Medium of Graphic, Expresses Cultural Heritage (Study and Criticism on Challenges of Graphic Works of War With the Approach of Expressive Concept and Forms)

Following beginning of the imposed war, cultural and artistic works about war were continuously produced and caused creation of the “Culture of Battle Field and War”? in different artistic, literary and cultural fields. During the long years of war, a wide range of artists were absorbed by this field and entered this field. They created unique art works at the middle of war time. Continuous presence of these artists in this field caused formation of the pictorial culture of battle field and war. In the field of visual arts, there were some artists who gained special fame due to making constant efforts in producing literary and cultural works with the subject of war and also presenting acceptable art works.

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پنجشنبه - ۱۲ فروردين ۲۰۰۹ / 2009 12 January

Doubtlessly, the special form of sacred defense graphic during those years goes back to the artistic style of these specific and limited artists and the repetition of those styles in other cultural works. This event occurred in “Hozeh Honari”? of Islamic Propagations Organization in a considerable way; because most of literary and artistic works in this field were particularly produced by “Hozeh Honari”?.
By finishing the war, this important event became widespread; because there was the worry that documentary sources of war will be lost little by little during time considering the fact that war has finished. And truths and realities of war would be forgotten as time passes.
With such a view, the number of sacred defense books in different literary and artistic forms increased considerably. This tendency and interest in preserving and disseminating the culture of battle field and war did not last for a long time. Following decrease of cultural activities in this field, the reflection –with a critic view- immediately appeared in the works of many poets, critics and film makers in the field of war.
Now that 20 years passes since finishing of war and the peak days of producing cultural products of sacred defense, the situation has changed into another form. The graphic designing works of artists tell us that some artists have deviated from their ways. In this article, I make efforts to come to a conclusion by studying some tendencies of artists in this field and the process of producing graphic designing works on covers of books.

Spirit of Objects and Pictorial Elements of the Culture of Battle Field and War

Pictorial elements of the culture of battle field and war had unbreakable connection with the words such as “Chafieh”? (The checked scarf used by combatants in order to protect them from hot weather, dust, etc), gun, bullet, mortar shell, soil, barbed wire, bird, blood, sky, cloud, sun, boots, stronghold, passage and…
Graphic works and the pictures on covers of numerous books published during sacred defense and after war contained these pictures designed with different methods and concepts. Graphic designers of sacred defense have benefited from the spiritual atmosphere of war in beautiful conceptual designs related to the text. They have designed these works with special intelligence and in line with establishing visual communications with the audiences.
This process was developed by repetition in other works and during time. And artists could present new and spiritual spirit from the rough atmosphere of battle fields and also being killed in the way of God. This artistic approach communicated with religious concepts and religious spirit of combatants in battle fields. During that period of time, art could play an influential and functional role as a strong medium.
By great and continuous stamina and seriousness in artistic activities, only few artists could gain name, fame and artistic style in this field.

Method of Trials and Tribulations

Some managers and officials of producing artistic works at that period of time trusted visual artists relying on their intelligence and management. They provide graphic artists with lots of opportunities in order that they can dare to courageously experience trials and tribulations and develop in this field and gain an artistic style in their art works. This opportunity was beneficial both for the artist and the manager who had ordered the work. In a short time, the style of every artist caused that published works were known with particular specifications and forms. This repetition caused the artist to be able to stabilize his/her method of working and also sensory and technical understanding in this field.
We can still recognize these works without carrying the signature of their artists. Appropriate selection of the artist and also trusting him/her always cause good and favorable results. It is ok if some art works are not “Number One”?. This opportunity should be provided to artists in order that they can gain new experiences and create new styles.
There is no risk opportunity for presenting new experiences in the section of private publication. And that is due to high expenses; because tin this section return of capital says the first word; but cultural administrations of the country have required opportunity and capital and can support and encourage artists in this line and be pioneer in presenting new experiences.

Dominance of Computer and Digital Technology on the Country

Appearance of any new phenomenon is always opposed and agreed by different people in all places of the world. They show reactions to this new phenomenon. These reactions and opinions –either opposing or agreeing- do not conform to the reality at the first stages; because they do not have enough knowledge and information about the newly appeared phenomenon. These opinions can not be true opinions or at least we can not judge and understand them appropriately.
Following entrance of computer and digital technology to the country in the 1370’s (1990’s), many famous and high rank artists of the country opposed with working with computer.
There were people who agreed with working computer too. The writer of this article was one of the first designers that became familiar with computer in the early 1990’s. His opinion about computer was similar to opinions of some other artists; because computer was merely a powerful tool for easing presentation of graphic works. Although artists did not welcome and pay attention to computer considerably during the first years of the 1370’s but in the mid 1370’s using this tool suddenly became prevalent. And many new jobs were formed. By getting help from powerful graphic software of computer, thousands of graphic artists mushroomed in the market at one night (In a short time). They had the least possible education and artistic experiences. Unfortunately, many of directors of cultural affairs throughout the country are not still able to distinguish these people from graphic artists. These managers have constantly ordered many works to these people by now. And they are producing cultural works in different fields of Islamic Revolution and sacred defense which are very weak and invaluable in artistic aspects.
We should not ignore the fact that these amateur people do not have any position among commercial graphic field; because owners of trade and economic center never give their capital to such people in order to advertise and design their products. But unfortunately, such details are rarely paid attention in cultural fields.
Presence and activity of these people in the field of artistic works cause terrible damages for the culture of the country in a long term period of time. And it will be recorded in history. And here the question is: “Is it all the artistic capability of our country during this period of time for recording the most important war in the contemporary history? And is it necessary to continue activities in this low level of quality and artistic aspects?

Strong Effect of Graphic and Graphic Artist

As an expressive framework and form, graphic has its special complicated rules and bases. And in every culture, graphic should be strong enough to express different concepts.
Artistic taste, poetic expression and new points of view are the most important conceptual tools of modern and avant- grade graphic artist. Graphic designer should have a global view about subjects; because although his/her experiences and artistic expression methods are presented in a local form but they are also presented in a wide scale. And they should express the cultural heritage of his/her country.
Graphic designer should know that he/she is responsible and committed for his/her national culture. Graphic designer should know that his/her efforts and the designs that he/she creates express the experiences of his/her nation. Doubtlessly, his commitment and artistic works will be beyond national borders and will communicate with all the residents of other countries.
We should not forget that trade company’s benefit intelligently from the best methods and local artistic forms of every country in order to introduce and advertise their products. They find the best people for their advertising activities.

Challenges that War Graphic Field Faces with

Sometimes most of us go to extremes in our behaviors. And this type of behavior damages the normal process of our life and job. And unfortunately, we understand our wrong behavior late. Or even sometimes we do not understand our mistake. We go to extremes and make lots of difficulties for ourselves.
The easiest way for every graphic designer is using pictorial elements of war directly in the designs; but repeated existence of these visual elements without the least possible creativity in graphic designs during constant years has taken the artistic value from these elements. It is also wrong to put these pictures away. Professional and thinker designers who have artistic education can study and recreate these visual elements and achieve to newer expressive forms in this regard. They can expand the extent of these pictures.
As for poetry, such renovations will be caused by discovering new and poetic compound metaphors and prevent repeated similarities.
The process of ordering graphic works sometimes goes to extremes too. When a cultural manager finds a graphic designer who works well for him, it is reasonable that he keeps that designer for a long time in his administration. But can this particular manager merely rely on this particular graphic designer for two decades? Is it wrong to have a little new experience?
On the other side, there are some managers who believe that they can benefit from the capability of all designers. The result of such idea is also wrong in the process of ordering. Gathering a team consisted of professional designers and being in contact with them can result in the best consequence. But unfortunately, professional designers –due to many reasons- do not show tendency to work with governmental cultural centers. The direct interference of the manager who orders the work in graphic works and applying personal tastes are the most important factors in losing cooperation with professional graphic designers. As for other influential factors for losing the cooperation of professional designers, we can refer to low payments and sometimes very inconsiderable payments to these artists during constant years.
In such situation, we can not expect creation of professional and strong art works. The designer and graphic artist who work in such situation will release themselves from this situation soon or late. And then the managers of these artists have to find designers who are not “Number One”?. They lower the quality of artistic works in this important cultural field of the country. And consequently, they produce ordinary and weak graphic works.
Most of innovations and development of artistic styles are done by the artists who have a special insistence on their findings and presenting their views. They never think of following repeated criteria in past. They ignore prevalent methods.
How can we expect artists to have such behavior in this situation? The manager who can not provide the artist with required conditions of growth and development has actually made an obstacle for progress of his activities.

Rays in “Rogh’ee”?, “Vaziri”? and “Paltoyee”? Sizes

[Rogh’ee is a size of book that is 15 * 22 Centimeters. Vaziri is a size of book that is 17 * 24.5 centimeters and Paltoyee is almost a pocket size]
When you look at books from the back of shop windows, the books in the field of war does not have a flourishing market. It seems that pictorial words of sacred defense as well as visual forms and images of that period of time have gone to a journey to a far place. Fancy books which have been published in chic and luxury ways with golden and silver colors but empty from the spirit of epic are observed beyond the sky of war literature. No one disagrees with innovation in the publishing industry. Thanks to all facilities, there are some everlasting books and works produced in this field; but the spirit and concept of war graphic works have considerably decreased.
Most of designs on covers are books are nothing except playing with unfamiliar colors and forms. We do not see any more those rich pictorial sources of battle fields –names of war cities and battle field regions- that took our soul very close to the first strongholds.
It seems that an administrative directive has been issued for substituting the graphic atmosphere of those years with a large amount of formalist frames and disorderly arranged words.
When we refer to new works of artists of those years, unfortunately we face with very normal and weak works.
This backward moving can be rooted in factors and challenges that were mentioned din the previous section.
Working with private publishers has not decreased the quality of works of these artists. This moving backward occurs merely when they work with governmental publishers. Unfortunately, this is the reality. And the importance of the subject as a critical issue has become less among some artists little by little.
We should not forget the fact that we are being focused by the future generations. They will remember all our behaviors and decisions regarding how we are facing with those epics and years of resistance. It is not important how much we pay attention to this subject. It is important that these subjects are still serious for us and create written and pictorial works seriously. It is important that we are serious in all our decisions. It is important that seriousness in work does not let us deviate from our way and suffice merely to producing works that are only useful to fill our performance list.
Are the questions that come from future and target us able to keep us awake in order not to go to sleep?
Writer: Alireza Zakeri