setayesh
ahmadi

about

Trained in the graphics program at Sooreh University, and two years into practice — moving between printed matter and the screen: exhibition posters and postcards, a black-and-white photobook, Persian literary spreads set right-to-left, product catalogs, and the pages and posts that surround a launch.

Most of the work starts in a text block. Long Persian columns that hold their rhythm at body size, a photograph allowed to be quiet, and a grid strict enough that one deliberate break reads as a decision.

Age

25

Education

Sooreh University — BA, Graphics

In practice

2 years, since graduating in 2024

Languages

فارسی / English

what
i do

Print-first, but the same identity has to survive a phone screen — so the catalog, the poster and the landing page get built from one set of decisions.

ali gholi
ziaee

Identity for a photography exhibition, built from the photographer's own frames. Route A lays a thin red rule over a ruined façade and locks the bilingual title into the rubble line.

kumu

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.

philips
home access

A trade stand is a brand you can walk into, and the rules change: type has to survive being read across a hall, and graphics have to work as architecture. The long wall runs as one unbroken Philips blue, carrying an award timeline from 2018 to 2024.

the invitation

An invitation has one job a poster doesn’t: it has to get someone across a city and into a specific booth.

So the bottom third isn’t decoration — it’s a rendered floor plan with the two stands pinned on it and a QR code beside them. Above that the type stays out of the way: black ground, one weight of white Persian text, the HTN Prime and Philips lockups given room to be recognised at a glance in a message thread.

the
photobook

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.

persian
editorial

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.

arya yaragh
sanat

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.

htn prime
— digital

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.

story format

Two models side by side, and the difference is the message. Product social is built from the same photography and the same type as the catalog — so a post, a page and a printed spread all read as one brand.

• 01Story & feed assets, sized per platform
• 02Product comparisons and spec cards
• 03Campaign carousels for launches
• 04Persian, Turkish and English copy fit

the product catalog

A square hardware catalog doing 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.

tools

Print-first, with the screen tools that keep a brand consistent once it leaves the press.

how
i work

The same three moves, whether it ends up on a wall, in a binding or in a browser.