The Impact of Islamic Iranian Design Representation on Saffron Packaging in the Communication Process with the Audience

Document Type : Original Article

Author

Ph.D. Student in Art Research, Faculty of Art , Shahed University, Tehran, Iran

Abstract

As one of the influential phenomena in the modern world, packaging protects products from environmental factors. It serves as a communicative tool for presenting brand imagery and a reference point for consumers' product selection. This research investigates the influence of Islamic Iranian design representation on saffron packaging on audience communication. The main research question is to explore the position and orientation of Iranian saffron packaging designers regarding the representation of Iranian identity components in their works. The research method is descriptive-analytical, and data collection is a combination of surveys, image analysis, and field observations through questionnaires and interviews with the audience. Data analysis is qualitative. The findings indicate that the visual elements of Iranian saffron packaging in successful samples represented Iran's brand and cultural identity components and conveyed the intended meanings. However, there are challenges in transferring the desired concepts and meanings, leading to disruptions in communication with Iranian consumers. These challenges are as follows: 1. Undesirable design of the packaging's appearance, protective structure, and ergonomic issues; 2. Weakness in providing a proportional and desirable product and service identity in the brand name; 3. Challenges in utilizing proper language and visual typography; 4. Inadequate use of suitable colors in the packages; 5. Inappropriate use of visual elements in the design and the lack of attention to elements that evoke memorable experiences from the Iranian audience's previous encounters.

Keywords

Main Subjects

Smiley face

References

[1] E. Afzaltousi and M. Hassanpour, “The Role of Religious Symbols in Visual Symbols of Iran’s Contemporary Graphic Art,” National Studies Journal, vol. 49, pp. 135-161, 2012. (In Persian)
[2] H. Goudarzi, “The identity-giving function of the Shia religion in the Safavid period,” In the book Religion, Revolution and Identity (with an emphasis on the thoughts of Imam Khomeini, Tehran: Iranian Civilization Publications, 2012. (In Persian)
[3]  H. Mohammadpour lima, “A sociological look at identity,” Qom: Melina Pub, 2009. (In Persian)
[4]  M. Akbari, “Genealogy of new Iranian identity,” Tehran: Elmi Farhangi, 2014. (In Persian)
[5] A. Mirsepassi, “Intellectual Discourse and the Politics of Modernization: Negotiating Modernity in Iran,” J. Tavaklian Trans., Tehran: Tarh e no, 2019. (In Persian)
[6] Q. Ghorbani, “National identity from the point of view of martyr Motahari,” in the book Religion, Revolution and Identity (with an emphasis on the thoughts of Imam Khomeini, Tehran: Iranian Civilization Publications, 2012. (In Persian)
[7]  M. Zaryabi, H. Abeddoust, “Investigating the Reflection of National Identity in Packaging Design with a Focus on the Component of Persian Calligraphy (Case Study: the Selected Packaging of Food Products in Iran’s Biennial Graphic Design “Silver Cypress”),” Sociology of Art and Literature, vol. 13(2)  pp. 179-207, 2022. (In Persian) DOI: 10.22059/jsal.2022.335381.666112
[8] M. Sepehr, “Comprehensive visual identity design,” Tehran: Fatemi, 2019. (In Persian)
[9] F. Kermaninejad, “Packaging Design in Introduction,” Tehran: Karin, 2006. (In Persian)
[10] B. Jenab, “Packaging Design,” Tehran: Fatemi, 2021. (In Persian)
[11] A. Ravadrad, “Theories of Sociology of Art and Literature,” Tehran: University of Tehran Press, 2015. (In Persian)
[12] V. D. Alexander, “Sociology of the Arts; Exploring Fine and Popular Forms,” A. Ravadrad, Trans., Tehran: Matn Publishers, 2017. (In Persian)
[13] A. Khalid Mahmood, “Expressions of Arabic Calligraphy in Arabic Typography for a Cultural Identity of the Visual Arabic Script,” The London Art as Cultural Diplomacy Conference, 2013.
[14] M. Wang, “Linguistic Semiotics,” Singapore: Peking University & Springer Nature Singapore Pte Ltd, 2020.
[15]  M. Halliday, R. Hasan, “Language, Context, and text: Aspects of Language in a Social- semiotic Perspective,” M. Nobakht Trans., Tehran: Siahroud Publications, 2014. (In Persian)
[16] M. Zaryabi and H. Abeddoust, “The Analysis of the Expressive and Impressive Functions of Type in The Packaging of Iranian Foodstuff (The Case Study: The Selected Packages of the Annual and Biennial Iranian Packaging Designers),” Journal of Packaging Science and Techniques, vol.12(47), pp. 43-56, 2021. (In Persian) DOR: 20.1001.1.22286675.1400.12.47.5.3
[17] D. A. Norman, “Emotional Design,” M. Haghparast & J. Sadegirad Trans., Tehran: Herfeh Honarmand, 2014. (In Persian)
[18] M. Kolahkaj, “A Study in Representation of National Identity: 50 Years of Contemporary Iranian Graphics (1961-2011),” National Studies Journal, vol. 79 pp. 139-156, 2019. (In Persian). DOR: 20.1001.1.1735059.1398.20.79.8.6
[19] G. Homam, “Application of Iranian-Islamic Visual Motifs in Designing and Identifying Iranian Food Export Packaging (Tea, Pistachio, Saffron),” Journal of Packaging Science and Techniques, vol. 10(40), pp. 32-41, 2019. (In Persian)
[20] M. Kolahkaj, “The function of graphics in the representation of Iranian visual identity (with emphasis on signs, packaging and internet pages),” Ph.D. Art University of Isfahan., 2016. (In Persian)
[21] A. Javani, M. Khazaei, and M. Kolahkaj, “The Nature of Iranian Visual Culture Represented Graphically,” The Monthly Scientific Journal of Bagh-e Nazar, vol. 13(40) pp. 35-44, 2016. (In Persian)
[22] S. Nazari and S. Maleki, “Analyzing of global culture and national identity challenges in visual communication,” Sociology of Art and Literature, vol. 8(2)  pp. 139-162, 2017. (In Persian) DOI: 10.22059/jsal.2017.62257
[23] S. Maleki, M. Asadollahi, and F. Shahroudi, “Representation of the National Identity of Iran in Graphic Design in the Age of Globalization,” National Studies Journal, vol. 67 pp. 69-82, 2016. (In Persian). DOR: 20.1001.1.1735059.1395.17.67.5.8
[24]  A. Ekhlassi, “Marketing Research,” Tehran: Elmi, 2021. (In Persian)
[25]  C. Dawson, “Practical Research Methods: A User-friendly Guide to Mastering Research Techniques and Projects,” M. R. Davari; J. Emami; M. Ghazizadeh Trans., Tehran: Siahroud Publications, 2011. (In Persian)
[26]  I. Alemozaffar. “Selected Work of the 3rd Annual Awaeds Ceremony of Basteha,” Tehran: Hoodis Pars Printing Complex, 2015. (In Persian)
[27]  https://basteha.com (Access Date: 2023/07/17)
[28] M. Sepehr, “Logo Design,” Tehran: Fatemi, 2020. (In Persian)
[29] A. Afsarpour, “Graphic Design for Advertising,” Tehran:   Fatemi, 2020. (In Persian)
[30] E. AlGhasra, “Arabic Typography Anatomy and Classification in Relation to Arabic Calligraphy,” M.A. Isa Town: Bahrain Polytechnic, 2020.
[31] F. Kermaninejad, “The art of calligraphy in Iran,” Tehran: Aban, 2012. (In Persian)
[32]  H. Damirchilo, F. Sujudi “Semiotics Analysis of Persian
Typograph,” Book of Month: Art, vol. 152  pp. 90-101, 2011. (In Persian)
[33] M. Kahvand, “Readability or Illegibility: This is The Challenge!,” Herfe Honarmand, vol. 68  pp. 53-65, 2018. (In Persian)
[34] F. Mesghali, “Typography,” Tehran: Nazar, 2019. (In Persian)
[35] H. Abeddoust, “Iranian Ideographers,” Rasht: University of Guilan Press, 2021. (In Persian)
[36] P. Moutaftsi and P. Kyratsis, “Visual Brand Identity of Food Products: A Customer’s Perspective,” Journal of Applied Packaging Research, vol. 8(3)  pp. 1-14, 2016. DOI:  10.14448/japr.08.0015

Files

History

  • Receive Date: 03 August 2023
  • Revise Date: 20 September 2023
  • Accept Date: 21 October 2023

Share

How to cite

Statistics