HONAR-HA-YE-TAJASSOMI (HONAR-HA-YE-ZIBA )
Year:2009 | Volume:- | Issue:38|Papers Count:13

Industrial design is attempting to answer physical, emotional and functional needs of human by including different fields such as product design, transporting design, interaction design and etc. Products have various functions and appearances, due to their users' specifications. Nowadays design is getting more specialized. The user needs are classified in two categories of physical and emotional. Physical needs can be divided to ergonomics, safety, usability and functional needs. Emotional needs can be divided to aesthetic and symbolic needs. Product design is a complex activity which aims to improve a product and answer users' needs. It should be mentioned that the goal of product design is not only providing users' physical needs, but also concerning psychological aspects of the user is very important. Products in advancing market should be design to provide users' interest. Concerning users' emotional needs can provide users' interest. Nowadays there are practical methods in emotional design. The interaction between user and product is very significant. Today users' emotional needs have a great influence on product design. Therefore, in order to persuade people to buy, there is a need to design products with the emotional considerations. Many attempts have been made to bring emotions to product design systematically. Quality Function Development (QFD) and Kansei Engineering are two systematic methods which can be used to design emotional products. In this paper QFD and Kansei Engineering are used to study users' interest in product design. Firstly 100 ladies wrist watches were selected among 1350 ladies wrist watches. These 100 watches were chosen based on their differences characteristics and design. 22 properties were defined for selected watches. Then these 100 watches were clustered in 10 categories bases on the defined properties. Clustering was used to find out the most related properties for each watch. A representative watch was chosen for each category. The representative watch covered the most number of properties in each category; therefore 10 watches were selected to be studied. Kansei Engineering was employed to study the watches. According to the choice of domain in Kansei Engineering, the representative watches were studied with 14 Kansei words. The study was done by questionnaire and interview. 96 ladies, between 20-30 years of age, were selected randomly. During the study users facial reactions also were observed. The participants were asked to evaluate each watch on 14 Kansei words. All data from questionnaire and interview were analyzed in SPSS software. The analyzed data showed that there is direct relation between the users' emotions and properties of the watches. As a result for each representative watch some Kansei words were recognized. It means that Kansei words described users' emotions on each watch. Due to the findings, it was concluded that the users' emotional needs were translated to product properties.

The Iranian world has a well-established Tradition of images that goes back to antiquity. The structure relation between text and image become increasingly intricate in illustrated manuscripts, at least from the middle of fourteenth century onwards. These links can be observed through the composition and layout of the paintings. These relations seem to be expressed in some Persian poetical texts. It would be interesting to know if this relationship between painting and text found during the classical period of Persian painting had some theoretical basis. The Theory knows as the «seven principles of painting» can throw some light on the subject. Although probably drawing on an earlier literary tradition, this theory appeared in Safavid Iran, and this theory represented an attempt to link painting to calligraphy in order to give the former some sort of legitimacy in Islamic Art. The study of such a theory can through some light on the relations which existed between calligraphy and painting. Some technical aspects will also be discussed through the study of the seven principles of painting and related terminology. These seven princeples apear in a number of texts on the art,such as Abdi Beg Shirazi's Poem, Dust Mohammad's Preface to Bahram Mirza Album, Qutb AI-Din Mohammad Qissakhan's Preface to Shah Tahmasp Album, Qadi Ahmad's Gulistan-i hunar and Sadiqi Beg's Canon. The Historical Circum-stances which made the formulation of this theory will be also considered. The earliest reference to seven principles of painting seems to have been made by Abdi Beg Shirazi in his Rowzat al-sifat, without naming them. But Qutb ai-Din Muhammad Qissakhvan names them in his preface to Album «As in calligraphy, which has six styles, in this technique [i.e, painting] seven styles are to be found: Islami, Khata'i, Farangi, Fassali, Abr, Daq ,[Vaq], Girih.» The list given by Sadigi Beg is slightly different: Islimi, Khatai, Abr, Vaq, Nilufar, Farangi, Band-l rumi. Qadi Ahmad gives almost the same list as Qutb al-Din. Vaq in his list to be in sixth styles of Persian Painting. All the operations described by these authors seem to deal with book painting and bookmaking. But this should be noted that the seven principles of painting were not limited to bookmaking. The most spectacular and earliest painting which decorate the borders of Persian manuscript pages are something of an enigma. The convention of elaborate border paintings which included human figures did not re-emerge until the early 12th century. The small paintings of such incidents as warriors fighting, Khusraw watching Shirin bathing or Majnun in the desert, which occur in the borders of pages in the Iskandar Sultan miscellany, are far outnumbered by geometric and Islimi motifs which occur in many different combinations of design and color. They include what is probably the earliest example of an Islimi bearing human and animal heads, the vaq design, so-called after the mystical tree which hung with heads in Place of fruit. The variety and style of Vaq painting, as sixth principle of Persian painting, is discuss in this article.

In this article, I tried to study the influence of Sasanid Simurgh on the Islamic and western art. The immigration of this mystic (Simurgh) started from the Sasanid period and continued after the fall of Sasanid by the Arabic invasion. This deportation happened through the cultural and commercial exchanges, and the imperial presents sent to the other Empires by Sasanid kings. Sasanid Simurgh is different from what was describing in the Persian literature. The physical composition of Sasanid Simurgh is very considerable: traditionally the Simurgh's head was not like an eagle's one but a dog's ,a camel's and lion's, and it's legs resemble to the lion's legs, and it's wings look like the feather of the bird and it's tale resembles the  peacock's tail. In my study I offered the classification of Simurgh according to its tail only, other features are not included. These pictures can be classified in four main groups, and each one has subgroups. The Peacock Tail is seen in four types within the artistic senses. The first type of Peacock Tail shows a Simurgh drawn as a volume filled with the geometric motifs. It is almost similar to an ornamental hemicycle which its top side is getting larger that the bottom. The Byzantine artists were interested in this type of Simurgh image. A huge number of artistic senses were created in their period presenting the Sasanid Simurgh in an ornamented form; the Byzantines silky materials are of its clear samples. This sort of Simurgh image permeates Armenia too. It is appeared in the form of the ornamental wall paintings over the Armenian Church. In addition, the Christian artists used this Sasanid Simurgh in decorating and drawing on the religious scriptures. The effect of the Peacock Tail on the religious scriptures is observed within some of the paintings drawn in them. The Sasanian Simorgh type one has also found a high position in the Art of Mediterranean countries. A number of various artistic senses such as materials, poultries, metallic vases, coffins, etc. with images of Simorgh on them being discovered in Italy, Spain, Egypt, Syria, and Morocco, confirm this hypothesis. On the other hand, the Islamic art has widely used this imaginative creature. The art of the Islamic countries around Iran, and the art of the Islamized Iran after the Sasanian period held the heritage of Sasanian Simurgh on such artistic senses as metallurgy, drapery, and pottery. The Sasanian Peacock Tail is observed within the miniatures of the Ascension of the Prophet Mohammad particularly in some of the miniatures of His steed. The second type is almost similar to the former. The difference is that some sorts of decorative and ornamental elements including herbaceous patterns and abstract forms were added to the Peacock Tail. The third type shows a sort of Simurgh that has an imaginative appearance. The forth type has a tail which is like feathers and fire flares. Consequently the Simurghs on the first group that is, those with peacock curved tail to the upright position are more in number in comparison with the other groups. This is a good evidence for more popularity and effects up on the Arts and civilization of the other peoples.

Persian painting used to be dependent on Persian literature for decades. Among Persian poets Nizami is one of the most famous storytellers of 7th (13th A.D) century. Containing elaborations and outstanding pictorial power, his valuable works and especially the masterpiece of "Leili & Majnun" is imitated by poets in various schools and is painted times and times by different miniaturists in different courts. Through the whole story, some parts like the section in which Leili's husband dies has been rarely noticed or painted in comparison to most parts. This paper studies this painting and compares it to Nizami's poem on the same subject. Due to Nizami, in spite of loved by Majnun, Leili is forced by her family to marry a wealthy man Ibn-e-salam. In this part of the story, Nizami explains his death and the reaction of Leili toward it. Although she is mourning so sadly, but in fact she is heartsick of Majnun's absence rather than her husband's. The painting, named "Soge shoye leili", also shows this morning. The loyalty of the painting to the poem and revealing a common subject by means of two different Medias are the notes this paper is dealing with. The miniature belongs to a manuscript of "Leili & Majnun" of Herat-school in 9th (15th A.D) century which shows obvious traces of Bihzad the great master or his students. Most scholars ascribe it to Sheikhzadeh, one of his talented students who founded the basics of Bokhara-school after immigration. Having certain skills in his own field, the painter did not restrict himself thoroughly to the text. Neglecting the poem's explicitness about Leili's solitude, Sheikhzade has painted a crowded realistic mourning ceremony by special aesthetic elements of Persian painting without any mention to Nizami's story or even highlighting Leili among other mourners distinctly. The single line of poem at the top of the painting, like the Persian painting tradition, has no direct mention to the story. On the other hand, creative constitutions of some poetic elements to details of the miniature, has made his work maintain the relationship with the poem through some indirect similarities. For instance all Leili's behaviors described in the poem are being acted out by other people in the scene, whilst their irregular composition symbolically indicates her complex feelings, satisfied but also slightly sorry for her husband's death. Furthermore, utilizing dull and drab colors has reinforced grim atmosphere of mourning versus sad terms implied in the poem. With his tools of colors and lines, sheikhzadeh did not posses Nizami's expressive ways to uncover Leili's mixed emotions. Thus, on the contrary to Nizami focusing merely on internal aspects of her feelings in the poem, Sheikhzade has depicted the scene from his own external point of view. This difference in two artist's concentration center is the dominant point of two works. Consequently both factors, attributions and limitations of painting and also special viewpoint of the painter, lead to totally different works despite of deep integration.

Islamic Persian painting has always been in deep relationship with rich and brimful of Gnostic and wisely gestures and interpretation literature and painters also have tried to reveal these meanings in their paintings. One of the most important sources of illustration for Persian artists is quintet of Nizami (Khamseh of Nizami) through the different periods. Because of Nizami's special style in imagination and description of various stories in the quintet, Persian illustrators have much interested in illustrating its' stories. Persian visual arts are just like as precious treasure which their peerless images have remained as a memorial by their pure artists for the men of knowledge and opinion. One of the glorious periods of this art has manifested in Safavid age .In those times, great artists became appeared and numerous schools based on traditional book binding and scribing and illustration were established .After than great manuscripts, were illustrated that each of them is a valuable heritage of this country .One of the most important artistic schools at the early Safavid period, is Tabriz school. Tabrizas the capital of Iran in those days was a cultural and artistic center and splendid manuscripts, like Shah Nameh (Book of the Kings) of Shah Tahmasp were illustrated there. Other remarkable manuscripts of Safavid period, is Khamseh (Quintet) of Shah Tahmasp, which is keeping in British Library .Fourteen remained illustrations of this book are a typical of Tabriz school. For the first part of this book, Makhzan alasrar, the Treasury of Mysteries, three illustrations have been done by two famous painters in Safavid period, Sultan Mohammad and Aqa Mirak. Each of these two painters has tried to reveal hidden aspects of Nizami's poem in their illustrations. In the fourth discourse of Nizami's Makhzan al-asrar, the moralizing tale with which it ends recounts the woman who complains of abuse meted out to the poor by his officials, Sultan Mohammad with his profound insight, has skillfully arranged his composition in the illustration of " Sultan Sanjar and the old woman" in order to show struggle of the old woman against injustice of Sultan and similarly Aqa Mirak has done the same thing in illustrating the second discourse of Makhzan al-asrar which is about Sasanian king Nushirvan, who became separated from his hunting party with only his vizier for company, finding themselves in a ruined village which in its' two owls are speaking about Nushirvan's injustice. He has tried to show the disaster of Nushirvan's age by various visual and symbolic signs in the painting of "Nushirvan and the owls". The review of these three illustrations and notice to relationship between pictures and the meaning of stories and also, their visual specification, relation between visual elements and potentialities, and their relation with concept and meaning based on Nizami's poem in each painting, is the subject of this research which has been done by descriptive and analytic methods.

This article present tries to analyze the symbolism hidden in the origin of creation of art and the generation process of works of art as been represented in the applicable pattern of "ascent" and "descent", which in itself act as a general theme for the Creation as a whole and humans' gem as an example. Is the shining effect of this pattern throughout most of the Islamic art tells of an even more sophisticated meaning and Great concepts and is an indicator of a journey from being the one, to being the many, from solitude to socializing. It also reminds us of the fact that all artistic creations are originally based on sacredness and inspirations coming from the God, His kindness and attention. The true manifestation of art is in the world of meaning and his own presence. The artist makes contact with the world of meaning, using the medium of "Presence", and using their understanding in all of his wishes and teachings attempts to create works which are all presentations of worship and devotion. In this research, we shall try to delve into the depths of spiritually fulfilling concepts such as "arches", "domes", "fountains", and creations of the same league, which captivate the on-lookers and heighten their spirits and witch help it to face with the Higher World. Such a research will show that this ascent to higher worlds, and the descent that follows, is a symbolic reference to worshiper's bowing, kneeling and standing before a single being of the higher ups. It maybe said to be artist inspired by the nature and human reason, by creating a work of art, shows aspects of beauty and majesty of God. Because he knows, all things are symbol of God's names. His efforts to pass the multiplicity of unity go toward the God. So the spirit of works of art is going out into objects and then to go to the elevation and soar and then faded grandeur and glory of God and bowed and surrendered to for the God. All the works of art is in their meaning constrains that they are shining, because they will accept of the beyond the word. With this view is that it can be to painted the rise and prostrate with inspiration from nature and claimed that human beings with the revelation that all indicate, and it is efforts to prevent the revolt and slavery expressed against in great God. In Iran, there has been the creation of art in different areas such as the epic poem, architecture, sculpture, calligraphy and etc, the periods of very old. And can be received divine manifestation in the works of art created that such as mirror transparent and clear that taken from the inner nature human's. And go toward worship and praise of God. And kneeling and standing before a single being of the higher ups. And the result it, lead to the prayer and worship for God.

"Laszlo Moholy Nagy" is one of the Famous and well-known artists of 20th Century which has significant art works in a variety of art fields. At first he completed his education in law then engaged in learning art and chose "Constructivism" as his art style. This research which is a Comparative-Causal one has been done by referring to valid reference books on art and also some valid graphic sites and analyzing the data obtained from them. This artist has many art works in the fields of letter design, photography, painting, sculpture, film making and etc. which despite of their different nature and field presented in the text of the article- a basic and dominant similarity is seen among them as a whole. It can be said that by creating a work another one is created from it and by inspiring from it influenced by "Constructivism" style. Considering the studies conducted, We can suggest that initial education of this artist in Law, a field with an orderly and organized nature, is most likely not without relationship with choosing "Constructivism", an style with similar Characteristics, as the dominant style in his art works. The subject of this research is finding the grounds of his tendency to Constructivism. With a closer look at this artist's life, it seems that at first his personal and spiritual characteristics led to his selection of law for study and considering the nature of this field which was "Nagy's" field of study before his engagement in painting, it has likely played a major role in organizing his orderly and regular manner through a mutual effects which these reason- based qualities and the art study Constructivism are comparable to some degree. Therefore perhaps the earlier education of "Moholy Nagy" has had some effects in his tendency to Constructivism in the art world. Works presented in this text are completely in harmony with Constructivist qualities and keeping modernist functionalism, free from including details in them. These characteristics are attainable by dominance of reasonable order in accordance with culture and society surrounding the artist and emerge in the context of the harmony of all conditions which the modern civilization period can be thought as overcoming of the reason-based aspect. On the other hand many various visual words in the field of latter design, photography and photogram, volume and painting have been created by this artist that in addition to the fact that they have completed on the basis of different art platforms, but are completely similar in terms of structure and configuration. This can be on the basis of the Constructivism philosophy which believes that "everybody accept one basis and principle as the rule and logic and select his method on the basis of it". "Moholy Nagy", on the basis of the same rule, has applied very apparent similarity in some of his words or perhaps because of having that order-seeking and Constructivist spirit, tendency to creating such works has always been with him.

The present research deals with verbal and visual values of the Persian alphabet. Man had achieved common results in this respect in the course of the history, and graphical forms are believed to act as a strong bridge between the man and the universe. The theoretical research is aimed at responding to fundamental questions in this respect including those concerning scientific and historical reasons; and finding the unknowns that in certain ages have stained the totally scientific roots of this phenomenon due to their mixture with superstitions and wrong beliefs. The field research is aimed at maintaining a relation between the art of graphic and the applied grounds of the letters, irrespective of their legible role, toward conveying mysterious concepts in daily life. To this end a total of 30 plans from among the main claims were studied. The examination was conducted in the form of a questionnaire in four general categories of content analysis including symbolic analysis such as: Propositional analysis, syntactic analysis, referential analysis and contextual analysis. These categories encompass various reviews in terms of visual elements existing in the plan, elements existing in the syntactic rules of the letters, structure of the conveyance of the concept to the audience and finally revision of the original concepts existing in the literary works. Data of the questionnaires were deducted by means of matrix. The meaningful statistical findings included the use of many choices with the eventual result that in order to communicate with the audience within the propositional analysis, the designer used the an extended horizontal rectangular framework as well as directions of the vertical and horizontal letters with a semi-dependent inactive and visible structure with an occupied flat space and sustainable, colorful and dynamic attraction, axial configuration, forms consisting of plane and line with reciprocal contact relation and an integrated consistent texture. In syntactic analysis and plan, the letter and meaningful morphemes are discussed together with a focus on these letters on the golden division of the boundary and by using the Corsican line in the form of line and plane with a priority on the letters inside the planes and the average size of various figural and Arabic and non-dotted letters in connected and disconnected forms, which create rhythm, and the letters with open and closed loops. As for the referential analysis a kind of textual relation was involved and the character of the letters dominated mysteriously. In contextual analysis direct functions of information and indirect concept together with an unknown function were observed. For the theoretical research a historical compilation of religions and customs and a scientific compilation including: physics, medicine, and psychology were employed toward establishment of certain metaphysical phenomena, something which had a remarkable share in conduction of the field research. The contribution of the theoretical study of this research, along with the analysis of iconic content performed from different angles, reveals the fact that the characters designers, by way of deploying their hidden meaning shave formed characters' visual energy to achieve a virtuous goal.

Symbol is a term. A term or an index which has some paradoxical meanings, in addition to its conventional meaning. Symbols are not innovated, they come from human's creative dreams and imaginations and they show unknown things. Old men didn't think about their symbols, they lived with them. So we, as interpreters of dreams, should pay attention not only to the symbol by itself, but also to the existential integrity of those people using it. In this regards, cultural symbols, which are used to define immortal truth, changed in the passage of time and in this process, they entered to the conscious part of the mind and finally they, in the shape of some indexes, were accepted by cultured societies. The value of these symbols lies in the power of them to guide us in the way of understanding the relationship of life's truths. Historically speaking, it was the study of dreams that enabled psychologists to consider unconscious aspects of conscious psychic events for the first time. Our dream's symbols are the messengers of instinct part of our brain to rational part and they are not independent of viewer's mental dreams. These symbols are the result of individual's personal experiences and the environment around him/her but some of these symbols are common among all people in all times, so in the study of symbols, it is necessary to be familiar with society and historical conditions of symbol maker. Based on Jung's psychology, similarities between today's human dreams with early human mental and group representations and myths themes can be observed in these collective symbols. Jung called these common symbols, between early human and civilized human, as archetype and he said they are off springs of human collective unconscious. Many scientists, philosophers and artists owe some of their best sketches to inspiration which suddenly come out of unconscious and the genius is not anything but availability intelligence to rich roots of this essence and effective change of it to philosophy, literature, music or scientific discoveries. In these cases, a sketch or an index comes from unconscious to conscious and philosophers and artists represent what comes to their conscious part as an artistic or philosophical work. It is the awareness of these archetypes and common conscious, from Jung's point of view that can be used in interpretation and criticism of such works. The writer, based on this view, had studied the present symbol of some sketches of Shah Tahmasb' Shah Name. This work, following the book's themes- the Shah Name which has mythic themes - is full of symbols. Although the present symbols in the works of painters of this Shah Name was effected by poet's work and the writers' point of view affects painter's point of view, but painter, as an independent artist, in the time different from poets' time, remained some of his desired symbols in the work and both artists had a perfectionist and sublime view to Iranian element and they call every aggressive movement as sectional and mortal.

In the Iranian art history, most of the reliefs are from the Achaemenian period and represent the artistic basis of this period. The reliefs of Persepolis are the manifestation of the thoughts of artists who were bound to their proper principles and beliefs. Therefore, they tried to create works which accorded to the social classes. All the faces are apparently alike, but the creators of these statues made a slight difference which was the criterion for the recognition of each of them. The achaemenian artist follows defined rules; the difference in reliefs of human groups in Persepolis indicates that the beard-style would change in accordance with the social class. So, three kinds of beard-style can be seen in Persepolis: short, medium and long. The soldiers and ordinary people have short beards, because naturally they are not in a high position. The nobles have long beard and their beard-styles are different from that of the soldiers because they are in a higher position from soldiers. The kings are in the highest position. So, they have the longest beards. They have also the highest dignity materially and spiritually. With this classification we can find out the material and then the spiritual position of the people by looking carefully at any one of them. By comparing the reliefs of Farvahar and Daryush we can understand their similarities between the beard-styles of these two, which show the relation between relief of Farvahar and that of Daryush. The Achaemenian artist has made a resemblance between Farvahar and Daryush, paying attention to the beard-style in order to show the spiritual dignity of the king. Employing the beard-style in the reliefs of the Persepolis also implies that the Achaemenian sculpture has had in mind the aspects of realism and these styles are considered signs for recognizing different groups of people. Definitely, the same classification existed in the real world. Using the beard-style in the reliefs is not limited to the Achaemenian period. Paying attention to the existing works which date back to the period before Achaemenians, we can find out that beard had been an indicator of one's dignity and superior position. As we see in the relief related to Daryush, the king has a longer beard. Certainly, the idea of using beard-style in artistic works in this large scale has been taken from very old thoughts which rooted in the ancient beliefs of the people in that period. It had been a tradition which had come down to the Achaemenians. The artist had used this method intentionally to express his ideas. To create such works, the artist, having returned to his artistic originality and composing the reality with symbols, has created a? Work in which, comparing different groups, one can see the elevation of art in accordance with ranks. The sculptor believed that the reliefs which had higher social and intellectual rank deserved the best artistic creation. Thus, divinity is the basis of the art in question, and the beard-style is a good means to this end, because it represents the spiritual side for Iranians.

This paper is concerned with emotional design, which can influence user experience and combine it with happiness and enjoyment. Emotions have a crucial role in the human ability to understand the world. The human emotions play an important role in what people think and how they act. It can be said that, emotions influence the human behavior. Today, due to the technological improvement, designing a product that has a good function and is match with the users physical needs, is not enough. Users buy a product, not only for functional aspects of it, but also they are attracted to emotional usability of the product. Therefore, designers are more focused on emotional aspects of design. The products that are designed based on emotional design are more desirable and bring more satisfaction to the user. They appear to the user to be more effective, by virtue of their sensual appeal. Form, function, material and colour are four important elements of emotional design. Correct uses of these elements in a product; evoke positive emotions in the customers. Form plays the role of an informative messenger that attracts consumers through devices, offering a unique sensibility. In emotional design, designers have translated functions into emotion through human senses. In fact emotional design generates psychological effects through physical devices to transform the nature of function. Material stimulates human sensations by vision and touch. Touch is the most analytic of senses. Colour is one of the fundamental elements of emotional designs, which can stimulate different senses of users. Colour can strongly affect the form of the product and the feeling of the user. A product with appropriate colour gets more popular and will find a good market. Appropriate colour not only matches with the form and function of the product, but also matches with the culture and preferences of the user. Therefore, in order to be able to select an appropriate colour for a product, there is a need for having a good knowledge of preferences of the users. Every single colour has a meaning and influences the human emotions in its own way. Therefore, a case study was performed to investigate the Iranian youngsters' preferences regarding colours. For this aim a questionnaire was made. Eighty five Iranian men and women between 20 and 30 years of age were studied by filling the questioners. This questionnaire contained questions about the emotions of the people concerning different colours. The colours that offered in the questionnaire were selected from the Faber Castle's standard pallet of 120. In order to analyze the results, the colour was classified to several groups, based on people trends to warm and cold colours, dark and light colours and so on. This study had two steps. At the beginning, the Persian youth general tastes were identified. Then the relations between colours and the aesthetic factors in emotional design were studied. Data were analyzed by Excel computing software. The results of this study can be used by designers for selecting appropriate colours for different products.

Today, the brand creation or branding, which is the so-called industrial identification, is one of the most common industrial terms under various researching. This word is associated with the creation of an emotional bond with stakeholders. Brand is defined as a name, term, sign, symbol or design, or a combination of them, intended to identify the goods or services of one seller or group of sellers and to differentiate them from those of competitors. This concept has been changed significantly throughout the history under the light of industrial paradigms like most of definition related to the industry. At the beginning of 20th century, it was limited to create a uniform visual identity for a corporation, whereas in the new millennium it tries to create a culture for stakeholders of companies. Researchers believe that a brand can best be described as the sum of all human experiences, perceptions and feelings about a particular thing, product or organization. Brands exist in the consciousness of individuals and of the public. Based on the subject-analysis method, two principal branding evolutions (paradigms) are introduced making use of study its evolutional process during the last century. Each of these paradigms creates specific features of a brand. Tangible features of a brand are the remnants of modernism era, and the intangible features are chiefly proposed in the context of post-modernism. Based on this attitude, in the time of modernism the duty of brand managers was to design for a culture; reversely this duty has been transformed during the post-modern period to indicate the designing of a culture. While modernist approach dealt with image making the post-modernist tendency is derived toward the creation of an identity for the corporations. In collaboration with the emergence of each new paradigm in the field of brand designing, there are relevantly novel roles introduced for those who are involved with brands in any conduct. Designers, among others, have an exclusively significant role in this regard, for whom certain roles of manipulation are presently assumable; designing corporate visual identity, communication design, service design and culture design. These four topics are namely the areas of touch in the present article, in regard with which a clear perspective of the new disciplines' birth related to brands, and subsequently the designers' role in branding is set forward. The Iranian artistic and industrial communities have less attended this subject due to the less applied studies in this filed in Iran. In the third millennium, the responsibility and role of designers in the brand designing are well much more extensive and different which is demonstrated in this research and a suitable and scientific solution is represented for branding in Iran. By making use of investigating the history of branding in the Iranian traditional society, a novelty model of branding, which is the so-called diligent pattern, based on Islamic as well as Iranian culture is presented. This sample changes the concept of branding borrowed from the western culture to the sustainable value obtained from the native culture.