Seen Timagit n tkebbwanit sɣur Nima Emamverdi

Seen Timagit n tkebbwanit sɣur Nima Emamverdi d anerbaz yettwaqadren meqqren n 2026 Tarbaḥt A' Design Award n Uzzal deg Taggayt n Tnaflit n Afeṣṣel n Unuɣ, Tugna d Teywalt Tamulant.

UzzalUnuɣ· 2026

Seen Timagit n tkebbwanit

sɣur Nima Emamverdi

Amsaɣ: Seen

Anerbaz n Tarbaḥt A' Design Award n Uzzal deg Taggayt n Unuɣ

5,374

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #137422

Rzu ɣer usmel Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef Seen Timagit n tkebbwanit

Aɣawas n ulugu yesseqdac asekkil e s wuḍuf amecṭuḥ s serif, d taɣunt tageyumitrant tamenzut i uskan n talɣa n tesila n wallen. S useddu n yisekkilen deg lemri, aɣawas yessnulfu-d taɣdemt yemsemseklen i yeẓẓulun aftay n ukatar. Iferdisen imaynuten n serif ttwabeddlen d tiledwiwin timeggayin, i yeqqnen isuraz iberkuten i d-imettilen tiṭ akked tlensa. Anagraw-agi amẓawan amecṭuḥ yeǧǧa-d azagar yețwaseggam gar iferdisen, i yețțarran taɣuri d tayes akked wemsefham deg waṭas n tusiwin, seg tewqisin timecṭuḥin n ufaris ar iskanen imeqqranen.

Asmekti

Ɣef Tarbaḥt A' Design Award n Uzzal

Seen Timagit n tkebbwanit d amerbaḥ n Tarbaḥt A' Design Award n Uzzal, tagmat i yisnulfa yelhan i yemmalen ayen i d-ttrajun yimdanen seg yisnulfa yelhan. Imerbaḥen n Uzzal ttbanen d tmusni, tmahilt d tazmert n yimahilen-nsen. Seen Timagit n tkebbwanit ad yili d asnulfu yettwaɛezzen, yelhan, amaynut. Isnulfa-a ttwaɛezzen imi ɛawnen deg tudert, rran ddunit ugar n lxir.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: 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.
Tigejdiwin & Akemmus: 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.
Tibzimin: logo design, visual identity, logotype, corporate identity
Tasnakta n Ufares: 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.
Asewḥel n Usnulfu: 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.
Anadi: 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.
Aseḥbiber: 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.
Tanzagt n Usenfar: 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.
Tanila n Umahil: 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.
Igmamen n Terbaɛt: Nima Emamverdi