Short Reviews

on Iranian

Contemporary Art

Exhibition Review

Contemporary Siah-Mashghs

It was the first session of the typeface drawing workshop at the university. The tutor took the pen and quickly began to draw on the board. The students were watching. There was an “M” word born from the lines. It was when I realized how unique this type of drawing and hand strength in the drawing is.
Fifteen years ago, and for the first time, Damoun started a unique and cute path with obsessive teaching in the context of typography and type design that caused many changes in this field. Today’s active youth are the students of that school.
His works are almost derived from countless searches and practices and his mastery in calligraphy; from the logo for Vijeh School, Publication and Gallery, to the one for Quick, from his first typefaces, including the one for Vijeh School and Meshki Publication and Karnameh and Hamkaran System, to what he had designed recently, such as the typeface for Karafain Bank, Museum of Contemporary Art, Dorsa’s leather and jewelry, Franklin Publishing and other works. To sum up in a word, he is the uncontested master of the form. A real Formalist.
“Contemporary Siah-Mashghs” which is a small series of drawings, serious sketches, and his type practices, is a proper title for Damoun’s efforts. Siah-Mashgh is nothing but an exercise for the calligrapher. Here, also, what we see on the checkered papers, are some drawings and exercises done all night and day by a type-design master, searching for form.
The presented works are the process of finding ideas for creating typefaces designed by Damoun. “Contemporary Siah-Mashghs” is a series that shows his ambuscade to create a new form for words. What the masters and those in the peak of type design do and these steps are nothing but the kingdom of line and a realm named paper.
I do not hope he not be tired, as we never saw him tired of the sweet work of drawing.

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