Interview with Naser Nasiri

Naser Nasiri ("NN") interviewed on Friday, 9 May.

Could you please tell us about your experience as a designer, artist, architect or creator?

NN : I’ve been working as a graphic designer for nearly three decades, collaborating with major Iranian publishers and contributing to book designs in literature, history, and art. My passion for book design has always been central to my work. Additionally, I’ve worked extensively on film and music projects, designing posters and album covers. Over the years, I’ve participated in international festivals as an artistic director, judge, and secretary, learning and growing through these experiences. Collaborating with prominent Iranian artists has been both professionally enriching and culturally inspiring.

How did you become a designer?

NN : Since childhood, I’ve had a strong passion for drawing and painting, mostly self-taught. I used leftover paints from my uncle, a house painter, to sketch on stones around our courtyard. My journey took a significant turn when I discovered books on design in the library of a relative who was an intellectual oil painter. These books opened a new world for me, and I began studying them and improving my skills. A pivotal moment came when I met Yasser, a miniaturist, who introduced me to graphic design and showed me its potential. Although my family initially opposed my pursuing it, I was later accepted into a graphic design program in Tehran. At university, I was profoundly influenced by Professor Qobad Shiva, a major figure in Iranian graphic design. This led me to focus on cultural and artistic design, particularly in areas like miniatures, calligraphy, and Iranian art, and eventually, I became known for my work in music, book, and cinema design.

What are your priorities, technique and style when designing?

NN : For me, design is a personal and emotional journey. I approach each project with care, prioritizing ideas that resonate with me, especially in literature, music, cinema, and cultural themes. My process begins with handcrafting elements like sketches or drawings to infuse warmth and authenticity into the work. I believe these handmade aspects create a unique human quality that digital tools alone can’t achieve. Once the foundation is set, I move to digital tools to refine and enhance the design, blending traditional techniques with modern technology. I also spend significant time in the planning phase, ensuring that every design decision has purpose and meaning. Ultimately, my focus is on creating work that combines emotion, artistry, and technical precision. This balance is the heart of my design philosophy.

Which emotions do you feel when designing?

NN : For me, design is a deeply personal journey filled with passion and enthusiasm. The most exciting part is the connection I feel to a project, especially those linked to poetry, literature, music, and storytelling. My love for Iranian culture, its rich history, and the narratives embedded within has always inspired my work. Designing poetry books or posters for classical music albums gives me the chance to translate the emotional tones of sound into visual art, creating a deeper connection for the audience. What excites me most is the process of transforming stories into images, blending Eastern and Western cultural influences. The journey itself, from concept to creation, brings immense satisfaction, especially when I see how the emotions and meaning I’ve woven into the design resonate with others. The fulfillment I get from designing comes from this connection and the sense of sharing these cultural stories with the world.

What particular aspects of your background shaped you as a designer?

NN : Over the years, I've realized that success in design is not just about technical skills. Effective communication with teams and clients has been essential for me. Problem-solving skills have also helped me come up with creative solutions in every project. Adapting to the fast changes in the design industry and constantly learning new tools has been crucial. Additionally, paying attention to detail and focusing on the smallest elements of design has always been important to me. The biggest influence on my design journey has been my mentor, Qobad Shiva, who taught me how to blend culture and history with modern design.

What is your growth path? What are your future plans? What is your dream design project?

NN : My growth as a designer has always been rooted in storytelling, cultural exploration, and the drive to evolve both creatively and professionally. In the future, I aspire to dedicate myself fully to visual storytelling, creating large-scale works that communicate deep concepts. I hope to explore design within architecture, creating murals and graphic installations that shape environments. I’m also excited to work on global projects, collaborating with creative minds from diverse cultures. One project I dream of is designing a long-term visual identity system for a cultural institution or international festival. Ultimately, I want to be remembered as a designer who blends tradition and modernity, using design to communicate important cultural and social messages.

What are your advices to designers who are at the beginning of their career?

NN : My advice to young designers is to never stop learning and always push your boundaries. Continuously practice, experiment, and embrace new challenges. Don’t be afraid to fail, as each failure brings you closer to mastery. Immerse yourself in various artistic influences like literature and music, as they deepen your understanding of emotions and structure, which will reflect in your designs. Consistency and persistence are key—talent alone won't get you far. Surround yourself with diverse ideas, stay curious, and trust the process. Be bold, persistent, and never stop evolving.

You are truly successful as a designer, what do you suggest to fellow designers, artists and architects?

NN : Success in design is deeply personal, and it comes when your work creates value for others. Always keep creating and pushing your boundaries. Perseverance is key—never let yourself stagnate. Stay curious by exploring diverse cultures, reading widely, and drawing inspiration from both modern and ancient works. Never underestimate the importance of deep research and observation. Understand the work of great designers, analyze it, and extract the principles that made it successful. Stay true to your individuality and nurture your unique perspective. Most importantly, think about how your work contributes to the world and enriches the human experience.

What is your day to day look like?

NN : My daily routine is flexible and not strictly structured. I start my day by reading poetry, which helps open my mind and tap into my creative energy. I also listen to music, often classical Iranian music, which sets the mood for my work. Watching films and animations provides visual inspiration, helping me push my creative boundaries. Design and writing are ongoing throughout my day, even if I'm not working on a specific project. I tend to work best at night, finding peace and clarity in the quiet hours. These small rituals, like reading and working late, fuel my creativity and keep me motivated.

How do you keep up with latest design trends? To what extent do design trends matter?

NN : I keep up with design trends to stay informed and open to new possibilities, but I don’t follow them blindly. I believe trends offer valuable insights that can enhance my creative process, but I always adapt them to fit my personal style. My goal isn’t to chase what’s "hip" but to develop a cohesive body of work that reflects my own vision. Inspiration comes from various sources, including art, literature, music, and architecture. While trends are important, I focus on integrating them in a way that feels authentic and personal to me.

How do you know if a product or project is well designed? How do you define good design?

NN : For me, good design is about balance—between form, purpose, and experience. A well-designed product or project must have a clear purpose and effectively fulfill it. It should be simple yet elegant, with no unnecessary elements. Good design also creates an emotional connection, resonating with its audience on a deeper level. Attention to detail is crucial—small elements like typography, color, and texture matter. The "aha!" moment comes when these aspects align seamlessly. Common mistakes to avoid are overcomplicating the design or ignoring the user’s needs. Ultimately, good design is purposeful, emotionally resonant, and timeless.

How do you decide if your design is ready?

NN : For me, deciding if a design is ready is an intuitive process rather than a mechanical one. It’s like a living being evolving step by step, revealing its needs as it grows. I know it's done when colors have character, forms work together, and visual elements communicate naturally. When everything resonates like a final harmony in music, I hear that internal "yes" telling me it’s complete. I don’t believe in perfection but in a design fully realizing itself. Once it expresses what it needs to, I move on. I don't keep revisiting past designs; once they’re whole, they belong to the moment they were created for.

What is your biggest design work?

NN : It's hard to pick just one design as my biggest work, but a few stand out for their conceptual depth and emotional impact. One of my favorites is the logo for Yasha Dental Clinic, where I abstracted a tooth into a hand planting a green leaf, symbolizing health and renewal. Another significant project is the poster for *The Wind Blows Through the Grass*, where I used a tree as a metaphor for tragedy. The visual identity for World Graphics Day was a milestone, representing both tradition and innovation. Recently, the Maragheh Music Festival poster became a proud example of how research and creativity can elevate a design. Each project reflects my growth, intuition, and cultural identity at the time.

Who is your favourite designer?

NN : There are many designers I admire, but if I could have a conversation with just one, it would be Armando Milani. His clarity of thought, conceptual depth, and humanistic approach to design have always inspired me. I would also love to talk with Shigeo Fukuda—his work blends wit, intelligence, and visual poetry in a timeless way. I also find great inspiration in young designers who challenge conventions and experiment with fresh ideas. Designers like Helen Baranovska from Ukraine and Stefan Lechwar from Poland impress me with their boldness and sensitivity to culture. For me, great designers are those who remain curious, imaginative, and true to their craft.

Would you tell us a bit about your lifestyle and culture?

NN : I live in Tehran, a city full of contrasts and inspiration. Currently, I'm working on design projects in literature, cinema, and music, which are passions beyond design itself. Poetry plays a huge role in my life, sharpening my senses and enriching my approach to visual communication. Music, especially Persian classical and Western classical, is essential to my creative process. I blend Eastern mysticism with Western design principles, creating a hybrid that combines intuition with structure. I believe good design is vital for societal advancement, and it connects deeply with my culture and personal life, bringing authenticity and emotional depth to everything I create.

Would you tell us more about your work culture and business philosophy?

NN : I mostly work independently because my design process is deeply emotional and poetic, not easily suited to rigid group structures. However, I do collaborate with specialists like calligraphers or illustrators to bring extra depth to my work. I also organize workshops for young designers, encouraging collaboration. My work philosophy revolves around respect for culture, emotional honesty, and a commitment to craftsmanship. When working with others, I value humility, curiosity, and cultural sensitivity. The biggest challenge in our profession is the superficiality of trends, and I resist this by focusing on depth and authenticity.

What are your philanthropic contributions to society as a designer, artist and architect?

NN : Design has always been a cultural service for me, deeply rooted in humanitarian and social issues. I take on pro bono projects when the topic is meaningful, such as designing for charity exhibitions or awareness campaigns. Mentoring young designers is another passion of mine. Through workshops and platforms like the “is” Art Group, I help them explore important themes and participate in global events. I believe designers should engage with the world, especially during crises. Good design is not just beautiful; it’s brave, honest, and generous, and I strive to create spaces for others to grow.

What positive experiences you had when you attend the A’ Design Award?

NN : Winning the Silver A’ Design Award in 2024 for my poster design for the Maragheh Music Festival was a significant milestone in my career. It gave me global recognition and highlighted the blend of Iranian cultural themes with contemporary design. Participating in design competitions like the A’ Design Award brings several benefits: it boosts visibility, encourages creative growth, and opens doors for international collaborations. Design awards validate your work, provide exposure in the global design community, and foster personal and professional development. Being named Designer of the Day was a humbling experience, reinforcing the value of meaningful design.

Naser Nasiri Profile