Seen Feidhm Phríomha: Aitheantas Corparáideach le Nima Emamverdi

Tha Seen Feidhm Phríomha: Aitheantas Corparáideach le Nima Emamverdi na bhuannaiche air leth urramach anns an fharpais chliùitich 2026 Duais Iarainn A' Design Award ann an Roinn Farpais Dealbhadh Grafaigean, Dealbh-mhìneachaidh agus Conaltradh Lèirsinneach.

IarannGrafaig· 2026

Seen Feidhm Phríomha: Aitheantas Corparáideach

le Nima Emamverdi

Neach-ceannach: Seen

Buannaiche Duais Iarainn A' Design Award ann an Roinn Grafaig

5,374

Buannaiche Duais Dearbhaichte

Dearbhaich Inbhe na Duaise airson #137422

Tadhail air an Làrach Seall aig A' Design Award Brath Naidheachd Suaicheantas Duaise

Dathan

An Dealbhadh

Mu dheidhinn Seen Feidhm Phríomha: Aitheantas Corparáideach

Téacs an Leabhair: Baineann dearadh na lógó úsáid as an litir serif chás íochtair e mar phríomhbhloc tógála geoiméadrach chun cruth na spéaclaí a léiriú. Trí na carachtair a scáthánú, cruthaíonn an dearadh cothromaíocht shiméadrach a dhéanann aithris ar struchtúr fráma. Déantar eilimintí serif nua-aimseartha a chlaochlú ina ndroichid fheidhmiúla, ag nascadh na móitífeanna ciorclacha a shiombalaíonn an tsúil agus an lionsa araon. Ligeann an córas amhairc íostachaíoch seo do spásáil inchoigeartaithe idir eilimintí, rud a chinntíonn inléiteacht ard agus inoiriúnaitheacht thar scálaí éagsúla, ó ghreanadh beag táirge go taispeántais mhórfhormáide.

An Aithneachadh

Mu dheidhinn Duais Iarainn A' Design Award

Tha Seen Feidhm Phríomha: Aitheantas Corparáideach air Duais Iarainn A' Design Award a bhuannachadh, aithneachadh urramach a bheirear do dhealbhaidhean math a choinnicheas ris na riatanasan proifeiseanta is gnìomhachais a thathar a' sùileachadh bho chruthachaidhean a chaidh an dealbhadh gu math. Tha buannaichean Iarainn a' nochdadh sgil mhòr, speisealachadh àrd, tuigse eòlaiche agus comas cruthachail an luchd-cruthachaidh. Thathar an dùil gum bi Seen Feidhm Phríomha: Aitheantas Corparáideach na chruthachadh air a bheil mòran meas, ion-mholta agus gràdhach a tha practaigeach agus ùr-ghnàthach. Tha an dealbhadh seo a bhuannaich Duais Iarainn A' Design Award a' cur nan cleachdaidhean as fheàrr sa ghnìomhachas còmhla agus tha feartan teignigeach comasach aige ceangailte ri eòlas-dèanamh agus tàlant. Tha meas air Seen Feidhm Phríomha: Aitheantas Corparáideach airson a dhùrachd agus chaidh a dhealbhadh gus leasachaidhean càileachd beatha a thoirt seachad a chuidicheas le bhith a' dèanamh an t-saoghail na àite nas fheàrr.

Air Cùl an Dealbhaidh

Pasgan Naidheachd

Creideasan, buill sgioba agus fiosrachadh teicnigeach a chuir an dealbhaiche ri chèile.

Feartan Sònraichte: We designed the logo using the letter "E" as a symbol for the shape of glasses. Our goal was to show that you can make a big impact with ultimate simplicity. The strength of this design lies in the versatility we created with the logo's form. The interplay between the two "E"s, which inspired the logo's shape, also alludes to how these glasses will be worn by a diverse range of people.
Ultimately, the meaning is reflected in the form of the letters themselves.
Tomhasan & Pacadh: To the extent possible, the design adheres to precise ratios, approximating the golden ratio. The line weights and negative space have been carefully balanced to ensure legibility in small applications, such as a favicon or on the temple of glasses, while also maintaining its beauty and elegance at larger sizes.
Tagaichean: logo design, visual identity, logotype, corporate identity
Teicneòlas Cinneasachaidh: When sketching ideas for the logo, I wanted to represent the shape of a glasses frame in a simple way while maintaining the versatility to play with the letters.

I used a lowercase serif 'e' from a modern font to suggest the decorative elements of the frame. By extending the serif, I was able to create the bridge that connects the two lenses. I then mirrored the first 'e' to hint at the symmetry and balance of a pair of glasses.
Dùbhlan Dealbhaidh: A key research challenge was the public's perception of prescription glasses as a medical necessity versus sunglasses as a non-essential, decorative item. We found they often deprioritizes self-care, viewing it as an unnecessary expense.
To address this, our strategy involved 2 steps. 1st, we focused on cultural education and building trust through social media and advertising. 2nd, in our design, we simplified the form and visual language to make the concept more accessible and appealing.
Rannsachadh: When conducting our research, I focused on a few key areas and was very meticulous. First, I looked at our audience's perception of eyewear and the initial shapes they associate with glasses. I also examined where glasses stand in the audience's mind as a form of clothing or personal accessory.

Additionally, we researched the manufacturing process of glasses and the structure of eyewear frames, as well as the psychological aspects of aesthetics from the audience's point of view.
Brosnachadh: Inspired by a young woman who founded a brand and the space she created to uplift women, I poured my heart into this project. In a country where women have limited clothing choices and are considered second-class citizens under Islamic law, the brand's founder seeks to instill a sense of self-worth and beauty in her community. Her effort to establish eyewear as a means of personal expression and empowerment for Iranians, especially women, was a powerful motivator for me to participate in this project with all my being.
Faid a' Phròiseict: The process, from initial research into the target audience's concerns to finalizing the logo design, took about two and a half months to reach a definitive conclusion with the brand owner. We then conducted surveys with people in the target demographic for another month, which confirmed that the design successfully created a close and immediate connection with its audience.
Sruth Obrachaidh: I designed the letter 'e' with a rounded form to represent the eyeball and the most basic shape of a glasses frame. When rotated, it mimics the movement of an eye or the field of vision. The serif-like decorative elements of the letters can be extended or shortened to fill gaps or cover a larger area. This line can also be curved, which would allow for interesting motion graphics in a logo animation to better connect with the audience.
Buill na Sgioba: Nima Emamverdi