setayesh
ahmadi

Identity for a photography exhibition, built on the photographer's own frames. Two poster routes were taken to print: one lays a thin red rule over a ruined façade and lets the bilingual title lock into the rubble line; the other drops the contrast to a rose field and centres a single working portrait between registration marks. The postcard set carries the same lockup onto oxblood stock.

A furniture maker changing its name, and a logotype that had to change with it. The old KOMO mark already had the right instinct — wide, open, a little architectural — so the rebrand kept the instinct and rebuilt the drawing. Every letter now comes off one construction: the same angled stroke makes the K, the M and the U, which is why the word holds together when it sits over a photograph of a chair.

A trade stand is a brand you can walk into, and the rules change: the type has to survive being read from across a hall, and the graphics have to work as architecture. The long wall runs as one unbroken Philips blue, carrying an award timeline from 2018 to 2024; product bays step forward out of it so the locks sit at hand height, and the counter and stools hold the far end open for the conversations that are the point of being there at all.

A landscape monograph of black-and-white documentary photographs. One grid runs the whole book: plates sit full-bleed, half-bleed or small on white, and the page turn decides which. Chapter openers invert to black so a single frame can carry a spread on its own, and captions stay in one narrow measure at the foot — the same measure, every page, so the reader stops noticing it.

Long-form Persian, set to be read rather than looked at. Justified right-to-left columns hold an even colour down the page; a feature on Ferdowsi builds its opening out of the mausoleum's own stone; an essay is illustrated with nothing but chess figures in the margin; covers land in flat institutional colour — pink, purple, green — with the title as the only event on the page.

The document an industrial supplier hands over before a tender — so it has to look like a company that finishes what it starts. The cover carries a line drawing of the building rather than a photograph of it. Inside, a contents page, a red pull quote from the managing director, scanned certificates, an organisational chart and a work-experience list: all the material a procurement officer actually checks, arranged so it can be checked quickly.

Ongoing digital content for an architectural hardware brand: landing pages built around one product at a time, dark site sections where a brushed handle can be lit like an object, spec blocks that stay readable next to a rendering, and story-format social that puts two models side by side and lets the difference be the message.

A square hardware catalog that has to do two jobs at once: sell an interior and list a part number. Each chapter opens on a numbered colour plate, runs through full-bleed installation photography, then hands over to white pages where the products line up as silhouettes with their dimensions. The colour is what tells you where you are in the book.