Introduction: Extensive development of written interactions in the current world of technology in one hand, and noticeable dominance of English language in this milieu on the other hand, has led to inadequate utilization of Farsi language even amongst native speakers. Lack of experimental data regarding legibility and readability of printed and electronic texts related to this language has been the main theory behind the current research, which was designed to evaluate correlations between typography and reading performance.Materials and Methods: Eighty-four Persian speaking university students, without any specific visual impairments participated in the study. Frequently used Farsi fonts, edited in equal pixel areas and sizes, were evaluated through legibility and readability tests. Word detection and word search techniques were considered for each test. All trails were designed within similar visual interaction conditions to avoid any background biases.Results: Statistical analyses revealed correlations between typography and readying performance in Farsi (compared to English). Amongst six frequently used fonts studied, legibility was significantly higher in Yekan (t(83)=-2.649, p=0.012). Likewise, readability was significantly smoother in Zar font (t(83)=-2.194, p=0.037).Conclusion: The current approach towards classification of Persian fonts confirms the outcomes of the present study. Fonts frequently used for development of body of the texts usually have higher legibility, and types used for presentation purposes mainly possess higher readability.

“ Kinetic Typography” , or what is also known as the “ technique of oration using kinetic text” , is a branch of Visual Communications wherein, by integrating text and motion, it communicates the personal, emotional, and semantic characteris  tics of the text, and in the end, manipulates the attention of the viewer with a specific intent. The emergence of Kinetic Typography in the early twentieth century as a powerful tool in visual communications set the s  tage for scientific and experimental s  tudies about the effectiveness of this communication medium on information transfer processes. The result of these s  tudies, along with the technological challenges of the new age, lead to the emergence of a discourse which deems focusing merely on readability and attractiveness of various characters insufficient, and seeks to unders  tand the qualities and potentials of Kinetic Typography as a communication medium in information processing and also in its ability to conjugate and express a message. Aiming to achieve a s  tructured model, this s  tudy focuses on Kinetic Typography in the visual learning sys  tem with a Semiological approach, and gathers and analyzes data using a descriptive-analytic method, utilizing library and internet resources. By categorizing the characteris  tics of Kinetic Typography in different forms and media, and also by analyzing methods of creating visual content in visual learning, this s  tudy focuses on the ques  tion: “ By what characteris  tics does Kinetic Typography improve visual memory in visual learning? ” . In answering this ques  tion, through s  tudying exis  ting Iranian and international scholarly literature on “ Kinesis, expression, and creation of meaning based on visual thought and cognition” , the s  tudy comes to the conclusion that Kinetic Typography can be effective in better unders  tanding and relating to subject matters by the merit of its bringing spatial, temporal, and kinetic potentials, as well as expressive signs based on meaningful cognitive models, to the creation of kinetic learning materials. Kinetic Font, which is an attribute of novel outlooks towards text, makes possible a unique interaction experience with more effective and efficient potential for communication, more expressiveness, and attractiveness, compared with traditional approaches to text. Motion technology and its potentials create an attractive playing field to show the Semiological changes of Typography. It also creates a suitable vessel for the creation and presentation of kinetic Typography’ s abilities in this novel media atmosphere which will, in the end, lead to the effective exchange of information and knowledge. Additionally, with (1) the presence of reader in the role of viewer, (2) involvement of the audience in the context and formal relations of the text via variety in Kinetic Typography’ s behavior, and (3) with the improvement of the process of reading and comprehension and aiding the interpretation of a new layer of text as a way for transporting the audience from one thought to another in an axis of time, it increases the text’ s comprehension time.

Along with the social changes of the twentieth century, a new critical trend has emerged in social and artistic fields. Graphic design, as well as other fields of visual communication, has been influenced by these developments and developed new functions and approaches. Typography has undergone many changes as one of the most important issues and has not only been transformed by getting out of the traditional form, but has found special functions in social and social communication, which has become today one of the most important areas of visual communication. the relationship between graphic design with different fields such as cinema and digital art is becoming more and more elaborate. At the same time, by considering different aspects such as time, motion, and complementary non-visual elements like music to typography, its same to assume that were on the verge of acquiring a strong tool which can be manifested through kinetic typography. The increasing popularity of animated typography with a variety of critical themes in recent decades raises the important question of what are the most important visual measures used in the design of animated typography and what strategies do they use to induce meaning? This study aims to study the most important visual animation strategies for expressing critical meanings in animated typography to study the visual elements in animated typography. And then, by analyzing examples of critical animated typography, he explores the visual capacities and capabilities of animated typography in expressing concepts and especially critical themes. The sample community is works of animated typography with critical themes obtained by purposeful searches on video upload websites. The results show that kinetic typography has a great capacity to express critical narrations through society, culture, politics, and even auditory channels. Kinetic typography is an interdisciplinary process that can communicate between literary texts, poetry, music, cinema, and etc. Kinetic typography has a special communication language which can facilitate the understandings of the audiences by adopting a critical, neutral, or placid tone. And there is a special communication language that confronts the actor, the audience and the community. It also shows how choosing a typeface, thickness, distance, type of direction, type of movement, speed change, composition, color, frame, etc. can make sense of the meaning of an audience by creating a promising, indif-ferent, slow, or rogue tone. An animated text, acting through narration and storytelling, acts more efficiently than a static text, and facilitates the trust of the audience by facilitating the transmission of information by visual appeal and evasion of uniformity. It can be a louder voice for screams and critiques of the designer by acoustic elements, in completing text and visual elements Also the results of sample analysis show that the most important features of Critical kinetic Typography works are: use of expressive letters, synchronization of the letter form with the content and message content, inconsistency in the size, style and weight of letters in message text, message readability in short time And limited, limited use of the figurative image, and limited color variation in each sample.

Digital typography is the evolving form of verbal communication in smart societies. This type of communication originates from the new communication needs in twentieth century media. In this article, which is aimed at understanding the principles of digital typography, the first question is how different types of typography were formed in the transition from the printing age to the digital era. For this purpose, at the beginning, the ideological dimension of the transformation of printed typography into dynamic typography is evaluated. Then, by analyzing how digital typography is formed and transformed in digital media, it was revealed that following The crystal Goblet visual poetry and the perception of the same observation, in a clear, expressive and interactive typography, respectively, which formed the role of the reader, and then from reader to viewer and finally leads to the user. The second question is about the origin of different types of verbal communication, within these three types of typographies and the role of that origin, in the development of specialized principles of digital typography. Thus, based on documentary research method, various forms of verbal communication in print, dynamic and digital media are analyzed from the perspective of McClellan and Manovich; and finally, the four principles of usability, meta-textual, limitation and interactionism are explained and presented in a graphic diagram based on Joyce's studies and also considering the origin of media and their determining role in shaping the principles of digital typography. In short, digital typography is the result of the idea of receiving the same observation, which, according to McClellan's theory, extends a new artificial organ of the human body. This type of typography is understood by the right hemisphere of the brain, and since the role of the audience in relation to this typography changes from viewer and listener to user, it is an interactive art that with the help of these four features, a kind of multifaceted verbal communication and simultaneously creates; verbal communication that in the past was limited to visual and auditory communication through speech and writing.

The experience of an artifact can only be contained in space, and the interpretive trade between the audience and the work of art, forming aesthetic and semantic relations only occurs in a space. The emergence of concepts such as the virtual reality, has challenged the certainty of the senses, and the well-known human experience of the space dimensions And it has made it necessary to rethink and review the traditional ways of sense analysis-so far more defined in architectural and urban discourse, with a physical approach-This paper examines the role of space domains in the interpretation of art from a phenomenological and descriptive-analytical perspective and explores the role of truth and authority in producing the aesthetic meaning and experience of the work. In this paper, the main issue is the analogy of the physical and mental understanding of a place and its effects on the understanding of artwork and How human perceptions of the reality of place and perception of art have evolved through the design of virtual spaces? The results of dimensional exploration of space that deal with the relationship of the work and the audience have led to the pathology of deleting the actual dimension of the place in the representation of the work. this creates a crisis called human deconstruction, and the attempt to experience the effect only in the immaterial dimension reduces the observer’, s experiences to a lower level of perception. In the experience of a work of art, during the process of making sense of a historical object or any work of museum value, three pillars are known to be effective in communicating between the work and the audience. The first two part of this relationship is the work and the audience and The third part can be considered the place. We are discussing it in this article. The performance space is the context in which the experience of the work, its meaning, and the whole interpretation of the work are formed by audience. But today experience of place is not necessarily physical experience and is not defined exclusively through its dependence on physical components. In this case, space, as a factor in meaning making and interpretation, can be physical and tangible, or subjective and virtual. It can be argued that the foregoing issue is the product of the present age and has not been such a subject until the last century. Because the experience of the museum space, which until then was only influenced by the physical presence of the artist at the show, is now being challenged by the evolution of the art form. As the audience’, s intellectual infrastructure changes from the ex-perience of the work, many spiritual concepts and physical realities of the museum and artwork are viewed in a different way. As museums of the present age seek to familiarize their audiences with the subject matter, nature, and meanings of the works in various ways, the importance of one’, s physical presence in the material “, place”,in relation to the representation of the work is questionable.

There is no doubt that technology plays a key part of almost every improvement in different sciences nowadays. As a case in point, digital typography is considered as one of this advancement achieved constantly through solving the technology limits, reinforcing its possibilities, and sometime innovating in it. However, there was less concern for these opportunities and challenges, and Very few researches have been done in digital typography chronology, documentation and even in translated Persian resources. Considering all of above-mentioned aspects, the author aimed to understand and access to the opportunities and challenges of the late 20th digital typography in its early appearance. To this end, this paper gathered data from library sources in order to employ descriptive-analytical method for scrutinizing the history of type design in that period. Thus, it addressed two following questions: first, what opportunities and challenges did early digital devices present to digital typography? The second is what potentials and limitations diverse digital formats have for type design? Regarding to the publication and display of digital typography in monitors and printers, the first hypothesis is that the impact of early display devices and printers’,developments–,processing due to the improvement of some pivotal limitations and sometimes as a result of reinforcing potentials and innovating in these devices–, put forward some pivotal opportunities and challenges to digital typography. Furthermore, digital formats–, nearly ten of which are divided into two groups named raster and vector–, varied to make digital devices appropriate for utilizing type design potentials, and sometimes mitigate inferiorities of devices. Consequently, the second hypothesis is that the variety of raster and vector formats formed to adapt type design potentials with digital device inferiorities–, resulted in bringing constantly some substantial opportunities and limitations to digital typography. In order to realize these hypotheses, this paper started with the statement of the problem, and then in the second part, it opened the discussion on research literature by reference to four main available sources. In the third part titled “, opportunities and challenges of digital technology in the 20th type design”,it attempted to answer to the paper’, s two research questions in two separate subtitles named “, possibilities and limitations of type design in digital devices”,and “, possibilities and limitations of type design in digital formats”, . Moreover, based on the hypotheses, each subtitle was organized into two specific parts so as to analyze the role of digital devices and digital formats in type design. Ultimately, in the part titled “, Results and suggestions”, , presenting two lists of challenges and opportunities (one for digital devices and another for digital formats), it reached a conclusion that digital devices have always had some significant possibilities and limitations for type design containing compatibility with display and printing features, scalability to small and large sizes, the quality of representation and image resolution. In addition, the use of the 20th digital formats have continuously generated fundamental possibilities and limitations for type design consisting of putting letters into geometric precise grids, economizing storage space, and inspiring from calligraphy traditions.

Poster design is considered as one of the most important branches of graphic arts in Iran and other countries. It is in fact a guiding statement manifested as an indicative language. As visual purpose the relationship between image and letters is very important in posters. Today design of letters or typography has developed the visual possibilities and has functioned parallel with imagery. History of poster design and graphic arts in Iran and other countries shows posters with dominant use of the letters rather than pictorial elements, a fact that indicates the graphic potential of letters and its functions in this field.In the Iranian plastic arts in particular graphic arts, typography has a distinct position because of its particular aesthetic and functional possibilities, which has especially found a new definition and function in the field of typography. Because of aesthetic and structural features of Persian letters, it is distinguished from the Latin typography. These features are sometimes considered as disadvantages and sometimes as potencies by the experts. This article aims at studying the features of Persian letters with a typographical expression in poster design and exploring the functions of letters and or text, and the role of typography in poster design plus introducing some approaches. The information is resulted from laboratory studies and using the analytic and descriptive methods, and the research focuses on a structural study of Persian letters.The results indicate that the knowledge of (formalist and narrative) types of Iranian typography has a significant positive effect on the process and outcome of poster design. The role of legibility (informativeness, beauty and visual appeal) of the poster in the visual process of poster design is one of the important points to which every designer must fully attend. Understanding the visual characteristics of Persian letters, its possibilities for calligraphy and using that are fundamental principles for graphic designers and typographists. Knowledge of the role of letters as “legibility agents”, “challenging visual elements and agents” and “aesthetics agents” is important in the process of letter designing. Attention to the visual potency of each letter and visual potential (to create special effects) is directly linked to the use of the letters in typographic process.The methodology is based on descriptive and analytic approach with the gathering data from library.

The environment has been endangered and subjected to destruction in the modern life for various reasons, including the creation of industrial factories and its consequent air pollution, the increased amount of plastic and destructive waste, the felling of trees, the pollution of wetlands with chemical waste from factories and many events that have incredibly resulted from urban civilization. Obviously, destruction of the environment results in the destruction of all living things on Earth, including human beings. For this reason, there is an urgent need to raise people’s awareness about environmental protection through various methods and ideas along with the modern society development. In this regard, recycled art has presented its projects throughout the world from the beginning with the aim of environmental protection with a variety of disposable materials. Considering the importance of environmental goals and based on the responsibility they felt to protect the environment, contemporary artists presented works to the society that were gradually introduced to the world as recycled art. This art, which creates its works from waste and disposable materials, has pursues such a goal, and it is related to both environmental protection and the category of art and works of art. As an art mainly concerned about environmental protection, it has introduced itself to the society during and before the contemporary era. Recycled art is a reminder to humans, especially the producers of industries that disposed materials can be returned to the cycle of nature, and it is emphasized that recycling art in typography works remind the unfavourable environmental condition and prevent some overconsumption in the daily life of humans. This requires human’s knowledge about environmental protection more than ever before. The long history of recycling art indicates the importance of protecting the environment at different stages of human life throughout history, and raising public’s awareness of the history of recycling art can help them to understand these works and their environmental goals, better; and more importantly shows the originality of this art and its environmental goals. In this regard, artists and even humans who subconsciously spent their daily lives passing on the use of recyclable and disposable materials to future generations have a share in this great mission. Therefore, recycling art plays an influential role in society and the contribution of this art to the design and implementation of typographic works with the aim of protecting the environment is the focus of this study. This study provides a comprehensive definition of recycling art and describes the background of this art in ancient societies and times as well as the use of it during different years in different styles and its combination with artistic techniques, with a focus on the goal of environmental protection. This study defines typography as one of the graphic design-related arts used in various works of art and graphic design, both for advertising purpose and as a purely artistic painting in front of the audience. It also mentions the background of typography and describes its role in cultural and artistic projects in experiences with these works in various sections of graphic design, including posters, book covers, environmental graphic design, billboards, etc. The purpose of this study is to investigate the relation between recycling art and typography as an independent work in line with environmental goals. The question it seeks to answer is: "What is the relation between recycling art and typography in environmental protection?" It used a descriptive-analytical research method and collected its required data through literature review and the Internet.Based on to the purpose of the research, it examines a number of typographic works of recycled and disposable materials in the world which, in addition to a high advertising effect on the audience, remind the audience of an environmental message any way. The results of the research indicate that works can be created by combining the recycling art and typography, from disposable materials with a thought-out composition in accordance with the visual principles of graphics to advance the advertising goals. This study examines the implementation of disposable materials in typographic works in order to emphasize the objectives of the research to preserve the environment and to reduce the production of destructive waste and return it to the life cycle. It is hoped that seeing these works and understanding their resemblance to waste and the reuse of disposable materials in a new way by the audience will change the lifestyle of human beings in order to protect the environment more. To use waste in typographic works, we should focus on choosing the material type of the disposable materials as much as we focus on the design of letters. In graphic design, disposable materials are used in typographic works taking into account readability, which is an important principle in relation to the audience, the arrangement of letters and the type of material used, as well as the effort made to maintain the readability of words and have the same type of disposable material to avoid disorder and coordinate with the client’s advertising product. An identical material can contribute to readability, as one of the major goals of the typographic work in front of the audience. However, different disposable materials can sometimes be used together depending on the subject and type of advertising product. It depends entirely on the graphic designer’s thought as to the selection of the type of material to create a work with an appropriate and harmonious composition in accordance with the goals of the client and to attract the audience. To examine the recycling typography works, we need to consider the role of letter grading. The arrangement of letters according to a regular grading makes it easier to use different materials and provide a better result from the composition of letters. Typographic works made of disposable materials can also be attractive to the audience as they convey the intended purpose of the client to the audience. Investigations into typographic works involve examining disposable and recyclable materials such as fabrics, cardboard, disposable glasses and various types of plastic materials (bottles, plastic bags, plastic bubble wrap, etc.) in the creation of typographic design works. For example, plastic bottles are reused in the design and implementation of decoration, environmental graphic design, painting and sculpture with the goal of environmental protection. This study also deals with the use of these disposable materials in typographic works. Collecting and sorting waste lead to the creation of letters with different disposable materials in static or horizontal shapes, depending on the state or subject of each typographic work. Paying attention to specific colour variations or colour combinations in this type of recycling typography works is also important. Typography with waste and disposable materials as recycling art includes not only fabrics, plastics, etc., but also wasted materials in nature, such as leaves. Leaves in a new composition can create different typographic works. Disposable materials are also used in typographic works with large dimensions in an environmental layout in environmental graphics, an example of which is examined in this study. In general, as shown by the  studied works of art, waste and recycled materials can be used in combination with letters and words in a typographic way in each part of graphic design works such as the design of magazine or book cover, posters and environmental graphic design. It is also possible to think of waste even in making animated graphics and design and present it to the audience using different visual techniques and methods. Recycled materials in typographic works are waste materials that we see during the day without taking notice of them. Reusing them in typographic works is a new and different perspective that will contribute a lot to building the culture of environmental protection in the community. In general, these works, while attractive, encourage people to reuse disposable materials and provide the cultural ground for environmental protection, thereby raise people’s level of environmental knowledge and creating an interest and sense of responsibility to preserve their environment and greater participation in environmental protection. 

    Urban elements, as key components in the design of public spaces, play a significant role in beautification, reinforcing local identity, and conveying cultural-social values. They can also become urban symbols and identifiers. calligraphy and typography in urban art serve roles beyond textual communication, contributing to cultural identity, environmental aesthetics, and social interaction in public spaces. This research examines the application of calligraphy and typography in designing these elements and their impact on aesthetics, identity creation, and functionality. The main research questions are: 1) How have calligraphy and typography been applied in the design of urban elements? 2) What are the functional differences between Iranian and international urban elements derived from calligraphy and typography? Previous studies related to calligraphy and the use of typography in urban arts have focused on two main categories: formal aesthetics and content analysis—specifically national identity. The primary aim of this study is to identify the potential of calligraphy and typography in shaping urban spaces and creating distinct identities within them. The research method is descriptive-analytical, employing comparative analysis to evaluate the visual form and content of selected works. Data were collected through field and library studies, with a statistical population comprising twelve urban elements from different regions of Iran and the world that incorporate line and typography, ensuring maximum diversity in form and content.In analysing the samples, urban elements were evaluated based on three criteria: function (representational, expressive, utilitarian), visual form (figurative, non-figurative: typographic), and viewing angle (single-angle, multi-angle). In the next step, their form and content were compared.The "BUS" bus stop in Maryland, USA, functions not only as a typographic art sculpture but also as urban furniture and an interactive space for sitting and waiting at the bus stop. Beyond its aesthetic value, this work has practical functionality, serving as a resting area and shelter against weather conditions.The "Alphabet Climbing Wall" is an example of urban elements with an educational identity function, designed for play areas and educational environments. This creative structure introduces children to the alphabet interactively while enhancing motor skills, coordination, physical readiness, and muscle development. It integrates education and entertainment, using bright and warm colours to create an attractive and interactive environment for literacy development.Typography in urban art has the potential to create identity and transform elements into urban landmarks. In the design of the "Museum of the Future", the exterior facade uses curved Thuluth script, harmonising with the structure and conveying depth perception, doubling the aesthetic appeal. The text on the body is designed typographically, symbolising innovation, progress, and future aspirations, aligning with the museum's mission to explore technology, science, and humanity. This artistic design respects Arabic calligraphy while presenting Emirati cultural identity in a modern format.The "Mirror" installation in Texas exemplifies the use of typography for social purposes in urban spaces. This sculpture, combining white letters from various alphabets, conveys a message of human unity, emphasising that humans mirror each other and share common roots. Designed to create visual calm and harmony with the environment, it allows audiences to physically interact with it. The work symbolises globalism, cultural diversity, and the power of language in fostering cross-cultural communication. It serves representational, expressive, and utilitarian functions, aiming to explore language and communication as tools for unity and mutual understanding.Some urban elements transcend their functional roles to become symbols. The "LOVE" typographic sculpture is recognised not only as a symbol of love but also as a message of human solidarity and hope in public spaces. It has been recreated in various forms, including postage stamps and jewelry.Interactive typography in some urban elements, such as the three-dimensional "Hello" installation, often sparks curiosity and interaction in audiences, creating a dynamic and engaging urban environment by offering a new experience.An example of combining typography and urban art is the "Type Character" project in Rotterdam, Netherlands, which creatively addresses societal needs and urban contexts. Designed to create an interactive and visually appealing space for the community, especially to support skateboarding culture, it highlights the importance of letter forms and functional proportionality.Some urban elements represent different styles and evoke specific feelings in the audience beyond their written content. The "Ha Ha Ha" sculpture, created in 2019, focuses on laughter and joy, reflecting Philippe Berry's unique style inspired by pop art and neo-realism. The use of red colour, combined with playful and abstract forms, emphasises happiness and laughter. The overall work evokes expressionist art.In most Iranian urban elements, the application of line and typography primarily includes representational and expressive aspects. These works are often designed using traditional scripts like Nasta'liq, Shekasteh-Nasta'liq, Thuluth, and Naskh, with religious or ceremonial themes. A notable example is the urban element at Shams Tabrizi's mausoleum in Khoy, where the poet's name is inscribed in Nasta'liq alongside geometric and floral patterns, evoking nostalgia and national identity. Similar works with religious themes, such as symbols of Imam Reza, appear temporarily or permanently in various Iranian cities during occasions. These elements are typically two-dimensional and readable from only one angle.Kufic architectural script, known for its geometric forms, spatial balance, and compatibility with architecture, holds a special place in Islamic art and Iranian brickwork. Today, it is used in urban elements with religious themes, such as "Bismillah," combining traditional writing with modern sculpture to create a strong visual impact. However, issues like reduced readability from multiple angles and sharp edges negatively affect their interactive functionality and identity-building potential.Urban squares, as focal nodes, shape visual and spatial identity. In Zahedan’s Imam Ali Square, the design emphasises visual and structural aspects over readability. Considering the mounted audience, readability is secondary, prioritising aesthetics. The four-sided design allows readability from different angles, but the use of dark, neutral colours reduces visual dynamism.The "pictorial script" style, a historical Iranian typographic technique, places letters within a visual form. The "Mahi Nowruz" element in Mashhad exemplifies this style, combining the red fish and New Year prayers to create a ceremonial urban feature. The red colour, symbolizing joy and warmth, enhances readability, while the Naskh script conveys sanctity and reflects Mashhad's historical and religious identity. However, limited readability from certain angles remains a weakness.An analysis of Iranian works shows that the use of traditional scripts like Nasta'liq and Thuluth reflects historical and cultural identity but has limitations in readability, particularly for non-Iranian audiences. In contrast, international works emphasise minimalist designs and high readability, fostering greater interaction with audiences and focusing on universal concepts like unity and human connection. Comparative analysis reveals that domestic elements often prioritise representational and expressive aspects, while international works also consider utilitarian and interactive functions. Shared features include the use of three-dimensional typography, play with positive and negative space, and attention to colour contrast. However, neglecting proper lighting, scale, and environmental harmony in some domestic works are considered weaknesses. Ultimately, creatively combining traditional art with modern design techniques can lead to elements that are aesthetically appealing and responsive to cultural and social needs of urban spaces. Attention to design standards, readability, and audience interaction, especially in utilitarian works, is essential for urban element design. The results indicate that line and typography, combined with creative design, can meet the aesthetic, cultural, and functional needs of urban spaces, strengthening urban identity and enhancing the quality of public spaces.

One of the most common motifs in Iranian art is flower and bird. The companion of a botanical pattern along witha bird is rooted in Iranian art and culture. The present analysis seeks to answer this question: what are the conceptsand roots of the flower and bird motifs in Iranian art? And how has it appeared in contemporary Iranian typography? The purpose of the study is to recognize the background and various forms of flowers and bird in Iranian art, especially Persian miniature, as well as to identify the mythological concepts of these symbols. According to theresults of the research in Persian and Zoroastrian mythology, plants and birds companion is described in the formof the myth of Simorgh and the life tree. In Iranian works, Simorgh is usually drawn on the tree. Before Islam, thetree and the bird motifs was also seen in the works of art. In Islamic calligraphy and the drawing, the bird symbolis created through the conjunction of the letters. Iranian typography is one of the areas of the advent of flowers andbird motifs in Iranian contemporary art. In these works, the flowers and birds are sometimes used alongside thewriting or sometimes in a separate form alongside the Persian text. The research method is descriptive-analytical. The method of gathering library content is through note taking and illustration interpreting. The method of dataanalysis is qualitative.