two semantic (Rhetorical) and emotional levels?
This article, with the aim of introducing and studying the first works of pictorial typography in the modern publishing and press graphics of Iran, deals with the classification of its variations and methods of production in the given decade (1940). In this article, the author relies on the theory of "dual coding" (taken from Paivio, Clark and Sadoski's theories). and takes into account the functional characteristics of typography considered by researchers in the field of type design (such as Stöckl, Lupton and Leeuwen) and using the method of semiotic analysis, examines two functional levels (i.e. "conceptualization" and "emotionalization") in pictorial typography works of the 1940s.
From the results of this research, we can mention five pictorial typography design methods in Iran in the 1940s: "Creating an image by changing the arrangement and shape of letters", "Creating a phrase through edited images", "Removing some letters or words and placing an image in its place", "Representing part of the visual qualities of an image in letters" and "placing the image next to or on the letters". Also, as a result of the research, the semantic-emotional levels of pictorial typographies under study were assessed to be coordinated and compatible with the subject and content of the respective works and the intent, intention, tone and other emotional characteristics of its authors.