{"id":1397,"date":"2026-09-04T01:49:12","date_gmt":"2026-09-03T22:19:12","guid":{"rendered":"http:\/\/honargardi.test\/en\/kobeh\/reza-abedini\/"},"modified":"2026-09-04T01:49:12","modified_gmt":"2026-09-03T22:19:12","slug":"reza-abedini","status":"publish","type":"page","link":"https:\/\/honargardi.com\/en\/kobeh\/reza-abedini\/","title":{"rendered":"Reza Abedini"},"content":{"rendered":"\t\t
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Reza Abedini<\/h1>\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\tReza Abedini was born in Tehran in 1346. He is a famous Iranian designer and graphic artist.\r\n\r\nHe is a graduate of graphic design from Pesran College of Visual Arts in Tehran and a bachelor of painting from Tehran University of Art.\r\n\r\nAt the age of 25, he received his first major commission, which was the design of posters for the 11th Fajr Festival. And the reflections that Abedini still makes on the visual features in his works on Persian script date back to the first order.\r\n\r\nThe challenge that he says as his first challenge and still exists in Iranian design and graphics is as follows:\r\n\r\n“In the process of designing this poster (Fajr Festival), this was the first time that I had a challenge where I had to convert concepts into an image or poster and have a general audience, and it was a job in the true sense of the word, a professional graphic work. I had no problem with creating and making images, even though we had different sources for each part. I was finally able to present a work by designing or playing with photos. The problem was solved when I wanted to do the work The first problem was that I didn’t know what to do with Persian fonts, and secondly, I didn’t know how to combine them with Roman fonts because the festival was an international festival and both types of writing had to be used in it. And these two problems still exist in Iranian graphics.\r\n\r\nHe decided to design Persian and English letters by hand, and in the later periods of Fajr festival, he placed the writings, inspired by the logic of traditional Iranian seals, next to the images, but separately from them.\r\n\r\nFor many years, there was an opinion about the Persian script that the Persian script is fundamentally problematic and typing with it will not be as beautiful as typing with Roman letters. Abedini, who was probably influenced by the philosophical thinking of “Ahmed Fardid”, did not submit to this simplistic view. From Farid’s point of view, the main issue was to reach an authentic and Iranian identity, and a critical confrontation with modern technology played an essential role in this process. Abedini decided to focus on modern technology, which was the main tool of graphic work, instead of referring the problem to the nature of Persian script, and it was here that he felt he had found the key to the puzzle. From his point of view, the problem now was in the form of using the logic of separate lead letters in Persian script, whose beauty has always been based on the composition of its writing.\r\n\r\n“Naturally, after years, because we have seen newspapers continuously and calligraphy is no longer a source of readability, newspaper writing has become the basis of text readability for us, and anything that is written in this way (newspaper) in terms of clean and beautiful form, we say that it is readable, and this is 100% wrong in my opinion.”\r\n\r\nAbedini messed up the Persian letters in order to return the flamboyance of Persian calligraphy to type, an effort that, at least for us today, is the visual equivalent of a brilliant period and probably the most brilliant era of the publishing industry after the revolution. But his effort to achieve a kind of Iranian graphic was not limited to his work with type, he wanted to go beyond the apparent use of traditional elements to Iranian logic for illustration. The spaces of his designs are absolutely modern and contemporary, not necessarily a work of Bate Jaghe, not necessarily of Nastaliq, but there is a spirit in them that connects us to the Iranian Islamic visual traditions. Abdini thus works with the Iranian tradition, but he is not a traditional designer.\r\n\r\nReza Abedini was also the secretary of the visual service of Surah’s artistic, literary and cultural monthly, he also designed the logo of the Fatah narrative program.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Reza Abedini’s posters<\/h1>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Logos of Reza Abedini<\/h1>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\tMartyr Morteza Avini says to Reza Abedini:\r\n\r\n“You are a professional graphic artist and technological arts, these are like a train that you can’t take where you want until you learn how to ride it.”\r\n\r\nReza Abedini says about Morteza Avini’s influence on his work: “If there is one thing you want to say that has influenced my practical work as a graphic artist, it was Martyr Avini’s different understanding of all technological arts.”\r\n\r\nAnd here Abedini separates himself from the generation of modernists before him, his attention to technology was not of confrontation and denial but of dialogue. Abedini was not looking for a kind of rural and pastoral modernism, he was looking for a kind of self-awareness in the medium he was working with. What are the common rules of graphics established during what social process? What are the characteristics of a beautiful composition and why is it defined this way? What should be the relationship between text and image? In what sense does the graphic serve the message that the client wants to be seen in? And where does the form of the work actually become important for the content of the work’s message. In order to achieve a kind of mastery of form and style, Abedini began to create works for himself independently of the orders he received with the aim of reflecting on the graphic medium itself. Among other things, after experiencing the graphics of magazines such as Surah, Farabi and Karnameh, he tried to think about the meaning of press graphics personally.\r\n\r\n“In general, the image always complements the written content in magazines, I had a concept in my mind that how can we have a magazine that does not follow these routines that we have, but at the same time has the function of a magazine, that is, we create a magazine in which the images are the main ones, and in fact, I exaggerated a little, and the writings are the decorations of the photos. And in the first edition of the Manzar magazine, we stated that “Manzar intends to retaliate for the disaster that literature has caused “In this magazine, we even predicted how to have a conversation.”\r\n\r\nManzar Winter 77 was waiting and in editing it, Saed Meshki had collaborated with Reza Abedini. Many writers and artists have collaborated with Manzar. From musician Alireza Meshaikhi to Abolfazl Jalili, who was asked to choose one frame from more than a million frames he has made so far. Manzar is a good example of how Abedini thought about graphics independent of the message and function that the clients might have in mind.\r\n\r\nHe introduces himself as a formalist, and his idea is that in the world we live in, no concept can be presented without form.\r\n\r\n“This concern has been one of the most important goals in my mind, that my work has my own personal accent that is not like anyone else’s, and then there is a reflection of my space and mental conflicts in my work. The Persian script is the most important German that Iranian designers must follow permanently. It is not the square and rectangle that make Swiss graphics Swiss, but the way of using the square, which is Swiss. The circle is Japanese in Japanese. And we can easily have an Iranian circle.”\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\tHe has received several international awards for his works. He is the first Iranian designer whose name was recorded in the book of graphic design history of Magz.\r\n\r\nAbedini is from the fourth generation of Iranian graphic artists and he is the initiator of typography in Iran professionally and completely. In 2006\/1385, Reza Abedini won the 100,000 Euro Prince Claus Award of the Netherlands. The exhibition of his works was also opened in Amsterdam on September 11 of the same year. Abedini has participated in numerous domestic and foreign exhibitions, including Khaneh Cinema movie posters exhibition for three periods, 2nd and 6th Iranian Graphic Design Biennale, Qeshm Culture Posters Exhibition, Essen Poster Museum International Exhibition (Germany) for two periods, Iranian Graphic Designers Experimental Poster Exhibition, Brief Encounters Poster (Paris-Warsaw), International Biennial (Czech Republic). And he has been the judge of many international and domestic festivals.\r\n\r\nHe states one of the reasons for his departure from Iran:\r\n\r\n“One of the things that really tormented me was the unhealthy, boring atmosphere of Iranian intellectuals. Seeing people again and again and repeating the same words and not that you don’t have security, but in Iran copying is a very easy and normal thing and everyone does it easily, while outside of Iran and at the professional level, such a thing is embarrassing to everyone and it is not possible to find something that works with full precision from someone else’s hand. More importantly about It was bad that copying by others took permission from my personal experiences. And there was no one to ask where these things you are doing came from, or they cursed or blew the whistle on you, no one wrote two lines to say that this is what you are doing. I will.”\r\n\r\nReza Abedini is currently living with his family in The Hague, Netherlands, and is also teaching at a university in Beirut. In November of 1994, after several years away from home, Abedini had a successful appearance again with the “Tarahikhat” exhibition at the Water\/Anbar Gallery. Drawing of calligraphy is a collection of eighty-nine works by Reza Abedini, which is on the border between drawing and calligraphy (writing) and tells of his long and deep attachment to both.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Individual exhibitions<\/h2>\n
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  • In the direction of the photo, Iran, 1380, in the beginning, Iran, 1380<\/li>\n
  • Return, Iran, 1381<\/li>\n
  • Answer, Iran, 2018<\/li>\n
  • Book of Look, Paris, 2013<\/li>\n
  • Mother tongue, Taiwan 1383<\/li>\n
  • Visual language of Reza Abedini, Amsterdam 2014<\/li>\n
  • Without words, Iran 2015<\/li>\n
  • The Netherlands, 2015, Den Haag, poster exhibition, POSTRAM<\/li>\n<\/ul>\n

    Group exhibitions<\/h2>\n
      \n
    • Movie poster, Tehran 1372, 73, 75<\/li>\n
    • Tehran Biennial 1370, 78, 82<\/li>\n
    • Cultural posters, Qeshm Island 1377<\/li>\n
    • The fourth generation, Tehran 1377<\/li>\n
    • Group exhibitions in Qazvin, Hong Kong, Korea, Warsaw, Paris, Japan, China, Ukraine, Essen, Emont, Echirolles, Toyama, Trnava, Brno Beirut, Amsterdam, Dubai, Doha, Istanbul, Colorado.<\/li>\n<\/ul>\n

      Awards<\/h2>\n
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      • First prize: the best movie poster for Fajr International Film Festival, Iran 1372, 73, 75<\/li>\n
      • Film critics’ special award for the best movie poster, Iran 1373<\/li>\n
      • Best movie poster, Iran 1375 IRIB special award<\/li>\n
      • 3rd prize, poster, 6th Biennial of Iranian Graphic Designers, Tehran 1378<\/li>\n
      • Special award, creativity, Iranian Graphic Designers Association, Tehran 1378<\/li>\n
      • Special Award, China International Poster Design Biennial, China, 2018<\/li>\n
      • Honorary Award, Colorado International Poster Exhibition, USA 2018<\/li>\n
      • Prize of the Union of Visual Artists of the Czech Republic, Brno, 2018<\/li>\n
      • Second prize, 15th Chamont Poster Festival, France, 2018<\/li>\n
      • Gold Award, Hong Kong International Poster Design Triennial, Hong Kong 2018<\/li>\n
      • First prize and gold medal, the 8th International Poster Design Biennial of Mexico 2018<\/li>\n
      • Silver award, the second international poster design biennial, 2018<\/li>\n
      • First prize, the first international poster design biennial of the Islamic world, Iran 2018<\/li>\n
      • Bronze medal, the second international poster design biennial of China 2013<\/li>\n
      • 1st prize, 9th children and teenagers press festival, Iran 2013<\/li>\n
      • Silver medal, 20th International Poster Design Biennial, Warsaw, Poland, 2014<\/li>\n
      • The main prize of Prince Claus, Holland, 2015<\/li>\n<\/ul>\n

        <\/h2>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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        Teaching and workshop records<\/h2>\r\nTeaching graphic design, visual design, printing, poster design, typography, type and image\r\n
          \n
        • University of Tehran<\/li>\n
        • School of fine arts<\/li>\n
        • Azad University<\/li>\n
        • Al-Zahra University<\/li>\n<\/ul>\n

          Workshops<\/h2>\n
            \n
          • France, Paris ECV<\/li>\n
          • Holland Academy Hallo<\/li>\n
          • France Intuit\/Lab<\/li>\n
          • VCUQ diameter<\/li>\n
          • Lebanon LAU<\/li>\n
          • T\u00fcrkiye Mimar Sinan<\/li>\n
          • Dubai AUD<\/li>\n
          • Taiwan CPC<\/li>\n
          • Australia RMIT<\/li>\n<\/ul>\n

            Artistic activities<\/h2>\n
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            • Member of the Iranian Graphic Designers Association, 1376<\/li>\n
            • (AGI) Member of the International Association of Graphic Designers 1380<\/li>\n
            • G.D.S. Head of Cultural Committee 1378<\/li>\n
            • Writer and critic in the field of visual arts since 1369<\/li>\n
            • Editing of the visual part of Surah Monthly, 1371, 72<\/li>\n
            • Art director of the visual magazine “Manzar”<\/li>\n<\/ul>\n

              Book design<\/h2>\n
                \n
              • The Prophet written by Khalil Gibran, Iran, 1376<\/li>\n
              • Picture book “Manzar”, Iran, 1378<\/li>\n
              • Honrchap, a textbook in Iran’s art schools, 1379<\/li>\n
              • The Tale of Dwarves and Tall, Iran, 1379<\/li>\n
              • Autobiography, a selection of works, Iran, 1381<\/li>\n
              • In the beginning., a selection of works, Iran, 2012<\/li>\n
              • France 2013, PYRAMYD Publications, Design & Designers, Reza Abedini, design and designers<\/li>\n
              • “New Visual Culture of Modern Iran” New Visual Culture of Modern Iran in collaboration with Hans and Elber<\/li>\n
              • Holland 1385 BIZ Publications, With Hans Wolbers<\/li>\n<\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

                Reza Abedini Reza Abedini was born in Tehran in 1346. He is a famous Iranian designer and graphic artist. He is a graduate of graphic design from Pesran College of Visual Arts in Tehran and a bachelor of painting from Tehran University of Art. At the age of 25, he received his first major commission, […]<\/p>\n","protected":false},"author":758,"featured_media":0,"parent":1366,"menu_order":31,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1397","page","type-page","status-publish","hentry"],"yoast_head":"\nReza Abedini - Honargardi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/honargardi.com\/en\/kobeh\/reza-abedini\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reza Abedini - Honargardi\" \/>\n<meta property=\"og:description\" content=\"Reza Abedini Reza Abedini was born in Tehran in 1346. He is a famous Iranian designer and graphic artist. 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