Companionship of photography and graphic in …
Transcript of Companionship of photography and graphic in …
Companionship of photography and graphic in
photographisme with the approach of social issues
Doctor Mohsen Hassanpour: Corresponding Author Assistant professor of Visual Communication Department, Shahid
Rajaee Teacher Training University, Faculty of Architecture and
Urban Development of graphic group, Tehran, Iran
Katrin Maleki Nazari Master of Visual Communication, Shahid Rajaee Teacher Training University,
Tehran, Iran
Abstract: Photographisme is the origin of contemporary society. A society which expects more
from a photo than just expression of truth. Defamiliaraization, creation of mental symbols and
giving meaning to objects are among the applications of photographisme. Language is capable of
creating a format suitable for observation of sensory and intellectual experiences of human and is
more effective than any other mean of communication in this sense. The task of photo is
participating the viewer in a process of organizing. Hence, photo is considered as an important
element in graphic works. Use of photography techniques in contemporary graphic works using
digital tools greatly helps in transferring of message to the audience. The emergence of
photography in graphic and its great capability in editing of photos which its result was assembly
of photos, Ideation, creativity and speed in tasks took the place of imaging and paintings.
Visually units form the graphic work using data out of photo and measures of the designer. Thus,
the presence of photo in graphic works has the capability of a hyper-textual understanding.
Combination of photos and text completes the contemporary graphic and organizes complex
social understandings. The process of relation between these two mediums in photographisme
and its implications have been discussed in this article by evaluation of photomontage posters
given the importance of relation between these two mediums and its social, political and
economic effects.
Keywords: photographisme, photography, graphic, photomontage, social attitudes
1. Introduction
Photography is similar to the permanent child of Fine Arts and after passing its history of
aesthetics with many ups and downs, it is currently similar to an extremely flexible technological
intermediary and plays are key and critical role in the context of contemporary arts. Aesthetic
photographic traditions are considered in two directions: straight photography, manipulate
photography (Moghim nezhad, 202: 2005). Straight photography and all of its different branches
(from documentary photography and origin photojournalism to different form of formal
approaches) considered photographer in the position of observer who was trying to shape his/her
own private world without manipulation of reality and just using a selective perspective.
Photography also changed its aesthetic stances with the advent of the postmodern approach in
arts since the 80s. Tendency has led to product differentiation and wining in economic equations
since then. Also, designer do not just pay attention to the effect of words and photos in
postmodern era and they rather pay attention to mutual relations between the audience and
content of communication and graphic as a result. The works related to this era are closely
associated with tools for advanced photography and are affected by empowerment and
advancement of this industry. Works in this era consist of numerous photos used in graphic
posters in form of photo montage (Rahbar Nia, Hosseini Zadeh, 2010: 80). Crafted photography
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entered the scene as marginalized flow of photography history and tend to create renovated and
staged photos, photomontages and mixed photos and so on became a priority. This can be
considered due to extremely critical use of photography in culture of West (Rahbar Nia, Hosseini
Zadeh, 2010: 203). Transformations in modern society required a close relation of graphic
designers and establishment of visual communication because photos have been a major factor in
the transmission of information and ideas. Hence, talent and ingenuity used in works of Graphics
Photography artists were used in formation of virtual reality in modern era as a document due to
their unbroken relations with reality and due to combination with other media, it took the role of
communication channel and binder of different arts (Rahbar Nia, Hosseini Zadeh, 2010: 203).
2. Research Methodology
This research has been carried out using library method and by focusing on analysis of
photomontage works of artists around the world. The method of companionship of photography
and graphics in photographisme and social approaches toward the effect of photo have been
visually studied in this article. The objective of this research is identification of application and
visual features of using photo in graphic works which has been qualitatively evaluated.
3. Graphic and social attitudes
The aim of artists since the beginning of using photo in graphic has been provision of meaning
and hypertextual effect for the audience. They created photomontage based on direct and simple
relation of photo and the audience and by understanding that elements in photo can evoke a
specific topic in their random and spontaneous relation with each other. In this method, a new
will be sent to the audience by placing homogeneous or heterogeneous elements of photo next to
each other. Photographic was considered as a type of image engineering which organizes a
mental structure and makes the final product understandable for the audience. Photomontage
was used in abundance after the First World War due to political applications. In fact, using this
method was more important than its technical process. Combination of text, images and graphic
elements formed a real-imaginary image with the aim of showing the mystery world of missing
daily lies (Rahimi, 2014: 44 -49).
4. Description of photo
Description exactly means adding an intermediate stage or a second message to a clear message,
a message which has been derived from a code. Thus, description does not mean an inaccurate
and incomplete understanding and it rather also means restructuring and proving something
different compared to what is shown. Photo is not just understood and it is also read and joins
the conventional savings of symptoms in a more or less conscious way by the society using it but
each sign requires the existence of a code and as a results the efforts must be on creation of that
code and connotation (Bart, 2009). Thus, photo is created by mutualism of two messages, one is a
message without code (photographic similarity) and the other is a message with code ("Art" or
craft or "writing" or miracle of photo). Connotation also consists of an expression level and a
content level (Bart, 2009: 17).
5. Companionship
Several photos next to each other form a set. So in this case, evidence for another connotation
cannot be found in any other level of components (each one photo) in set and it has to be rather
searched for in sequence and continuity in the whole set (Bart, 2009: 23).
6. Role of text in photo
In traditional imaging methods, image which acted as reference and provided a clear
understanding of the original message (text) was understood as implication because there was a
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need for visual explanation in order to understand the text but image does not make text clear in
these days or does not make it real and rather text exalts image and provides Emotional or
intellectual aspects for it. Text adds something to image and enriches it with a mix of culture,
morality and imagination. Before all of this, we faced a type of reduction in passage from text to
image and now we face a type of intensification in this case. It can be said that we are currently
facing a process which its obvious characteristic is naturalization of matters related to culture.
Title and image in a text are more effective in formation of implicit content compared to the text
under images one due to being larger than other words and its distance with images and the
other due to its distance from the text but unlike two cases cited above, text under images
duplicates the effect of image due to its position and relative readability which means it has a
role in its explicit meaning (Bart, 2009: 24-25). There is a linguistic message in each image in
form of titles, subtitles, press articles, movie dialogues or in form of dialogues of heroes in comic
stories in bubbles above their heads. We understand that speaking about visual civilization is not
so accurate. We are still facing writing civilization more than ever because speech and writing
are still the complete components of data structure (Bart, 2009: 24-25).
Figure 1 : Collection of photos related to Duane Michals, 1932-1969, reference: HTTP //:
www.pinterest.com
7. Photomontage, start of a process for integration of photography and graphic
The term of photomontage from the French verb of Monter meaning assembly is used for
description of a wide range of creative measures which grew in the early twentieth century. This
term not only includes photography but also includes works by writers such as Alfred Dublin and
John Dos Passos, Filmmakers such as Sergei Eisen Stein, Dada and Surrealism artists such as
Max Ernst George Grosz and others (Moura, 2014: 193).
Berliner Dadaist, Raoul Hausmann was against use of the term artist for this type of artistic
creation. He believed that this work is a kind of image engineering. This is not a created image
and it is rather an engineering work because it is formed by combination of a set of images which
are not considered separately and are completely united (tak, Khoubdel: 2013: 3).
European avant-garde movements especially in Germany and the Soviet Union used
Photomontage as an art form. Berliner Dadaists, John Hrtfield and Hnna Hoch worked in
Cologne following artists such as Max Ernst and used this technique after World War I and
brought it to fame and created some works using this method. They were fascinated by the
suitability of photomontage for social and political criticism. Especially since it had the ability to
be published in large numbers in the form of posters in magazines or newspapers and this
feature made it distinctive compared to single version collages of Cubists and Kurt Schwitters.
Hartfield who was not even a photographer used this media to create harsh images condemning
Nazism. In Soviet Union during the 1920s artists such Gustav Klutsis, October group, Alexander
Rodchenko, Stenberg brothers and El Lissitzky used photomontage used to promote support for
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the new Soviet state. Photomontage took root in the late 1920s in Bauhaus as a language in form
of visualization and geometric in a way that it can be observed in works of Herbert Bayer, El
Lissitzky and Laszlo Moholy-Nagy as well as the works of Paul Citroen (1923). Photomontage
was most often combined with new forms for preparation of posters and images in illustrated
publications which were reminiscent of the modern world (Moura, 2014: 196).
Figure 2 : Paul Citroen, Metropolis, 1923, reference: Moura
Photomontage became separated from straight photography and placed collected images instead
of it. This new collection changed the idea of accepted truth and caused the audience to revisit
earlier ideas and make a fresh decision (Khoobdel, Hassan, 2013: 12). Photography became a
force of change in graphic art through photomontage. Images which were used for commercial
advertising in which typography is an integral part of image grew as a result photomontage
(Khoobdel, Hassan, 2013: 14). Photomontage with the help of digital imagery has been the latest
form of photography in the past two decades which is a form of creating photographic images and
is not real based on the real world and is in the realm of simulations. In fact, this process has
placed the process of creating image instead of the process of taking photos and as a result it is
separated from fundamental concepts of photography. Features of modern imaging are liberation
of taking photo in a certain time and place, using creation of photographic image and
combination of different times and places within a single frame with false and fictitious nature.
Photomontage and digital imaging have reciprocal relation with each other. Digital imaging has
taken its legitimacy from photomontage because Photomontage has been accepted throughout
the history of photography as type and trend in this media and today's digital imaging has been
able to extend the borders of photography creations toward creative creativity by relying on the
same existence and acceptability. Other side of this relation is the border between photomontage
and digital imaging which has been interwoven and it’s not separable and photomontage
approach is extremely close to digital imaging inn terms of convergence nature and it can be said
that photomontage is foreground of an accelerated mutation in post-photography era. Thus,
photography transformed from its concept and has moved from a media which records the truth
to a media which creates new truth with new form. This new paradigm has provided
circumstances and requirements for transformation of contemporary human and future world
based on our imaginations and desires. There are two groups in the field of portrait and its
deformation and metamorphosis: 1) morphing, this process is related to creation of and
aggregated and deformed portrait, such as creating digital assembled portraits. 2) Avatar which
is the process of computer simulation and creating portrait and human identities (it is virtual). It
is a view of humans which has no real example and is raised with a human and post-human
pseudo as a virtual character in a virtual space. Image creation process has separated itself from
the traditional form and has made the relation between photography and reality to enter a new
stage. “Images create reality more than being a copy of reality”. “Each image can be separated
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from its main text and can be used differently”, this approach is known as takeover or
acquisition. This was initially used in creation of collages and photomontages using images which
existed before. Pop artists began to use media images (photojournalism, advertising, etc.) in their
work in the 1960s. Takeover or acquisition took a new form for cultural critique with the advent
of postmodernism. Barbara Kruger unraveled the creation of code in implications of media
images (Moura, 2014: 91).
Unexpected companionships of photos related to places and objects such as the works of Mexican
photographer Manuel Alvarez Bravo creates a surreal atmosphere.
Figure 3 : Manuel Alvarez Bravo, 1940, reference: http//:www.adanvc.tumbler.com
Next method is use of manipulation such as all Photograms of Man Ray
Figure 4 : Man Ray, 1925, reference: www.http//art_works/man-ray-clock-wheels
Other methods such as multiple exposure, burned negatives and in general manipulated
photography were used as a new language for new understanding of reality. New Photography
was a measure to reform the extremely simple relation between us and reality and its rules.
Different branches are modern graphic are: Typography, imaging, press, advertising and
publicity, posters, sign, logo, environmental graphics, photographic, graphic of audio and video
media and packaging. Modern graphic has been affected by different art movements in 19th and
20th centuries as a branch of the visual arts, especially the twentieth century which is the field of
innovations in the field of tools and techniques and procedures and artistic styles. Even though
photography was considered as an independent art was became along with graphic innovations
from the twentieth century. These two fields are related to each other. Graphic art was able to
find place for its activities in all fields and its artistic and social applications expanded (Hosseini,
206: 2007).
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Graphic designer places elements such as words and image and other elements next to each other
in order to achieve a visual structure. What matters is creation of a form and message arising
from it for its transfer to the audience. The Graphic designer provides meaning for an obscure
image by comparison and contrast and cropping of images and words and helps in transfer of
idea (Hosseini, 207: 2007). The meaning of reality has changed in today’s photography, many
artists invite the viewer into a world of collected pieces of photos taken from people and objects,
nature and events. These images have the role of leading symbol which direct the viewer to a
higher reality which is impossible in the visual world (Dinarvand, 121: 2014). Photography has
been focused on by Graphic Designers not only because of its objectivity but also due to its fast
effectiveness on the viewer. The development of digital cameras and use of computer editing have
broken past limits and have extended the application of this art in graphic (Khakshaie, 187:
2011).
The focuses were turned on offset device and methods used by film making devices in the mid-
1970s. Images and words were placed on each other in form of sandwich and photography was
becoming positive. Back then collage was selected as the media for transfer of visual messages
(Bimagz, 520: 2009). The most important part of graphic language was from since the early 1970s
which was derived from mass culture of Punk related peoples of street style in London which
included drugs, pop music, rebelliousness and desire to create shock. In this era, the SP band led
by Malcom Maclaren and the works of Vivianne Westwood became famous. The visual identity
sign of group which was observed on the cover of tape, poster and t-shirt was designed under the
supervision of Jamie Reid. Punk magazine which was named Fanzines was created using torn
papers, images of popular newspapers, handwritten and typed texts and prepared elements
which were all glued together on a page and lithography or photocopy were used for making
copies. Dadaism was against art and punk was against design (Dindarvand, 74: 2014, quoted
from Hollis, 268: 2014).
Figure 5: Music album, Punk Style, 1977, reference: http//:www.theguardian.com
In 1980, magazines such as (I-D) Magazine were published with different designs by emerging
talents. These magazines had powerful expressions and new methods of creation such as extreme
enlarging of photocopy images and deforming their appropriateness by flicking of photographic
paper, use of snapshots and use of high and low light and scratches and paint on it. Terry Jones
says: “we used computer as an entertaining and new tool to add effects to the set of graphic
effects” (Hollis, 272: 2004).
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Figure 6 : Terry Jones, 1980, Reference: http://www.pinterest.com
Photomontage is the result of intervention and manipulation of the real matter in photo frames
and integration of objects and phenomena rescored in it. Searching in photomontage works for
finding visual signs of it for between understandings of these type of works and reasons for is
formation from creation of image to transferring of concepts is important in contemporary
graphic design as a necessity. When there is a discussion about photomontage, it means
accepting this matter that this technique carried a culture in itself which is worthy of attention
and encoding. Understanding of concepts in imaging technique is only possible by being involved
in symptoms in it and each of these works will be a measure for artistic validation due to having
concepts and signs in themselves (Dinarvand, 3: 2014).
“Characteristics of movement, diagonal lines and space with its unique excitement and in
coordination with the industrial era are observed in photomontage photographic methods while
these methods have been along with the innovation in transferring of message in method of
graphic design since the first decades of the twentieth century.” (Rahbarnia and Hossein Zadeh,
79: 2010).
Figure 7 : Andy Warhol, Marilyn Monroe, (silk screen), 1962, Reference Rahimi, 132: 2014
The integration of photography and graphic made photographic images to be used in propagation
of graphic products with the help of printing techniques. Laszlo Moholy-Nagy who was
mentioned earlier found out that extremely interesting visual images can be obtained by printing
of negative or placing on each other or deforming. The tendency to use abstract and postmodern
photography made the field for use of photography in graphic arts richer. Methods which lead to
new results from a normal image are as follows:
1. Creating shaded photos without the use of camera by placing objects on light-sensitive
paper and exposure
2. Use of mirrors and reflecting crystals to create deformations
3. Combining several images to create a new united image
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4. Creating a deformed shape of objects and people using special lenses
5. Manipulation of the image processing to achieve special effects or interesting motifs
Other cases are: shadowing, contrast between black and white, gaining or enlarging pixels in
image, manipulation of photographic gelatin all of which are used in graphic and are called
photographic which make graphic designs richer. Photography is so effective in the work of
graphic artists that designers prefer to develop their topics through photography. Hence,
photography gradually took the places of painting and drawing in posters and advertising
(Hosseini, 2007, 283-284).
Use of high-contrast images, use of expressionist photomontages and use of adjacent images in
order to create new and shocking concepts is among other characteristics of his work (Bimagz,
2009: 476). Correlation of applied graphic and concept-orientation in modern and post-modern
arts has always been after unique effects of manifesting ideas and perception in new and
conceptual form. Graphic has replaced symbolism and use of symbols and symbolic meanings in
the production of its applied works with conceptualism. Clever use of concept in applied graphic
provides a proper opportunity for creativity. Integration of concepts with graphic mechanism and
creation of combinations using conceptual photography leads to creation of new works which are
the result of evolving process of graphic art.
Figure 8 : Roman Cieslewicz, 1974-1975, reference: Mags, 2009
The field of conceptual graphical was a creative tool in creative tool in the 1960s for creation of
exquisite images which were used for transferring of emotions and ideas of artist. Image was
superior in works of these artists and was responsible for transferring the main concept of work.
These artists misrepresented time and words, made objects integrated and floating and cut and
separated images. The main feature of their work was creation of imaginative works full of
mystery, sign and innuendo using montage, collage and photography techniques to transfer
emotions and ideas (Bimagz, 2009: 490-491). “In graphic design of rambow group, photography
was turned from a normal work into a fascinating work by manipulation, rubbing and
assembling and was then documented in form of black and white and was printed with
metaphysic meditative and poetic atmosphere” (Bimagz, 2009: 492).
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Figure 9 : Gunther rambow Poster Collection, 1976-1990, reference: http //: www.gunter-
rambow.com
Holger Matthies is another designer in this method who has used photography in his works.
Photography has been used in his works in form of design before hitting the shutter. What give
life to designs of Matthies are selection of volumes, models, paintings and taken photos and their
combination with each other which have been combined with texts after printing (Shakibafar,
116: 2016).
Figure 10 : Holger Matthies Poster Collection, reference: http//:www.holgermatthies.com
Some conceptual artists such as Victor Brejin, John Baldsary and Barbara Kruger found out that
making images symbolic especially familiar images taken from the field of advertising and the
media provides a stronger territory of conceptual works. This broke the sanction of image by
conceptual artist and emergence of a new genre of art which was later named Photo Art. Photo
Art is the realm of photographic images which appear with a conceptual nature unlike common
understanding of artistic photography which insists more on aesthetic aspect of photo. Many of
these artists have used words to create a background fusing which the conventional images or
symbols are turned into iconic signs. In this word-image process, the photographic images have
turned into a symbol and the entire art work has become a machine to create meaning and
concept (Sami Azar, 67: 2012). Barbara Kruger combined visual and verbal cues to form an
engaging and highly influential form of conceptual art for designing of non-artistic themes in
1970s. Her works are important due to provision of short and unequivocal phrases in
unconventional places and use of images with text to create meaning. She merely manipulates
signs and creates conceptual work using implication. Thus, she invites her audience to face
thought and criticism action against it instead of observation of sensory and aesthetic aspects of
work. Kruger has taken effect from semiotics of Roland Barthes about text and the author and
interprets art as a social field of symptoms involved with other systems of symptoms (Sami Azar,
95: 2012).
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Figure 11 : Posters of Barbara Kruger, since 70s, silk printing, reference:
http//:www.postermuseum.com
Even though the works of Kruger are similar to classic political photomontages in 1920s and
1930s especially the work of John Hartfield but her works are affected by a more recent trading
style. Her works are affected by the graphic of fashion magazines and consist of two powerful
economic and political contexts and male and female relationships from the perspective of
feminists (Grandbrg, 166: 2010-167). Re-use of social media and social prototypes in the work of
Barbara Kruger are basically due to reflation of their fakeness. Kruger uses linguistic strategies
and promotional graphics for creation of ironic deconstruct in her photomontages (Moura, 2014:
84). “We refer to transferring of message in both text and image which has been encoded during
creation and has be decoded while reading. The absence of author removes the author for
determination of meaning in work in dialogues between text and image. Reading makes these
two system very significant” (Abdullah Abadi, 51: 2014).
8. Beginning of using image in Iranian graphic
Photography started in Iran during the Mohammad Shah era and was extended with the support
of notables and dignitaries of Qajar royal court. Nasereddin Shah is among the first individuals
who affected photographic industry in Iran. The signs of photomontage and manipulation of
images can be observed in history of Iranian photography in works of Nasereddin Shah in photo
collage and he might be considered as the first primer of this method. He performed the first step
in the field of photo collage by trimming photos and cutting the image of individuals from
background. He has experienced the exquisite compounds of the first photo collage in photos he
took from his wives by trimming photos and sticking them in albums (Tavaki, 2016: 22).
Figure 12 : Nasereddin Shah, 1931, Reference: Journal of Photography 2016: 11
Use of image in Iranian graphic dates back to advertisings in the 40s. Before that images
consisted of fine points and hatches (Parsi Kia, 22: 2013). Direct use of image was not possible in
first advertisements and image had to be converted into a message in from of hatches or dots or
similar black and white methods in order to be printable (Hosseini, 64: 2002, quoted by Afshar
Mohajer, 2000: 199). Fakopa Agency takes huge steps in marketing and attracting customers in s
true sense with advertisements. Other advertisement agencies such as Caspian, Avazeh and Ziba
play a huge role in raising the sale rate of products. Kamran Katouzian creates a new approach
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in the world of advertising by founding avant-garde agency. It can be said that a wide range of
activities are displayed and exerted in all fields of graphic design (Hosseini, 64: 2002, quoted by
Afshar Mohajer, 2000: 199).
Figure 13 : Avant-garde Agency, Kayhan newspaper, 1973, Reference: ParsiKia, 2013: 32
Fakopa Agency, Ettela’at, 1966, Reference: ParsiKia, 2013: 64
Designers who only worked on promotional graphic such as Farhad Mehrban and Majid Baloch
caused photography to grow as one of the factors in graphic. Photo studios were created for this
purpose. Masoud Ma’soumi and Reza Bourbakhtiar were among the first promotional
photographers. Promotional graphic became an extensive field in its own. Calligraphy found its
own place in relation to graphic. Akhavin, Ahsaie and Mafi are among celebrities in the field of
calligraphy for advertising and publishing and press in this era (Hosseini, 91: 1953). Design of
posters tended toward posters of resistance after the Islamic Revolution and the outbreak of war.
Photography was also directed toward showing values of resistance and recording events in order
to stimulate and guide people to defend the country. The photography in this era was considered
due to being rich and its effect on the viewer. Many different images can be found in posters and
advertisements in that time which have had effective role in formation of culture in their era.
Graphic moved toward design of sings and advertising after the war. Movement from analog to
digital photography started and it found a unique and undeniable presence with advent of
computer software applications as a new tool for graphic.
The field of graphic design was formed in the Faculty of Fine Arts with the efforts of Morteza
Momayez. We observe leap in the use of techniques and technology in the 30s. Morteza Momayez
uses high- Morteza Momayez image in graphic for the first time. (Hosseini, 62: 2012).
Figure 14 : Set of designs related to Morteza Momayez, 1936-2005, reference:
http//www.Pinterest.com
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Deep political developments occurred in Iran in 1978 and posters and in general graphic art took
a significant role in advertising of all political groups all political groups. The art of posters
became the art of revolution and that is why political groups considered creating exhibits with
their own line of thought. People face graphic in another form in final months of 1978. Most
forms express goals and aspirations of all groups and a new way is formed in the Iranian graphic
history (Hosseini, 64: 2012, quated from momayez, 2003, 85). Today’s graphic depends on
movements a long time before the Revolution. Thus, the evolution of graphic works in the past of
this country must be understood for the analysis of new works and new artists in order to be able
to determine their effects on each other and judge about it. Works in this ear provided a type of
freshness for Iranian visual arts due to new approach and perspective of its artist and still
contains valuable points for graphic designers in Iran. This effect has certainly changed many
perspectives in its time and after it and its trace can be search for even in the present time.
Visual dreams and ideas affected by the global approach of creation are carried out in today’s
Iranian graphic without executive concerns and image has a significant role in it. “Nowadays,
there are different trends in the field of responsibility and performance of photography in graphic
design which consider Iran's industrial and Iran's industrial due to artistic photography but
social and cultural photography can undoubtedly be the better solutions for better understanding
of designers in case of raising anthropology and ethnography issues” (Rahbarnia and Hossein
Zadeh, 83: 2010).
9. Conclusion
This article discusses about this subject that the emergence of photography was able to form a
relation between reality and emotions of the artist. Hence, objectivity of the meaning of graphic
expanded. The integration of photography and graphic is the relation between artistic sensibility
and a strong sense of designing. Use of image has increased the awareness and the process of
visual communication and leads to more diverse approaches as a result. One of these approaches
is the social approach of Phototgraphisme which creates a new way for transfer of concepts and
excitation of the audience. The collapse of common norms which expresses criticisms beyond
visual forms sometimes publicly and sometimes just irony and enigmatic became possible using
graphic. The importance of image in graphic is due to discussing about content, message and its
effect on the audience and social life. Photography and graphic media interact with each other
establish a new relation for the audience with provision of meaning, creation of mental symbols
and defamiliarization of phenomena and creation of new images using different techniques such
as photomontage which help the audience to understand images and concepts. The process of
discovery of ideas creates a new relation using the body of social ideas and recreation of image
using it and transferring it to the audience. Thoughts and beliefs of each society helps in
formation of social phototgraphisme. Photo composition technique and its combination with text
challenges the concept meant by author because image in this media in not just an image.
Thoughts such as description and analysis come to the mind of the viewer along with each other
which shows the depth of multifaceted works of contemporary conceptual graphic. Contemporary
graphic uses images to attract the audience and lead to social reactions. Photography work as
intermediary compatible with objective graphic and expands the graphic of graphic design. Thus,
the design based on social needs was formed from the beginning of the formation of
phototgraphisme for example poster is considered as productive and driving force in wars and
revolutions. The combination and selection of images was for advertising and attracting
customers in consumer society and images were used to advertise and attract customers. Thus,
type and selection of composition of images in phototgraphisme depends on a society in which art
is being used.
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