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Why has Finland ranked the happiest country in the world 6 times in a row?

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Why has Finland ranked the happiest country in the world 6 times in a row?

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When I started designing my publication, I wanted to capture the spirit of Salah and its profound significance to me. I first began experimenting with a variety of design components, such as infographics and word manipulation, and with time, I improved my approach through feedback sessions. Due to this, I meticulously adjusted my design outlook, from the font choice to the page layout, in an effort to find a balance between readability and aesthetic appeal, which through trial and error turned out better than expected. Despite requests to include Arabic in addition to English, as shown through testing in the 8th version, I stuck to my intent of highlighting the language's beauty in its cultural context without the thought of making each text Arabic. The reason being, my intention was to encourage intercultural understanding through the combination of Arabic and English, and I wanted to provide an insight to non-Arabic speakers on the elegance of the Arabic language on ways it can be communicated and understood through the relevance of Salah.

Through extreme care to detail and a commitment to professionalism, I wanted to express the importance of Salah and its significance to myself, along with the way it has provided me with continuous contentment throughout my life. For the final publication, I had it professionally binded and printed, as I wanted the finish to be elegant with a silk finish, further emphasising the seriousness of the subject. With the binding, as opposed to stapling or using string, I opted for a black soft back binding, directly complimenting the navy blue front and back cover. Upon reflection of this projects completion, I feel overwhelmed with a sense of satisfaction, having been able to effectively communicate the beauty of Islam and the transforming effect of Salah, this publication serves as a reminder to my creative vision as well as a message for others to discover the profound comfort and joy that comes in praying Salah from a Muslims perspective.

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Upon coming across this infographic of a man praying in Salah, it sparked an idea. In this example, it showcases an infographic of a man in a sitting down action whilst praying. It also shows a breakdown of the design which essentially turned into a form of branding. What stood out to me was the minimalistic approach and the use of 3 shapes. Taking inspiration from this, and as the brief is typographic based, t my intention is to create the actions of Salah using the letters from the alphabet manipulating it as the different movements during the Salah.

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The publication's creative style, which featured gaming nostalgia, compelling graphics and text, blended really well together, especially how it transitioned over to the double-page spread. The vibrant colour scheme used throughout, encouraged me to experiment with a variety of colours and arrangements in my own work and gave me inspiration for my publication despite being illustrative based.

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This was a plan Belinda had made for me which consists of my final idea which has now been slightly amended. As shown in the first image, we began planning how many prayers there were, alongside how many units of prayer there are within each Salah. I did inform her that I wanted to showcase the Fajr prayer (containing two Rakats/units), which is the first prayer of the day and the overall aesthetic which Belinda had brought to my attention was to use a combination of Arabic to English within the text. Upon showing her my accordion design, she stated that the designs were too detailed, and recommended a shift from the intricate designs to an infographic style. For this reason, she also stated I incorporate the illustrations in the bottom corners of the pages in a smaller size, so they are less prevalent.

On the second image is the layout plan she made for me which is an A6 document size. And through this have facing pages alongside the plan for the margins, headings, font sizing, body text and leading. This plan was reflective based on the accordion I created and my original intention to create a pocket sized booklet which later shifted to A5

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Soft book binding method professionally printed

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Soft book binding method professionally printed

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Fonts used:

Britannic Bold-Regular

Nobel-Regular

Jomhuria-Regular

Gill Sans-Bold

The Seasons-Bold

IBM Plex Sans Arabic-Regular

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Upon printing another spread in university I was surprised on the image quality and how it far surpassed the quality which I had done from home. The issue however was that the image had pixilation similar to my original print from home, and so my intended action is to take it into Adobe Lightroom and readjust the settings. In regards to the trimming of the pages, because I didn't set any bleed settings nor trim marks I was unable to trim the sheets as there would be problems with the overall sizing of the spread.

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This was a test print I conducted in university which showed a notable difference in quality as well as the sizing of the publication. I feel the a5 size document ensures better handling and inclusivity and I'm really proud on how this turned out.

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This was a test print I tried from home, however it didn't turn out as expected. Having originally made my document using an A4 document approach, I then realised after printing, that this publication sizing isn't my intended size I want to go for, and didn't fit the criteria nor context of my publication. Because of this issue, the original heading font had resized and it wasn't in the margins of the page. Another dilemma I faced was with the image quality, alignment and font size due to the resizing of the document, which took me an entire day to readjust.

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This is my first spread of the publication which I chose to breakdown, and my intention behind this spread was to first introduce the readers to what the meaning of Salah is in the Islamic faith. I also wanted to implement the text going across the double page whilst showcase my numbering of both Latin and Arabic text overlay in the bottom left corner. Having taken inspiration from Quentin Li's project called "Numbers" , I wanted to use the number 5 which highlights the significance of the 5 daily prayers we as Muslims pray. Alongside this, I first began implementing Arabic text in overlay green "Salah" with the thought of repeating it five times to represent the 5 daily prayers also.

After receiving feedback, I was told that the spread is overwhelming, hence, I removed the unnecessary phrases. For the phrase "Congregation" the idea was to use a condensed font "EB Garamond" to represent the closeness of Salah. With the idea to keep it cohesive using the Arabic text, I decided to showcase that in the spread and use the font IBM plex sans Arabic overlaying the English text. Through this approach I lowered the opacity so it doesn't conflict with the English text. As for the background colour, I decided to shift away from the bright yellow to a more subtle colour, which better compliments the brown and black text across the page. After careful consideration, I used a green font colour for my numbering as well as a pinkish red for my Arabic overlay. As with my newer experimentations there is a change in font size due to creating my publication in A4 originally to now an A5 which I feel better suits my preference.

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This spread in particular is one I'm particularly fond of the most throughout the publication, inspired by the magazine layout shown in the first image. The reason is due to the way the text is manipulated around the sun, although, as I progressed and the layout changed, it didn't reflect the enveloping of the sun, nevertheless, this is a style I was personally inclined too which helped progress my design. At first I used the Jomhuria Arabic font as opposed to the standard Adobe font which I was requested to find more variations.

In regards to the layout, I wanted it spread across the double page however there was some minor adjustments to be made to the hierarchy of the Arabic text including the font size. Because of this, I changed the font to something more subtle called IBM plex sans Arabic which I feel best compliments the text above, as well lowering the font size. I was also given advice from Belinda to make adjustments to the heading from "Fajr prayer" to "Dawn Prayer". She also mentioned I should separate the Arabic text on two lines due to it being a lengthy sentence, alongside making the decision myself to tighten the spacing between the Arabic and English text.

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The contents page was the most meticulous and time consuming part of the book, as there were several versions as a result of testing and refinement. I first started out using traditional numbers, but began experimenting with a combination of Arabic to Latin numerals. However, problems began to emerge with the double digits, as I was having difficulty adjusting the sizing and spacing.

Despite this minor setback, I tried my hardest to refine the layout and it turned out better than expected, and the integration of English to Arabic text throughout the publication was a success. The Arabic overlay's ideal sizing and colour combination alongside the green came about as a result of the multiple refinements required for the book layout spread. Now, I believe the contents page guides readers throughout the book with ease, serving as a proud testament to persistence and creative progress. I am fond of how the green numbering contrasts well with the white background similarly with the pinkish red arabic numerals

I also wanted to keep the headings consistent using the same font "The seasons" from the front cover as well as the navy blue background. On the opposite side I implemented the Arabic translation of contents and have retained this visual identity throughout the publication.

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These are some of the contents page inspirations which I was fond of. I did like the variation of them and the creativeness that each contents page displayed. The first contents page was inspiring to me as it showcased an overlay of numbers. To me, the Annual Report 2024 : Mercy Corps with its large "Contents" title alongside the spread of the numbers and text across the pages interested me. It was something different as opposed to the conventional approach of the numbering on one page. The third design although similar to the mercy corps had a little more creativeness when it came to the boldness of the "contents". It also added more visuals with the red strips as well as the style of the double digits numbering. As for the final contents page, and the first of its style that I've seen, was intriguing. I liked the unconventional approach of using images as opposed to just numbers as it gives the reader an insight of what to expect throughout the publication.

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These are some ideas and inspiration for the design decisions I made from a variety of front covers. In particular, the Arabic design containing different style of stickers stood out to me, through its use of colours and large text which I believe added an extra cultural feel, encouraging exploration into the various themes mentioned. I came across the second poster which posed a more formal approach, indicating a serious tone which I felt expressed elegance and professionalism, through its use of gold and green colourway. In the third design, it seemed unique in the sense that it displayed the use of Arabic text shaping the camel. And the final front cover design from Magculture which is my favourite amongst contains a vivid overlay of hot pink on a pink backdrop alongside teal lettering, which I believed added vibrancy and creativeness to the design, bringing attention to the sharp contrasts. I found each cover offered a different perspective, and elements which I drew inspiration from that aided in the experimental stage of the front cover design process.

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I wanted to showcase this spread in particular as it a one that I made a lot of amendments to. With this spread the idea was to reflect the 5 daily prayers which includes the timing of the day they are prayed and how many Rakats (units) are performed. In response to Belinda's I made a lot of progress on this. The style I had originally intended to go for was a simplistic approach, however, it developed into a more visualised design, reflecting the time of the day with the various colours. An issue I was having the most was with the phrases "Maghrib" and "Afternoon" due it having the most characters on the spread, problems began to arise with the spacing. Because of this, I had to readjust the columns, font size/ font, colours and re-arrange the InDesign margins spacing. Personally, when it came to visualising the colours alongside the prayers, I didn't like the process and felt it was out of place but it soon developed into a design less overwhelming and more recognisable.

As expected, when it came to the feedback session from both Fran and Belinda they had mentioned that the overall feel of this spread wasn't cohesive. Due to this reason, I experimented with getting rid of the colours, but the right side space was empty, and I still felt the colours best represented the nature of the timings of the prayers. Furthermore, instead of stretching the colours across the page I felt it was best to add it to the side, which helped fill the space in, and I now felt this design outlook served best in emphasising the timings of the prayers without it being too overpowering. Overall I feel it is a successful approach in response to the feedback.

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Arabic calligraphy for beginners, explaining the double pencil method

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For the design I realised that it is difficult to measure out the edges, for when it came down to cutting. Due to this reason, I performed another test print with a black border but I didn't like how it turned out

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After issues with the background colour of the illustration, I decided to make it a slight grey background to portray it as a window. It came out much more successful than the previous beige background and progressing forwards I tested to see how it could look through a stapled and holepunch method. However it didn't turn out as expected.

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This is a another poster design I designed which evokes a deep sense of connection and reflection through a blend of spirituality and imagery. The poster contains a Muslim lady raising her hands in supplication whilst light is illuminating from her hands, conveying a calm yet powerful message of faith and salah. I positioned the text accordingly to complement the centred image, in a way that improves readability and understanding for a larger audience. A verse from the Qur'an is added to the poster, which adds authenticity and strengthens its meaning. In addition to giving the poster a modern feel, the hashtag #contentmentinsalah encourages viewers to discuss how prayer can bring about peace and fulfilment. All things considered I decided this poster design was effective in itself in communicating the power of Dua in Islam

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I'm intrigued by eL Seed's boldness in implementing his own Arabic calligraphy style, and pushing the boundaries with his large-scale sculptural concepts. I feel his eagerness to push the limits of his craft promotes a lot of confidence and proactivity with his outcomes. I like how he uses his talents to bring attention to neglected regions, as demonstrated by his project in Nepal. Like his earlier designs, this project challenged social norms, and promoted harmony, by carefully combining calligraphy and modern art. His integration of the community into his works, promotes a sense of shared ownership and connection, and that's what really stands out to me. His curations go beyond mere aesthetics, rather to encourage thought and inspire change.

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Mohamed Zakariya's proficiency with calligraphy, using the conventional bamboo Qalam, represents proof of his authentic approach. His intricate creations eloquently and respectfully honour the Arabic language, and not being of Arab origin himself, I respect his dedication to maintaining and promoting the beauty of Arabic calligraphy. Zakariya's work strikes an emotional connection with me because of its artistic beauty and how the it is the language of the Quran in Islam. I feel Zakariya leaves a lasting impression on the cultural significance of Arabic calligraphy, by bridging cultures and fostering a deep respect for the art of Arabic calligraphy through his creativity.

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This is the first spread design I was in the process of curating. In response to Belinda's feedback I implemented my illustrations on the bottom corners of the pages, however, I felt the spreads felt out of place. The overall layout contained a lot of empty spaces and I came to the conclusion that the illustrations be removed from the publication, instead photographs of myself performing each action. After having spent a lot of time on it, the choice was really hard to make although seeing as the publication is typographic based, and even though I was told I could still include it in, this experiment was lacking in the creative sense.

I did although like the way in which I positioned the English and Arabic text which also included the steps. The issue was at times as shown in step 3, there was a lot of text that filled the page, however, when it came to step 4 there wasn't as much. Because of this the spreads didn't have a cohesive approach. I also tried to implement the Takbir infographic but it felt lost within the publication.

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It was both a humbling and exciting experience to practice Arabic calligraphy using a Qalam (bamboo stick) and ink for the first time. It felt like a privilege to be holding the same instrument that many Arabic calligraphers have used throughout history. As I began to draw the Arabic letterings, it felt like time stopped and I felt a sense of relaxation, and it was quite challenging at the same time.

Before buying the Qalam I tried replicating the its effect with a double pencil method, but was unable to match the authenticity. Likewise, I used a slanted marker, but it didn't produce the results as expected since the ink seeped through the paper. Despite the difficulties, there was a sense of respect for the art form and an ambition to become better in it.

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This is a style I discussed with Belinda after receiving feedback on using too many illustrations for my publication. Through this design outlook I wanted to showcase the 5 daily prayers whilst still implementing some form of illustration, but not as prevalent as a figured form. The concept was to emphasize the timings of the prayers throughout the day, what each prayer is, and its significance. I feel I best portrayed that in this creation process.

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This is the final colour palette I used in my publication. Upon receiving feedback that I was using a lot of colours for the background pages throughout my book, I decided to stick with my original colours but add 2 more as I felt these two additional colours aided in the visualisation process. I also included an additional 6 colours to one page only as this colour palette depicts the timings of the Salah's.

I felt the combination of warm hue colours and darker tones of the colours allowed the publication to flow more freely, rather than sticking to one form of colour palette i.e all colours pastel. In this sense, it gives the book a better contrast, and allows the publication to convey its message of the concept of prayer through its uplifting message of faith, and connotations of inner serenity, to a wider audience.

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For these front cover designs I was testing multiple design styles inspired by the magazines and front cover designs I came across. Through these concepts, I wanted to implement the use of Arabic to English overlay giving the viewers and insight into the significant relationship between Islam and Arabic. By doing so, I began showcasing many different fonts and colour choices imbedded in my designs to place extra emphasis on my choice of topic. As for my final front cover design, I'm really proud on the way the front cover turned out as my intention with the design was to go with an overlay style aesthetic inspired by the magculture front cover. I used the Seasons font and ensured the J and the L connected to create uniqueness and elegancy. Alongside this, I implemented the use of Arabic to showcase the relationship between Islamic culture and Arabic.

My intention was not to make a dual language fusion but rather serve as a design aesthetic reflecting the inclusivity of the languages. Through this, I wanted to express the cross-cultural understanding and appreciation of the Arabic language as it holds a lot of importance to me and to all the Muslims around the world. While my intention was not solely to target one specific group, e.g for Arabic speaking or English speaking, but rather a publication that transcends linguistic and cultural boundaries, offering a unique perspective that celebrates language diversity between English and Arabic.

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To create these these infographics I used Indesign, utilising rulers to ensure accuracy and careful attention to detail. It was an enjoyable experience to draw and create infographics that captured the essence of Salah in Islam, as my goal was to go a little further and show the nuances of the specific actions during Salah. I would say I enjoyed the process, but in comparison to the existing graphics with my previous illustrations, and laying it out, I found the final designs overwhelming. Due to this, I made a halt to the iteration process as there didn't seem to be any further progression, seeing as the next actions after the Ruku position (bowing) would be hard to visualise in a typographic form. Even though these infographics aren't on my current publication, they serve as reminders of my creative process.

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Having come across Reza Abedini, I noticed the way in which he manipulates the Arabic text through his visual imagery/illustrations and is something I found very fascinating. Abedini skilfully blends Arabic calligraphy with images, finding a balance between tradition and contemporary design to create graphically intriguing compositions. These designs create a sense of visual balance and expresses his cultural richness and the beauty of his cultural fusion . I feel his work is quite influential and reminds me of the renowned graphic designer Stefan Sagmeister through his  effectiveness of artistic design which goes beyond simple design rather a meaningful experience.

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I came across this Instagram account recommended by my lecturer and having gone through the account I feel the designer Pascal Zoghbi creates a lot of impactful design, combining both Arabic and Latin letters together elegantly. The posts felt like they were never ending but in a good way, as I was learning a lot on the idea of overlapping of Arabic to Latin text, and felt he created a lot of engaging visual compositions through his use of overlapping, opacity overlay, a variety of colour schemes, and unique typography. With each design, the combination of these scripts created an interesting harmony that bridges the gap between language and culture. 29 Letters Madrid demonstrates a lot of knowledge with the Arabic and Latin alphabets through sophisticated calligraphy and contemporary digital art, producing intriguing works like as mentioned previously that go beyond language barriers.

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Baseera Magazine features a fascinating visual aesthetic seamlessly integrating Arabic and English in its headings, providing an unique multilingual fusion. The magazine's use of illustrations to imagery is visually appealing as  through the colour schemes it helps enhance its visual appeal. Through this direction, it effectively captures the elegance and complexity of the Arabic language. Every element of the design, including the font,layout and imagery is created in a way to provide the reader with an enjoyable visual experience. Baseera Magazine delves into the shift of language, art, and design, celebrating diversity in culture and fosters mutual understanding through its design.

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Reza Abedini, father of Iranian contemporary graphic design

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Reza Abedini, father of Iranian contemporary graphic design

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This article talks about the renowned Iranian graphic designer Reza Abedini and how much of an impact he made on Iranian graphic design. It draws attention to the ways Reza influenced modern Persian graphic design, especially in the years following the Islamic Revolution in the 1990s.

It is mentioned that Abedini is a leading figure in the second generation of Iranian designers , having come after the likes of Morteza Momayez. Abedini's work has received international recognition despite Iran's political situation, helping to preserve Persian style and culture.

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Graphéine - Agence de communication Paris Lyon

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Portrait of Reza Abedini - M. Bahmanpour - 2015

Reza Abedini, graphic designer in Iran: a job, a legacy

To be a designer like Reza Abedini in a country like Iran is to carry within and recreate a 3000 years old extraordinary artistic, visual and calligraphic heritage. To follow the footsteps of an extremely rich history, that of an immense Empire that once became the artistic foundation of all surrounding civilizations. The kingdom of Persia has influenced not only Arab but also Western, Asian and African societies in the fields of architecture, sculpture, visual arts, writing and manual techniques.
Despite being torn apart by conquests, wars and enriched by various cultures, Iran has nevertheless distinguished itself from the Arab world developing its own language (Farsi) and culture, making it a singular country. As in other Muslim countries, it made great use of calligraphic art, of which arabesques and illuminations were used to sublimate the Koran, the sacred text.

Beaming on the world during antiquity, open to the West in the 1960s and then reclusive during the Islamic revolution of 1979, the country has gone through more or less favourable periods to visual expression. Despite the bad image conveyed in the media, Iran is nonetheless a high place of graphic design, recognized on the international scene, and full of talent.

Father of the post-revolutionary creation

Reza Abedini is the leading figure of the second generation of Iranian designers, post-Islamic Revolution (1979), from the 1990s onwards. Born in 1967, he trains, teaches and transmits his knowledge inherited from the first Iranian graphic designers who were trained in Fine Arts and Western graphic design, like Morteza Momayez before him. Far from creating in a closed-door environment, despite the political context, his work is recognized internationally, and seeks to perpetuate a Persian style and culture.

Posters from the book Reza Abedini - Design&Designer #26

A member of the International Graphic Alliance and the Iranian Graphic Designer Society, he has been teaching at the Fine Arts Department of Tehran University (the 4th largest in the world) since 1996, in parallel with his work as a freelance graphic designer in the cultural field. In Iran, fine arts and graphic design are intimately linked. And because he is a renowned professor and graphic designer, the majority of contemporary Iranian graphic designers have been influenced and trained by Reza Abedini himself. He is thus THE leading figure of the post-revolution following Morteza Moyamez before him (figure of the pre-revolution).

In perpetual research, "he gradually abandoned the inherited codes from the previous generation, to establish his own stylistic language elements. A style determined by the techniques and their limits, silkscreen printing, its large screens, and perhaps also its dull colours on tinted, kraft paper", underlines Alain Le Quernec in the issue of design&designer (Pyramid editions) devoted to the Iranian graphic designer.
In this BBC excerpt that we have condensed, we can see Reza playing with letters as well as with pictures. Stylized handwritten lettering is indeed considered as a visual discipline and an image in its own. It has today a major place in all forms of Iranian artistic expression, which Reza Abedini was able to reinvent.

As we stated in our article on the genius of Iranian graphic design, "the art of calligraphy is still considered to be the most accomplished of the Applied Arts of Islam, and is widely used in Iranian graphic design. (...) It is a major element, even supplanting the visual (whereas it is mostly the opposite in our culture). Words and images intermingle to become one, letters become illustrations. One cannot grasp the meaning of Iranian graphic design without considering the importance of the text for this culture."

Willing to assert a contemporary Persian graphic design, Reza Abedini is passionate about typography and Persian letters and draws fonts in Farsi alphabet. Without being purely calligraphic, his work is resolutely modern, while remaining in line with Iranian artistic codes. He thus mixes the codes of contemporary art and Persian calligraphy to create what he calls "persianity". Indeed, it must be made clear that typography as we know it in the West has nothing to do with Iranian typography.

A typo-calli-graphic work: letters as images

In Western typefaces, typography gives energy to the letter; a meaning, a sensibility, an essence, from the designer to the user. The same sensitivity that was lost in the shift from hand to machine, from calligraphy to typography. However, due to their characteristic forms, Persian letters are imbued with an energy of their own, from which they are indissociable. They are almost always calligraphic, handmade. Before Reza Abedini, Farsi was not (or very rarely) digitized, and lithography was a very widely used medium for making posters or advertising supports, as these letters were almost impossible to type. Reza Abedini also asserts that "Iranian typography does not exist as such" (extract from Roshanak Keyghobadi's essay What is Typography? January 2015). If we want to make a pun, we could then speak here of typo-calli-graphy, in its primary Greek sense: the art of writing beautiful graphic characters.

Persian typography design requires the designer to work hard to create not only letters but also multiple type combinations with each other, depending on their placement in the word. For, as in the Arabic language, letters merge to create new ones. The Iranian designer Sina Fakour, whom we met in Lyon and who shared with us some graphic resources about Iran, also completed his memoir on " Arabic writing, from manuscript to digital" (project 9/28). This typographical difficulty can be better understood with the image of Fakour's work below, which shows that depending on its position in the word, the letter will be visually different (click on the image to enlarge).

Similarly here, Sina Fakour uses and rearranges the letters of the word "vote" to create new words: "yes" and "companionship". A pun impossible to grasp in European culture, often seeing only the beauty of a folklore.

He gets this idea from this calligraphic heritage, just like Reza Abedini. The particularity of Persian typography, in contrast to Western typography, lies in the fact that it sublimates and combines this inherent energy and brings its aesthetic criteria to life, as Saed Meshki explains in his essay " What is typography?". (what is typography) (2004).

It is almost impossible for us to grasp all its nuances and references, but we can nevertheless appreciate its composition, colours, patterns and arabesques.

Posters from the book Reza Abedini - Design&Designer #26

Reza Abedini's work has been rewarded many times, notably for the best film poster in Iran, or at the Chaumont poster festival. He has also received awards at poster biennials in Mexico, Iran, Hong Kong...

Posters from the book Reza Abedini - Design&Designer #26

If you want to learn more about Iranian design, its origins and current representations, we recommend you to read our article on the genius of Iranian graphic design!

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Reza Abedini, father of iranian contemporary graphic design - Graphéine

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Portrait of Reza Abedini - M. Bahmanpour - 2015 To be a designer like Reza Abedini in a country like Iran is to carry within and recreate a 3000 years old extraordinary artistic, visual and calligraphic heritage. To follow the footsteps of an extremely rich history, that of an immense Empire that once became the artistic foundation of all surrounding civilizations.