We had the distinct pleasure to interview award winning designer Naser Nasiri about their original and creative Music Festival Identity design work. Naser Nasiri is an award-winning communication designer, that makes our world a better place with their original music festival identity works.
Naser Nasiri ("NN") answered Design Interview ("DI") questions about their award-winning work Color Rhythms Music Festival Identity. Interview questions prepared by Frank Scott.
NN : The core idea of my design lies in reviving historical Iranian visual culture through a contemporary lens. I used typographic composition inspired by the ancient Kufic-Banna’i script, particularly from an 800-year-old inscription on the Red Dome mausoleum in Maragheh. This inscription became the structural foundation for the poster’s typography, bridging architecture, history, and graphic design. Hand-drawn illustrations of musicians' hands playing traditional Persian instruments complement the typography, adding a tactile, human element that honors the musical legacy of Abd al-Qadir Maraghi—recognized as the last great music theorist of the East. The logo of the festival integrates the Persian numeral 2, crafted in the shape of a hand striking a daf, a centuries-old frame drum, symbolizing both rhythm and celebration. Color choices—turquoise, lapis lazuli, oxblood, ochre, and gold—are rooted in the aesthetic language of Persian miniature painting, tilework, carpet design, and classical Iranian visual arts. These colors were selected not only for their historical presence but also for their symbolic resonance, representing spirituality, nobility, vitality, and sacredness. Ultimately, the principle guiding the design was to harmonize past and present: reviving a visual memory from our architectural and musical heritage while presenting it in a contemporary visual system that speaks to today’s audience.
NN : My main focus in designing this work was to express the essence of Eastern artistic behavior—intuitive, improvisational, and fluid—while grounding it in a deep and ancient structural logic. Much like traditional Persian music, which is based on spontaneous vocal expression rather than fixed compositions, I aimed to create a layout that feels free and organic, yet solid, deliberate, and precise. This tension between freedom and structure was central to my design. I also wanted to ensure that the visual identity resonates with the cultural context of the audience. Cultural relevance was a key goal—reflecting familiar visual forms, symbols, and emotions—while also presenting them in a contemporary visual language. In this way, I aimed to strike a balance between tradition and modernity, crafting a design that is both rooted and forward-looking, both local and timeless.
NN : I plan to continue presenting this design in various cultural centers and design festivals, as I believe it holds significant visual, conceptual, and cultural value. It is a carefully balanced fusion of the ancient and the modern, the East and the West. While deeply rooted in academic traditions, it also embraces a folkloric spirit that makes it accessible and emotionally resonant. Technically and visually, the design has been developed with great care to ensure that it remains both regionally authentic and globally relevant. My aim is to share this work more broadly to initiate cross-cultural dialogue and to highlight how traditional aesthetics can still inspire contemporary design on an international scale.
NN : From the moment the project was commissioned to the final delivery, it took me approximately one full month of dedicated work. A large portion of that time was spent on research—studying the historical and visual context of the forms, symbols, and imagery I intended to use. While the illustration and execution of the concept also required considerable time and focus, what consumed most of my energy was composing a layout that could function effectively across different media. Achieving a composition that was visually strong, culturally meaningful, and adaptable to various formats was both the greatest challenge and the most rewarding part of the process.
NN : This design was commissioned, and my primary focus was to study and carefully address all the values that this topic embodies. I needed to ensure that the design not only moved forward towards modernity but also retained its historical essence. The challenge was to balance the ancient with the new, making sure that the design stayed true to its roots while also speaking to contemporary audiences. This required in-depth research, reflection, and meticulous execution to ensure both cultural authenticity and modern relevance.
NN : This design was specifically created for a unique purpose and commissioned for a particular event. It has fulfilled its intended role and function. However, due to its visual potential and cultural significance, I believe it can now be showcased in various centers, festivals, and exhibitions. It could serve as an educational tool, offering insight into the blend of tradition and modernity. Additionally, the design holds the potential to bridge past and future, helping future generations connect with the cultural heritage it represents.
NN : The motivation behind designing this work stemmed from my desire to explore the intersection of tradition and modernity. As a designer, I was inspired by the deep cultural heritage of Persian music and art, particularly through the lens of Abd al-Qadir Maraghi’s influence on Eastern music theory. I wanted to create a visual identity that could capture both the free-flowing, improvisational nature of Persian music and the structured, academic elements it carries. Additionally, the need to respect and integrate the cultural context of the festival was a driving force. I aimed to create something that felt both rooted in the past and relevant for a contemporary audience, ensuring that the design could bridge generations while remaining visually and culturally meaningful.
NN : While designing this work, I was deeply influenced by the rich history of Persian visual arts, particularly the traditional craftsmanship in miniature painting, tilework, and calligraphy. These centuries-old art forms provided a foundation for the visual language I wanted to create. In terms of specific designers, I drew inspiration from past masters of Iranian graphic design who have successfully bridged cultural heritage with modern design—figures whose work preserves cultural authenticity while resonating with contemporary audiences. Additionally, the design of the typography was inspired by ancient Kufic-Banna’i script, particularly the inscription on the Red Dome mausoleum in Maragheh. This historical piece served as a guiding reference for the typographic composition, and the way it has influenced my design emphasizes the delicate balance between tradition and modern execution.
NN : The client for this design was the House of Music in Maragheh, which commissioned this work to celebrate the cultural and historical significance of Abd al-Qadir Maraghi, one of the greatest figures in Eastern music. Therefore, the target audience for this design primarily consists of music enthusiasts, cultural institutions, and individuals interested in the rich history of Persian music. Additionally, the design speaks to both local and global audiences who are engaged with cultural preservation and the fusion of traditional and modern artistic expressions.
NN : What sets this design apart is its deep connection to Iranian and Eastern culture, which is not only reflected in its visual elements but also in its conceptual depth. The design is based on thorough research, ensuring that the work is rooted in the rich history of Persian music and art while embracing a modern and contemporary approach. Unlike many digital-based designs, this piece is driven by human-centered illustration, reflecting a more personal and tactile artistic process. Additionally, the layout combines modern composition techniques while respecting traditional forms, allowing it to maintain a timeless, cultural relevance. This balance between modernity and tradition, along with its research-based foundation and human illustration approach, distinguishes this design from other similar concepts.
NN : The name of this design is inspired by the movement of visual forms toward music. Music, being abstract in nature, often transcends direct representation, whereas images are more commanding and concrete. I've always strived to bring visual elements as close as possible to the interpretive nature of music. The challenge is to maintain the essence of the image while not losing its message—because if the graphic design loses its clarity, it can turn into mere painting, which is not the goal. This balance between abstraction and clarity is something I’ve always aimed for, and this design is an example of that. It’s about blending the fluidity of music with the precision of visual language, without compromising either. The rhythms in this design are derived from music, and the colors are drawn from visual arts. This interplay between rhythm and color is what gives the design its unique dynamic, reflecting the harmony between the auditory and the visual, the abstract and the concrete.
NN : I always start by sketching ideas by hand, as it helps me to visualize the concept and solidify the direction of the design. Once the idea is clear, I transfer it to the computer and use software like Illustrator and Photoshop to integrate the images with the typography. For layout purposes, I often use InDesign as well. However, what always remains crucial is the handcrafted nature of the design—this human touch is what gives the design its unique character. It’s not mechanical or emotionless, but rather carries the warmth and personality that comes with being handmade.
NN : The most unique aspect of my design is the strong and authentic combination of typography with the illustration of musical instruments and hands. The typography, inspired by the classical calligraphy of the Kufic style, seamlessly integrates with the hand-drawn imagery of the instruments and hands playing them. This fusion creates a harmonious visual language that reflects both the precision of design and the fluidity of music, giving the work a unique, personal touch that distinguishes it from other designs.
NN : For this design, I did not collaborate with anyone as all the technical and specialized skills required were within my own capabilities and extensive experience. Typically, I work alone on projects, handling most aspects of the design myself. However, in areas where I feel someone else might be better suited or bring additional expertise, I do collaborate with others. But for this particular project, I was able to handle all aspects on my own.
NN : In this design, technology played a supportive role in transforming my initial hand-drawn concepts into a polished final product. While the core of the design, including the typography and illustration of the musical instruments and hands, was developed through traditional sketching and handcraft, technology helped me refine and complete the composition. Software like Illustrator, Photoshop, and InDesign allowed me to seamlessly integrate the elements, perfect the layout, and add the necessary details to ensure clarity and visual impact. However, the essence of the design remains deeply rooted in craftsmanship, with technology serving as a tool to enhance and execute the idea more effectively.
NN : Yes, absolutely. Every detail of this design is based on extensive research. I relied heavily on historical, visual, and cultural sources both within Iran and beyond. This involved studying the ancient Kufic calligraphy style that inspired the typography, as well as examining the rich cultural heritage of Iranian music and its symbolic representation. I also explored various visual references from different periods of history and regions to ensure that the design resonates with both traditional and contemporary aesthetics. This research not only informed the visual aspects but also helped me create a design that honors the deep cultural significance of the subject while remaining relevant to modern audiences.
NN : One of the main challenges I faced was working with typography, particularly adapting the Kufic script into the design while fitting the content into this specific calligraphic form. Kufic is a very structured and ancient script, so balancing its intricate geometry with the need for legibility and the artistic flow of the design was quite difficult. Additionally, the integration of the hand-drawn illustrations of musical instruments and hands with the typography posed its own challenges in terms of harmony and balance. It was essential to create a composition that felt unified, yet dynamic, with each element contributing to the overall message without overpowering one another. Another challenge was ensuring that the design could be effectively translated across different mediums, maintaining its integrity and visual impact regardless of scale or format. It required careful planning and iteration to achieve the desired result.
NN : I have always had a strong desire to participate in prestigious design competitions, and over the years, I’ve entered numerous contests, won awards, and had my work exhibited in exhibitions around the world. I’ve been following A'Design Award for a long time, and it was always a goal for me to be a part of such a respected platform. When I saw the opportunity to submit my design, I felt it was the perfect chance to showcase this project on an international stage. I am incredibly happy and grateful that A'Design Award recognized the value of my work and awarded me for it. It’s a proud moment to have my design appreciated by such a prominent competition.
NN : Design, when rooted in research, always leads to personal growth and improvement. Through this process, I had the opportunity to connect with parallel worlds from different cultures and historical contexts, which greatly enriched my understanding of design. I learned a great deal, especially in terms of the historical background, execution, and visual performance of the work. The research deepened my appreciation for the significance of cultural and historical references and how they can be integrated into modern design while maintaining their authenticity. This experience has helped me refine my skills and broaden my perspective on the role of design in bridging past and present.
NN : I don't have any specific additional points to cover, but I do hope that these works contribute to the advancement of the status of culture and art, and help strengthen the relationship between all nations based on this shared understanding. Design has the power to transcend borders and foster deeper connections, and I hope my work plays a part in that.
