Slanted Special Issue Georgia/Armenia

georgia slanted

content intro

Georgia—Borderland of Europe

Wojciech Górecki studios

Wato Tsereteli

Otar Karalashvili

XARAXURA

David Janiashvili

Ana Sanikidze

Holy Motors

They Said Books

Leavingstone

photo essays

Alex Böcker

Lea Müller & Rebecca Schell

Mia Pflieger

Dominik Kirsch

tbilisi—georgia

Wato Tsereteli

Wato Tsereteli is an artist, curator, and author. He successfully graduated from the Royal Academy of Fine Arts Antwerp in 1998. While he had enough opportunities to build an artistic career in Europe, he preferred to return to Georgia and start up creative institutions and platforms that pave the way for the contemporary art scene in Georgia. He was an Associate Professor of Media Arts at Tbilisi Art Academy from 2005 to 2014, where he initiated the Center of Contemporary Art in Tbilisi, which has become an international educative and cultural platform with a nine ­ month informal master’s program on Creative Mediation. He took us, as he did back in October 2019 for the German President Frank­Walter Steinmeier and his wife Elke Büdenbender, on an amazing tour across Tbilisi to his new project, a school and gallery.

What is your perception of the state of education in design in your country? What has to be done for a better education?

We often use the word relevant, but don’t realize that this simple word makes meaning of life. To be synchronous with the world—this makes sense of life. Now, let’s go in any university in the world and check how relevant and synchronized this institution is today. The bureaucracy of accreditation and administrative apparatus with long-term planning is not the most flexible instrument to be called education. So, either universities will become more flexible and visionary, or there will be new platforms for education.

Any tutors / books you would recommend? Why?

Just finishing a book about humans and yogis on this planet. It’s titled Death; An Inside Story: A Book For All Those Who Shall Die. This is a rare case where yogic knowledge and thousands of centuries of accumulated experience about life and death are revealed for Englishspeaking readers. It’s essential to uncover taboo and understand how life really works. Without that, we are entangled in unawareness.

What are the big shifts we need to face? Which are the ones you faced?

The biggest shifts are a gift. You don’t need to go and search them. Before you explore the world, understand who the explorer is. Kryia Yoga is a sophisticated and complex science and technology for this investigation and beyond.

You met our German President Walter Steinmaier and guided him through Tbilisi. What did you show him and what was your message?

The history of peaceful coexistence among different religious and ethnic groups in Tbilisi, and the energy that emanates from hot springs beneath the entire city, has not found resonance in contemporary Georgian politics. I wanted to accentuate that Tbilisi is the city of peace with all its components and can be used as a platform for peace talks and conflict resolution.

More than Istanbul, Georgia is between East and West…

Tbilisi is a chakra. It’s neither west nor east, nor north nor south. There are other places like that in the world. It’s also a paradox in many ways. What does not belong together elsewhere lives in peace and correspondence here.

We continued our activities at a smaller scale with various international illustrator’s workshops and exhibitions, several workshops on the creation of photo books, and on screen printing and etching, and participation at various international and national festivals. We upheld the Tbilisi Book Days festival ’til 2017, co-organized an international print festival from 2016–2018, and a large-scale action in support of Ukrainian Artists in March 2022.

During the Covid Pandemic, the activities of the Book Art Center almost ceased.

At present, we are preparing the release of 12 issues of a new artist and photo book series that will be published in the beginning of October to become a monthly periodic edition in 2024, and plan to start a new series of courses and workshops in various fields of visual creation. I also plan to begin publishing a series of Visual Language textbooks this year.

You said, that the Georgian education system is built on the wrong foundations. Can you explain?

The main issue (in addition to the general problems mentioned above) with the

Georgian University education system is its financing structure. Universities don’t receive any state funding, but have to rely solely on student tuition fees, with some students eligible for complete or partial state scholarships. This funding model was implemented by the previous government with the intention of promoting competitiveness and combating corruption, and it has been maintained ever since. Consequently, universities are incentivized to enroll as many students as they can, even at the cost of admitting young people without the necessary prerequisites. This approach leads to a significant decline in teaching quality due to overcrowded classrooms and a majority of students with low academic preparedness.

Why are decisions taking so much time in Georgia?

This reminds me of a joke: An old Jew is late for the last judgment. With a delay of almost half an hour, he finally arrives.

“Where have you been?” Christ asks indignantly. “How long can one keep everybody waiting?”

“Look who’s talking!” replies the Jew.

XARAXURA

XARAXURA (pronounced “Kharakhura”) is the first non­profit risography studio and an experimental publishing space in Georgia. Their goal is to popularize and showcase the process and uses of the risograph to the local community and provide informal artistic education related to printed materials. XARAXURA currently consists of three members: Mariam Kakhniashvili, Ana Mikadze, and Giorgi Kikoria.

What is your perception of the state of education in design in your country? What has to be done for a better education?

ANA: Education is quite a delicate topic. First of all, we can not answer the question directly, as none of the members of XARAXURA have completed their education in Georgia. However, this might indirectly indicate that the design / art education here might not be sufficient for the needs of the incoming students. It can be implied, by the experiences of our friends that study or have finished their studies, that the education received in Georgia can not really help the student to enter the job-market with confidence. Art and design, as every other discipline, are rapidly changing and developing, which isn’t adequately reflected in the local art academies. Academic curriculums, methods of teaching, or even simply the relationship dynamics between tutors and students might feel a bit outdated compared to the rest of the world. This can also be a product of underpaid staff-tutors, lecturers, and administration at the university, especially the state universities that are funded through the government. For private universities, the general situation might be a bit better, but they still are not staying up-to-date with current processes or discourses that occur in academia around the world.

GIORGI: Yes, as someone who received higher education abroad, primarily due to the issues Ana discussed, it is difficult to formulate my opinions regarding this topic. My perception of the role of design education here reflects the role of

design in Georgia in general. That is, the view on what design looks like, how it’s made, and how it functions is very rigid and, in many ways, feels like an outdated echo of Western design sensibilities. Since the economy is small and unequal, like many post-Soviet spaces, few industries get to decide on which direction it goes. Since academia tries (with debatable success) to prepare students to enter this industry, there seems to be a feedback loop. Aside from educational institutions, advertising, and commerce, there are only a few alternative spaces that can offer something different to the designer or viewer (of course, such spaces exist but are hard to navigate if you are an outsider.) If design is discussed, mostly during advertising conferences, in my experience, it is often purely technical. If the social role of design is taught in higher education, it’s usually seen as a formal exercise to develop skills that will be applied as a commercial designer (which is not that different from my education abroad to be honest).

MARIAM: Moreover, as with many other areas of study in Georgia, design studies both in state and private universities tend to unquestionably push over commercialized definitions and strict guidelines as the only viable way of professionally working in the field. Alternative and critical ways of designing are overlooked or rarely mentioned—almost as if the only way of making a living as a designer is following the path of your tutors (many of whom are strictly working in commercial design). Part of the reason why we decided to start XARAXURA was to see what would happen if we created a space where

David Janiashvili

David Janiashvili (1981) is a graphic designer and visual artist based in Tbilisi, Georgia, who studied at the Tbilisi State University Department of Graphic Art. His design work includes art books and catalogs, magazines, posters, corporate identity design for Black Sea Jazz Festival, Tbilisi Jazz Festival, Georgian Public Broadcasting etc.), photography, interior and exhibition design, installation projects, and much more.

What does it mean to be a designer / creative in your country?

It is challenging work! To be honest, most customers are not clear in their requests, so you always need to be patient and very persistent to prove that you are a professional and know exactly how to handle specific tasks.

To which part of the history of your country do you feel positively connected?

Georgia’s history is long and full of difficult times. The nature is impressive, and lots of visual treasures are scattered everywhere. Every corner of the country is beautiful and attractive in different aspects. So, I feel positively connected to every corner.

Are there any typical sayings you particularly like—and hate?

Lies have short legs.

Whose work do you find intriguing? Who inspires you most?

My inspiration is pure and authentic art, music from every part and period of the world. It’s my knowledge of art history from which I get inspiration.

Are there examples where you would say design makes a change?

My profession always makes a change. Therefore, you must feel the responsibility, as it can alter spectators’ visual and thoughtful perspectives without them even knowing about it.

Any tutors / books you would recommend? Why?

It is important to know art history in general. The painting basics. It helps you to achieve better results. And especially what is going on now, which you are part

of. It is very important to know the technical characteristics of printing to get best results and to accomplish what you originally wanted to achieve while working on the project. Explore the world of art everyday!

Which is the most common designclient misunderstanding you face?

When somebody thinks they can design / paint themselves but don’t have time for it—trying to pay less.

What are the big shifts we need to face? Which are the ones you faced?  Not knowing what comes next.

Which legacy do you want to leave?

To be interesting and profound enough to give people inspiration and enlighten somebody’s mind. I mean mostly the young generation.

What does Europe mean to you?

Knowledge based on hard work and deep traditions.

Which recommendation would you give to someone starting business?

Be happy designing. Be honest while designing. Get ready for frustrations and difficulties. Always be sure in what you do. Always do your best to develop. It’s not an easy profession. But it is a very interesting and happy journey.

Your mom is an art historian. How do we have to imagine the projects on which you work together?

My mom is Ketevan Kintsurashvili, art historian. It’s a big journey. It is based on love of our work, a huge responsibility and deep understanding to each other, art, a nd artists. Many sleepless nights, working, and believing that the result will bring a new knowledge and perception to people.

I believe that we need to embrace our past and carry it into the future. Moreover, we should approach this process with greater analytical thinking. For example, one approach I’ve found effective in my process was learning Georgian calligraphy and its history, analyzing the letter shapes, and drawing inspiration from them for my typeface design and lettering projects.

Which legacy do you want to leave?

I’ll be more than happy if I can contribute to the development of Georgian typography by assisting in creating a wider variety of typefaces for book design, and by making information about Georgian type design and typography more accessible than I found it.

Why are there so few quality typefaces in Georgia?

The issue is created by a chain reaction of factors, with the biggest contributor being the lack of awareness about typography. There isn’t enough information and knowledge being shared about the subject. As a result, clients do not understand the necessity of paying for a typeface and often choose a free font instead. As there’s “no money” in type design, designers lack the motivation to invest time and money in learning the subject, it doesn’t seem like a sustainable career choice. Consequently, you often come across designs that use the same few quality typefaces available for free or overly decorative fonts riddled with issues.

Fortunately, this is changing. Many type foundries are becoming interested in the Georgian script, which can be very helpful for a small market like Georgia. Recently, Typotheque launched a collection of over 30 Georgian font families which was very well received by the community and sparked a renewed interest towards typography. Though there’s still a long way to go, we are definitely making steps in the right direction.

Tell us about your passion for letterpress and the difficulties you are facing?

I believe that learning more about typography and gaining a better understanding of the process provides me with more space for exploration. Nowadays, most of my work is digital, and I miss the handson aspect of creating something. That’s why I occasionally take on hand lettering and calligraphy projects. Working with analog tools and doing manual labor sometimes can be quite therapeutic.

I think, working with letterpress can help to discover a different facet of the process, offering a new playground for experimentation and inspiration. Unfortunately, it is not possible in Georgia, so we have to search for workshops outside of the country and work with non-Georgian scripts. Hopefully, this situation will change in the near future.

You said: “Type designers are bad graphic designers.” How do you explain?

Let’s be fair, not all type designers are bad graphic designers; I personally know a few who are quite skilled. However, I’ve come across numerous type specimen with rather questionable design choices.

After spending months working on a typeface, it’s quite easy to become subjective about your own design. We are so focused on tiny details, black and white shapes, we forget to look at the bigger picture and have some fun with the design. In my opinion, sometimes it might be better to bring in the fresh perspective and let someone else design the specimen.

Nick Kumbari

They Said Books

Anano Bakradze, Salome Bakradze, Tako Basilia

They Said Books is a conceptual bookstore based in Tbilisi. The philosophy at the heart of it is to become more than a retail space and form an integral part of cultural ethos. It focuses on the exploration of art, culture, lifestyle, and design: handpicking and assiduously selecting books, independent niche magazines, and concept brand objects. They empower and promote local artists by providing them with enhanced bricks and mortar space to present their work. Besides creating a forum for creatives, the store launches synergetic projects with local artists.

What does it mean to be a designer / creative in your country?

Being creative in Georgia partially means being a pioneer and innovator in your particular field of work. It is both challenging and exciting, therefore interesting to work in a creative / new sphere for the market as you have to educate the customer and introduce novelties to them, even when there isn’t yet a demand.

In the immature market, you first create the supply and the demand follows— and that is not a bad thing. As mentioned, it can be challenging, but when you do it right, it’s twice as pleasureable.

What does Europe mean to you?

Europe is a state of mind—values and principles that are sacred and that we aspire for the whole country to have.

How did you start your business?

The biggest challenge, as mentioned, was the freshness of the field and therefore the unprepared customer. I guess the biggest and bravest move in this kind of market is to take the risk of whatever you believe in and follow your common sense, as there are no other tools or ready-made research to justify the idea of a business that is a novelty for the market. Nevertheless, these small acts of bravery are crucial and the most important for the country and its development.

We used to always keenly feel the lack of indie magazines, art books, books about architecture, photography, etc., in our country and used to bring them whenever we would go abroad. At some point, we saw these products as a tiny touch of western civilization for our city and our country and decided to be the ones who would take a step towards that introduction.

Do you see chance that some day publishers in Georgia will make such beautiful books as the one you have, most coming from US and Europe?

This issue is so complex that it is not simple and requires a lot of work in terms of printing techniques, pricing, etc. We need higher print runs to get better prices and printing techniques, and vice versa, we need better prices to have higher print runs. So, it is a kind of vicious circle we are in, in this particular area, which hopefully can be broken soon.

Who are your clients?

Everyone who has any interest in any creative field or literature.

What is your dream for the future?

Our dream is to have a market mature enough to be able to take more action— arrange book signings and author meetings, have books published locally without logistical and technical difficulties.

→ The overdue Ban of Conversion Therapy, digital, editorial Illustration, 2019. Client: L-Mag

Alex Böcker friendship

Since the beginning of Russia’s war of aggression on Ukraine on February 24th, 2022, the world of many people has changed drastically. They leave their homeland in search of acceptance, peace, and protection from repression.

In May 2023, I accompanied young Russians who moved to the capital of Georgia, Tbilisi, to start a new life. What unites these people is the common sport of BMX riding, the rejection of Putin’s propaganda policy, and, above all, their friendship.

Despite the severity of their situation, separated from their families, there is little of this in their everyday lives. In numerous conversations, hope and confidence for a better free life in Georgia dominate above all. Their daily life, between riding BMX and working on construction sites as day laborers, now takes place in Tbilisi. In a small village called Saskhori, two hours outside the city, they have found a new home. They live in a small house, have been warmly welcomed by the village community, and receive great support. Their hospitality and openness toward me quickly became very welcoming. So I was allowed to spend an intensive time with them in their favorite places in the city, at their home, and as part of their everyday life.

They do not know themselves what the future holds for them. Will they stay in Georgia for a long time or will they return to Russia? And if so, what awaits them there?

Alex Böcker, born 1995, is a professional freelance reportage and advertising photographer from Münster, Germany. He constantly navigates the tension between documentary and fiction. He is open and detail-oriented in both worlds, which are nevertheless quite different. IG: @alexboeckerphotography slanted—georgia

the ugly beloved child

Otto, a Georgian, wishes for his country to become economically stronger and less dependent on its neighbors. After growing up in the Soviet Union, he had the opportunity to study environmental sciences in Germany following Georgia’s declaration of independence in 1991. There, he met his wife Salome, who was studying German literature at the same time. Today, they live in Tbilisi with their two children. “We debated for a long time whether to return. We would have had better opportunities abroad. However, we wanted our children to be true Georgians. That was important to us.”

Both worked various jobs upon their return to make ends meet. For a long time, like most young people in Georgia, they lived in close quarters with Otto’s parents. Due to the low income, it was nearly impossible to lead an independent life and have their own apartment.

A few years ago, Otto met the German journalist Rainer Kaufmann, who, after his first trip to Georgia, decided to open up Georgia for German educational and adventure tourism. Since then, Otto has been working as a tour guide, and Salome is responsible for accounting, trip planning, and implementation. They are now both co­owners of the business. Three years ago, their hard work paid off, and they were able to fulfill their dream of moving into their own apartment on the 17th floor on the outskirts of the city.

Salome and Otto are aware of the often challenging future prospects for young people, which is why their children’s education is very important to them. Lisa, their eldest daughter, attends a bilingual private school that allows her to earn her high school diploma in the UK. “We want the best for our children, for them to have an easier life than we did, and our parents before us. We also want them to see that Georgia is not everything. There is another world out there.”

But the COVID­19 pandemic and the war in Ukraine have also affected them. “The last few years have been tough; very few tourists are coming here right now,” Otto and Salome explained. “We don’t know how we’ll make a living from October onwards. But we’re not afraid because something will come up. In Georgia, you can’t afford to be weak. Maybe we’ll have to go back to Europe someday.”

Even though life in Georgia is far from easy, and Georgia’s path to prosperity is still long, they feel deeply connected to their country and wouldn’t want to live anywhere else. “There’s a saying that captures my feelings about my country: Every father loves his ugly child!”

Mia, a 23-year-old in the 7th semester of photography at the University of Applied Sciences and Arts Dortmund, specializes in nature and documentary photography. Her passion lies in the art of silent storytelling through images. mia.pflieger@web.de slanted—georgia

world wide west

A documentary about a country that remains completely under the radar and garners little attention in the public eye. A fashion spread symbolizing Western life, combined with the outdated structures of the Eastern Bloc and traces of protests for more rights and freedom. Young Georgians raise their hands and take to the streets for a free country. Their country—their homeland! The images represent the rise and transformation of the young and daring in Georgia, who are heading westward and trying to prevent Russia’s influence on Georgian politics. An attempt by a generation to break away from their larger neighbor and make a life with the privileges that seem normal to us.

The photographer Dominik Kirsch, born in Heidelberg, has been living and studying at the Department of Design at the University of Applied Sciences in Dortmund since 2016. He draws inspiration from street photography and is known for his vibrant and colorful works. These influences are reflected in his portrait and fashion shoots. IG: @dom_kirsch

High-quality Georgian fonts

High-quality Georgian fonts მაღალი ხარისხის ქართული ფონტები

მაღალი ხარისხის ქართული ფონტები

High-quality Georgian fonts მაღალი ხარისხის ქართული ფონტები

ხელმისაწვდომია ექსკლუზიურად Typotheque.com-ზე

ხელმისაწვდომია ექსკლუზიურად Typotheque.com-ზე

ხელმისაწვდომია ექსკლუზიურად Typotheque.com-ზე

Available exclusively on Typotheque.com

Available exclusively on Typotheque.com

Available exclusively on Typotheque.com

High-quality Armenian fonts

Fedra Sans Ֆեդրա Սանս • Fedra Sans Condensed Ֆեդրա Սանս

Խտացված • Fedra Serif Ֆեդրա Սերիֆ • Lava Լավա • Ping

Պինգ • Ping Round Պինգ Կլոր • November Նոյեմբեր • November Condensed Նոյեմբեր Խտացված • November Compressed Նոյեմբեր Սեղմված • November Stencil Նոյեմբեր Տրաֆարետ

• October Հոկտեմբեր • October Condensed Հոկտեմբեր

Խտացված • October Compressed Հոկտեմբեր Սեղմված • Greta Sans Գրետա Սանս • Greta Sans Condensed Գրետա Սանս Խտացված • Greta Sans Compressed Գրետա Սանս Սեղմված • Greta Sans Extended Գրետա Սանս Լայն • Greta Text Գրետա Տեքստ • Greta Text Narrow

Գրետա Տեքստ Նեղ • Greta Display Գրետա Վերնագիր • Greta Display Narrow Գրետա Վերնագիր Նեղ • Greta Grande Գրետա Գրանդե • Greta Grande Narrow Գրետա Գրանդե Նեղ • Parmigiano Headline

Պարմեջիանո Վերնագիր • Parmigiano Text Պարմեջիանո

Տեքստ • Parmigiano Caption Պարմեջիանո Մակագրություն

• Parmigiano Piccolo Պարմեջիանո Պիկկոլո

Design

Veronika Burian (Latin)

Jan Charvát (Georgian)

Gor Jihanian (Armenian)

Akaki Razmadze (Georgian)

José Scaglione (Latin)

Araz Bogharian

Araz Bogharian, graduate of the National University of Architecture and Construction, is a graphic designer based in Yerevan. She is the Chapter Lead and organizer of Type Thursday Yerevan events. As alumna of TUMO center, Araz participated in learning labs and volunteered as an assistant of graphic design and type design workshops. She also has been a member of Hamazkayin Forum’s cultural and educational summer program. She enjoys most working and experimenting with lettering, calligraphy, and type design.

What does it mean to be a designer / creative in your country?

The field is experiencing growth within the country and this expansion brings both positive and negative aspects.

Some challenges arise within companies and studios when expectations and needs surpass the available positions, timelines, and salaries. Healthy boundaries and more efficient work systems should be established.

Additionally, there is a noticeable shortage of research materials and accessible archived samples. However, the adaptation, utilization, and visualization of the Armenian language, graphics, and cultural materials in the design world offer us opportunities for exploration, creation, and expansion. In my opinion, we should enjoy the interesting working process despite its challenges and occasional responsibilities.

What is your perception of the state of education in design in your country? What has to be done for a better education?

Design education and resources are essential for nurturing talent and improving the quality of design work. The shortage of good professors, trainers, and design books, especially in universities, is a significant challenge.

We should encourage the development of design programs in educational institutions and promote the translation or creation of design literature in our native Armenian language. I’m lucky enough to have participated in too many workshops

and learning labs in addition to my university education, as they have expanded my opportunities and horizons. Also I would like to mention that I’m happy to have started the Type Thursday Yerevan platform for type enthusiasts and give the flexibility of interaction between beginners and experienced people. After hosting several events, I can confidently affirm that the audience enjoyed it and engaged in sharing and discussing their works in progress. The demand for events, collaborations, outsourcing experiences, and interactions like these is evident.

Whose work do you find intriguing?

Who inspires you most?

I often find myself deeply inspired by the workshops I engage in.

Reza Abedini stands out as a noteworthy example. The workshops I had attended sparked a profound immersion into the realms of poetry and visualization.

Ruben Malayan, to whom I am very grateful for sharing his knowledge. He had an impact on my creative journey.

Tulip Hazbar is another source of inspiration in the field of graphic design and illustration, her approach and style of work are engaging and enjoyable.

Any tutors / books you would recommend? Why?

What Is Good Design if not Designing for the Good? by Victionary. I loved reading about the many interesting projects, problems, and solutions. Projects that aim to awaken society’s understanding of its surroundings. It aids and inspires me to

Ruben Malayan

Ruben Malayan (1971) is an award-winning art director and visual artist. Having completed his studies in Yerevan, Armenia, he holds a degree in painting from Terlemezian State Art College, and a degree in graphics from the State Institute of Fine Arts. He is currently a lecturer at the American University of Armenia. We went to see him in his studio located in a former Russian factory for optical technologies.

What does it mean to be a designer / creative in your country?

It is a struggle of light against darkness. Light of knowledge and culture against the darkness of ignorance and fascism.

To which part of the history of your country do you feel positively connected?

I connect to Narekatsi, writing his 131 prayers to God in the 10th century, in a place that was probably the geographical location of the Garden of Eden. I connect to Armenian printmakers, from Constantinople to Venice, men who made big sacrifices to publish books in the Armenian language. I connect to those stonemasons, who had to build and rebuild our broken churches, and those calligraphers who wrote the story of their people to survive.

We are facing difficult times. Where in your daily life do you feel the impact of the war in Ukraine the most?

We are facing our own war, which might erupt at any moment. I feel horrible for people in Ukraine. But at the same time I see people fighting for their country, for their right to have a country. That’s a war worth fighting.

Which legacy do you want to leave?

I want to see Armenians contribute to the world, in their knowledge and cultural insight, with their promotion of liberal ideas of freedom and justice. I wrote “Utopia” on the window of my studio. I know it feels like dreaming to talk

about that right now. But we need to set the bar as high as possible, for ourselves. The time for talking is over, we need to do things. Create.

What does Europe mean to you?

Europe is where I wish Armenia was. What is your perception of the state of education in design in your country? What has to be done for a better education?

Inadequate state education is dead. New programs are in the works and it gives hope that in a few years we will have a better framework to work with.

Tell us something about your dream, the education program?

Whatever I say about education today resonates with almost identical vocabulary used about it 100 years ago by Armenian intellectuals in Tiflis, Constantinople, Moscow, and Yerevan. People were ignorant and mostly uneducated. Only few could get a university education and places to study here were scarce. To get educated in the Armenian language one had to either join the Church, or leave abroad and seek education there. That’s why we still have cultural centers in diaspora, such as Venice and Vienna, Paris and Moscow. Where there were large Armenian communities, there existed schools and universities. Luckily, the education provided to Armenians at that time strongly emphasized culture and identity, rather than being focused on money and business. That Armenians learned on their

As a graphic and type designer with over 300 created typefaces, Edik Ghabuzyan has not only developed Armenian fonts but also Latin, Cyrillic, and Greek alphabet systems. His fonts have received 26 awards in various local and international type design competitions. Ghabuzyan published the Armenian Fonts Album in 2012, releasing a second edition in 2022. His typefaces displayed at exhibitions worldwide, including in Lincoln, London, Moscow, Seoul, and other cities, he has also written articles on Armenian type design for various magazines and spoken at international conferences. Two of his fonts, Mariam and Grapalat, are official fonts for State offices in Armenia. Ghabuzyan received the State Medal after Movses Khorenatsi in 2012 and the Gold Medal after Lev Yaschenko from the Moscow International Designers Society for outstanding achievements in the field of design. As the initiator and founder of the GRANSHAN competitions and conferences, he currently teaches type design at the Yerevan State Academy of Fine Arts.

You were trained as a mathematician and programmer. How did it happen that you became a type designer?

In 1988, I was working at the Kirovakan factory of technical devices. When I went on a business trip to Kazan, I saw their matrix printer. Before that, electronic computing machines used printing technology similar to typewriters. I witnessed how the matrix printer typed a flower on a sheet of paper from the computer. Upon returning to Kirovakan, an interesting idea came to my mind: if it could print a flower, it could print an Armenian letter as well. So, I suggested to my colleagues to develop a subprogram for every Armenian letter. Then we bought some personal computers—Iskra— from Kazan. The program was ready, and some documents of the factory were typed on the computer. This stimulated me to start creating typefaces. Later, my friends sent me a program called Font Editor. We drew letters, but they were of very low quality and could only be read from the computer, and printing was

done by a matrix printer. Subsequently, I acquired the Font Monger program, then Font Lab, and I have been working with this program up to now.

What is your perception of the state of education in design in your country? What has to be done for better education?

The question is very complicated but very important. I think the level of Armenian type design was far from the world standard in the past, so we had much to do in this field. Now, at the Yerevan State Academy of Fine Arts, we are teaching Type Design at the Department of Graphic Design, but it was not enough to reach the world level. To improve this further, we had to participate in different events: conferences, competitions, exhibitions, etc. The most important thing was to invite designers from different countries to share experiences. I should say that initiating the GRANSHAN project has helped to raise Armenian type design to a high level, and today’s Armenian fonts are of high quality and meet world standards.

Edik Ghabuzyan

How good is design made in Armenia? Is there a “national narrative” beyond the so typical Armenian alphabet, or does design simply adhere to current global standards? Armenia lies between Europe and Asia. We have our own unique culture—neither European nor Asian. We have our own alphabet and language, and we should strive to preserve our national Armenian identity. Twenty­five years ago, Armenian type design was based on Latin, but over time, we have endeavored to improve it. I paid attention to the length of ascenders, descenders, extenders, and their proportions, as this is crucial for good readability. I am against the trend of creating advertising posters in English; they should be designed in Armenian, using beautiful Armenian fonts.

In 2008, the Armenian Ministry of Culture founded a national type competition, GRANSHAN. You are one of its founders. Could you please share some information about this competition and its future?

Fonts are an integral part of contemporary information technologies. Unfortunately, Armenian fonts were not developed well enough and weren’t implemented by major software­producing companies such as Microsoft, Adobe Systems, etc.

With the support of the Ministry of Culture, I initiated the first International Type Design competition, GRANSHAN, held on June 28–29th, 2008, in Yerevan. GRANSHAN means “Writing Symbol” in Armenian. The initial competitions included Armenian Text, Medieval Armenian, and Armenian School­textbooks typefaces, besides Latin, Cyrillic, and display fonts.

Since 2010, based on the suggestion of Boris Kochan, former head of Typografische Gesellschaft München (tgm), Non­Latin fonts have been integrated into the GRANSHAN competition. As of now, the competition has included ten language systems: Greek, Arabic, Indic, Chinese, Thai, Korean, Hebrew, Cyrillic, Georgian,

and Armenian. Past GRANSHAN competitions revealed significant issues in type design not only in Armenian but also in other Non­Latin alphabet systems.

The awarded works of the competitions are showcased in publications and exhibitions around the world. One of our greatest achievements is that, in addition to established designers such as Angella Poghosova, Hrachuhi Grigoryan, and Liana Shushanyan, a young generation is becoming interested in creating typefaces. Quite a few very talented type designers have emerged from the Armenian State Academy of Fine Arts.

Angela Poghosova

How did you become a type designer?

I was working as a lecturer of English at one of the Yerevan Universities when Edik Ghabuzyan invited me to join his team at the National Book Chamber of Armenia, where he was the head of the department of creating Armenian fonts. He had the idea to initiate an international type design competition called GRANSHAN and needed a translator for communications and correspondence. So, since then, I have been involved in the GRANSHAN project. While working in that department, I enjoyed observing the process of creating typefaces. When Edik suggested that I start designing typefaces, noting my interest in type design, I didn’t believe that I could become a good type designer. But I decided to give it a try. So, for the past 15 years, I have been involved in type design. Alongside translations, I created typefaces. My first typeface, GOGA, won the second prize at the GRANSHAN 2009 competition. Later, my other typefaces

received various awards at competitions and were displayed at exhibitions in different countries: Munich (Germany), Yerevan (Armenia), Hong Kong, Bangkok (Thailand), Moscow (Russian Federation), Alexandria (Egypt). Now, I have created about 20 multilingual font families, which include Armenian, Cyrillic, Latin, and some Vietnamese language scripts. Since 2013, I have been serving as the Script Chair at GRANSHAN. At conferences in Yerevan (Armenia), Los Angeles (USA), Lutsk (Ukraine), I provided an overview of the conference­history: from its inception as an international type design competition in Armenia to its current status as an organization promoting non­Latin type and typography on a global scale.

In 2011, the Moscow Union of International Designers awarded me a diploma for significant achievements and contributions to the development of type design. In 2017, I received a diploma from the

TUMO Studios

TUMO Studios is a free educational program for young adults focused on the creation of analog products. Their aim is to cultivate a new generation of Armenian designers and artisans who raise the quality of locally produced goods. The TUMO program includes technical courses in jewelry, ceramics, embroidery, pattern making, printmaking, and more, and connects local students and young professionals with local and international designers through design ateliers where they create unique and innovative products.

What does it mean to be a designer / creative in your country?

In Armenia, the field of design is still relatively new and growing. Being a designer or creative in Armenia means you have less competition and a smaller audience compared to more developed design scenes. This gives you the opportunity to carve your own path and be innovative. However, it also means that your work carries a significant responsibility because it can have a big impact on shaping the design industry in the country. So, being a designer in Armenia involves not just being creative but also being a pioneer in a developing field.

What is your perception of the state of education in design in your country? What has to be done for a better education?

Design education in Armenia tends to be focused on aesthetics, form, and history, often using outdated methods. However, contemporary design education is much more than that—it’s about problemsolving, user research, understanding new technologies and materials, and their relevance in various fields. Armenia’s design education should evolve by updating the curriculum to reflect modern methodologies, encouraging interdisciplinary learning, supporting faculty development, fostering industry partnerships, and promoting research and innovation. These changes will better prepare students to excel in today’s dynamic design industry.

What are the big shifts we need to face? Which are the ones you faced?

In Armenia, we are confronted with a significant challenge that revolves around the delicate balance between tradition and modernism. Armenia is a nation steeped in rich traditions, particularly when it comes to craftsmanship and artisanal skills. However, this very commitment to tradition can sometimes pose difficulties when attempting to work with local artisans, as they often resist change and prefer to continue practicing the methods they’ve known since the beginning of their careers. On the one hand, the preservation of traditional craftsmanship is undeniably vital for maintaining our cultural heritage and ensuring that these precious skills are passed down to future generations. However, on the other hand, embracing modernism and adapting to changing market demands is equally crucial for the economic sustainability of artisans and the growth of Armenia’s creative industries. In today’s globalized world, where consumer preferences and market dynamics evolve rapidly, there is a need for artisans to innovate, incorporate contemporary elements, and explore new markets to remain competitive and thrive.

formascope

formascope is an independent branding agency that’s dedicated to finding the perfect combination of form and content in each project. With a focus on crafting unique brand experiences, they understand the importance of both the visual form of a brand and the message it conveys. By analyzing each project from the perspective of form, they provide a solid foundation for the individual attitude and style of each brand they work with. Whether working with startups or established companies, formascope combines strategic thinking, creativity, and market insights to create brands that are not only visually appealing, but also emotionally impactful.

How did business start for you?

formascope has successfully established its presence in the market over the past five years. Our entry into the market was driven by our desire to offer a fresh perspective on branding. We recognized the need for a different approach to the industry and sought to challenge traditional branding conventions by showcasing a new way of thinking.

At the core of formascope’s mission is a dedication to creating commercially successful brands that embody honesty, functionality, and transparency. Our team believes that the key to building a strong brand lies in its ability to connect with customers in a meaningful way, and we strive to achieve this by leveraging our expertise and innovative strategies.

Besides Armenian brands, you work for companies abroad. How did that happen?

Certainly, we collaborate with both Armenian and international markets. Our strategy was far from arbitrary; it was based on a detailed analysis of the market and our own capabilities. We understood that to thrive in a global landscape, we needed to offer something distinctive, a value proposition that would resonate with brands seeking success not only in Armenia but on a global scale. What we brought to the table was a fresh and dynamic approach that revolved around effectively translating brand concepts into tangible results within the mass

market. Our approach to brand concepts is firmly rooted in functionality. We meticulously examine what each company can offer its target audience and strive to make it accessible to consumers. Our approach focuses on conveying emotions through functionality, avoiding any deception with fabricated brand narratives.

In the mass market context, functionality refers to how effectively a product or service meets the practical requirements and desires of a broad consumer audience.

We understand the importance of both the visual form of a brand and the message it conveys. By analyzing each project from the perspective of form, we provide a solid foundation for the individual attitude and style of each brand we work with.

We didn’t shy away from trying somewhat unconventional solutions in our projects, which ultimately appealed to our clients from various countries such as the USA, Kuwait, China, UAE, Canada, and more. Our journey is an ongoing one, as we constantly evolve to meet the everchanging demands of the industry and the dynamic aspirations of the brands we partner with.

What is your perception of the state of education in design in your country? What has to be done for a better education?

To comprehend the challenges within graphic design education, we must delve into early education, formal schooling, and parental influences. From a young age,

we often lack instruction on how our economic system functions. This extends to family dynamics, where children may receive money without learning how to earn it.

In the context of graphic design education, there’s a direct link to market dynamics and consumer psychology. If one intends to work as a graphic designer in a mass market, understanding consumer behavior is crucial to effectively convey messages and persuade consumers.

In the case of Armenia, it appears that specialists sometimes lack a holistic understanding of their place in the world. A key issue seems to be the absence of an unified global approach to design. Each designer tends to have their own interpretation of design, and there isn’t a distinct “Armenian design style.”

The profession of a designer is typically associated with a broad education that, over time, combines various forms of knowledge to develop a sense of style. Armenia faces a broader problem of education that influences all future professions, including graphic design.

Without quality education, the ability to analyze, draw conclusions, and engage in creative experimentation suffers. This often leads to imitation of foreign works and creative stagnation.

There are exceptions, of course, such as individuals who encounter knowledgeable teachers or enroll in programs like the TUMO Center for Creative Technologies. TUMO, a creative technology center, offers young people the opportunity to participate in different workshops led by experts from various countries.

While these experiences provide a basic understanding of professions, they don’t offer in­ depth knowledge. But given our realities and the desire for world standards, this is the minimum pass to get to work and start learning and developing, for which we are very grateful, because our team members have acquired their skills at TUMO, which has been instrumental in their growth.

Another issue is that many recent graduates, despite lacking a solid education, opt for freelance work due to high ambitions. This results in a plethora of amateurish designs in both graphics and architecture. To sum it up, the problem extends beyond design education; it encompasses broader education, worldview, and awareness. Design primarily relies on intellectual prowess and demands a certain level of intelligence to excel.

Why do you have more good painters and illustrators in Armenia than designers? You also mentioned that you had over 200 interviews before you found the lucky five ones working in your studio now…

We believe that this question is closely linked to our education, as described in the previous answer.

Which is the most common designclient misunderstanding you face?

For us it is essential that we acknowledge and appreciate the uniqueness of each individual we work with. We understand that people have varying personalities and approaches to business, and it is our responsibility to adapt accordingly and foster positive relationships with all of our clients.

While we strive to maintain productive partnerships with every client, we recognize that there may be occasional exceptions. Some clients may struggle to articulate their long­term goals and objectives, or may struggle to provide clear and constructive feedback. Or sometimes, clients may confuse their personal design preferences with what’s best for their brand.

In such cases, we remain committed to providing our expertise and guidance, utilizing our industry knowledge to ensure our branding efforts are aligned with their business needs.

Which recommendation would you give to someone starting business?

Define your mission: Clearly understand your mission and purpose for opening the business. Understand why you want to start a studio and what unique value you aim to provide to your customers

or clients. Having a clear mission will guide your decisions and keep you focused on your goals.

Be honest and have mutual respect: Honesty in business, both with yourself and your competitors, is a valuable principle that can lead to long­term success and positive relationships.

Choose reliable partners: If you plan to have partners in your business, ensure they are individuals you can trust and share a common vision with. Partnerships are built on trust and shared values, so choose your partners carefully.

Pricing Strategy: Understand your pricing strategy thoroughly, especially if you are operating in a small market. Your pricing should reflect the value you provide while remaining competitive. Consider your costs, market demand, and what customers are willing to pay.

Savings: Make sure you have some savings to cover your expenses during the initial phase of your business when it may not be profitable.

Be ready for failures: Starting a business is a journey filled with ups and downs, so be ready to have some very unexpected failures.

Eduard Kankanyan is a creative director at and co-founder of Braind. With a career spanning over 20 years, Eduard has led the creative process behind the development of more than 1000 brands and products across various industries on a global scale.

How did you build up your business?

Back in 2011, when we laid the foundation of our company, it was all about setting the stage for creative professionals to truly flourish. We understood that the magic of design comes alive when people feel comfortable and empowered to unleash their full potential and ambitions. So, building a vibrant company culture that nurtured their creativity was our cornerstone. But that’s not all. We took a detour from the usual path. We rolled up our sleeves and started side projects that were born from our interests and our understanding of what our community needed. These weren’t client works—they were passion projects that spoke to our hearts. And guess what? They resonated with people. Those projects became our identity. We didn’t just build a business; we built a creative platform where talent thrives and ideas come to life, all while staying true to who we are.

What does it mean to be a designer / creative in your country?

Being a designer in Armenia is an exciting journey of blending rich cultural heritage with modern perspectives. We are creating designs that reflect our cultural identity while resonating with contemporary trends. It’s a cocktail of tradition and innovation, resulting in a unique and captivating visual style.

What is your perception of the state of education in design in your country? What has to be done for better education?

The state of design education in Armenia has seen significant improvement in recent years, largely due to organizations like TUMO. They have pioneered a new approach, offering free high­ quality education to all segments of young people in

Armenia. This effort has led to the emergence of a wave of talented young designers. However, placing greater emphasis on practical skills and industry collaboration would further enhance the educational landscape. Strengthening the connections between educational institutions and the professional design community can bridge this gap and elevate the quality of our design education.

Who’s work do you find intriguing?

Who inspires you the most?

In the design sphere, several giants stand out for their exceptional inspiration in our work. Michael Beirut’s storytelling approach to branding, Jony Ive’s seamless fusion of form and function, and Banksy’s thought­provoking art, as well as the legacies of Ivan Chermayeff in logo design and Saul Bass’s minimalist aesthetics all contribute to shaping our creative perspective at Braind

Are there examples where you would say design makes a change?

Absolutely! Design has repeatedly showcased its transformative influence in various contexts. Take our design of navigation systems for public transportation, for instance. By creating user­friendly interfaces, we’ve made commuting easier and more efficient, impacting the daily lives of countless individuals. During the pandemic, our posters encouraging people to stay at home played a crucial role in conveying vital health messages. These designs prompted behavioral shifts and contributed to collective efforts in fighting the virus’s spread. Furthermore, our political posters during the Nagorno Karabagh war in 2020, addressing Turkey’s involvement in the conflict, demonstrated the design’s ability to channel emotions into impactful visual narratives. These

Edik Boghosian

Edik Boghosian, born in Tehran, Iran in 1972, graduated from Azad University of Tehran in 1995. He has since established himself as a prominent figure in the world of visual arts and graphic design. He is Art Director and chief designer at Newmag publishing house and the graphic design training lead at TUMO Academy. Edik has contributed his artistic prowess as a poster and outdoor promotion designer for the G. Sundukyan National Academic Theatre. Throughout his career, he has passionately pursued various creative avenues, with a primary focus on contemporary art, graphic design, and visual poetry.

What is your perception of the state of education in design in your country? What has to be done for a better education?

Graphic Design education in Armenia is not on its highest level. There are no widely used reliable educational module programs in state schools to improve this field in the near future. The main hope lies in alternative education systems. There are no comprehensive resources about local design history, especially after the Soviet Union. Because of that, I started a program called Armenian Graphic Design History Documentation and hope we can overcome and fill that gap for the next generation.

Whose work do you find intriguing?

Who inspires you most?

The main life changing inspiration of mine was my painting teacher Bobak Etminani who taught me how to observe life from different angles. In graphic design I like the American old school legends like Paul Rand, Saul Bass, and very much Milton Glaser as a big mentor and teacher. As a former fine art student, I appreciate illustrative design, which is why I admire the Polish school. In poster design, Michal Batory is inspiring for me.

Which legacy do you want to leave?

I hope there will be some designers in the new generation that have learned something from my works. If I can train students that will work better than me, I’ve done something for this field.

Which recommendation would you give to someone starting a business?

Be honest with yourself.

What is the poster design scene in Armenia looking like now?

There are some changes in this field. I see a new attention to the poster art, but it is not enough. I think there are still many film or theater directors and producers that don’t appreciate the value of posters.

Tell us something about the Theatrical Posters International Biennale?

The Theatrical Posters International Biennale is a newly established biennale in Armenia, where the professional theatrical poster designers can show their works. With this biennale, the organizers aim to develop this culture in the local market by emphasizing the value of posters for theaters. It is an opportunity for design students to present to lecturers of the international juries, discuss their works with them, and exchange knowledge. In 2022, the inaugural issue was held in the National Theatre of Armenia, and we are working on the 2024 issue.

Nona Shiroyan is a designer from Armenia. She has been working in the field of design since 2007. Although she specializes in industrial design, her professional activities also include interior design and graphic design. Since 2015, she has been teaching industrial design at the National University of Architecture and Construction of Armenia, and since 2020, graphic design at Jianghan University in Wuhan, China. Apart from her homeland, Armenia, she has lived, studied, and worked in Sweden, Germany, and Georgia. All this experience has largely shaped her personal as well as professional worldview. Currently, she also conducts research and writes articles on design. Her field of interest include conceptual design, design that raises moral issues, and design in the context of sustainability. She strongly believes that design is one way to make the world a better place, or vice versa; the choice is ours.

What does it mean to be a designer / creative in your country?

I knew I wanted to become a designer since I first heard the word “designer” when I was a child. And I became one. I am really grateful for the people who helped me along the way, as well as for my country. Yes, my country! It is small and every opportunity was always so close and accessible to me. This is not the case for so many people living in other countries. I have met many talented people around the world who dreamed of becoming artists or designers, yet the competition was too strong to get a proper education, or it was not affordable, or these occupations were considered non­serious and they could always feel the pressure from society as if they were doing something unimportant. In this sense, my country was quite welcoming. I don’t say my path was smooth, but it was good. And today, I love what I do. We have many creative people living here and I think if you concentrate on what you can do, rather than on what you can’t, you will find a lot of opportunities here: inspiring workspaces, affordable materials, like­minded people, the right contacts. The thing that is difficult is the Armenia­

World connection. To visit your favorite design fairs or shows abroad, you need to get a visa. In this sense, we are a little out of touch with the “main events” of the field, but the current information flow and professional research somehow compensate for this gap.

Are there any typical sayings you particularly like—and hate?

If related to design, then this phrase comes into my mind: “There are professions more harmful than industrial design, but only a very few of them.” It is not a saying but a quote from the book Design for the Real World by Victor Papanek (who was a designer himself). It confused me at the time and I believe not only me. It is cited by many important figures of the design domain like Paola Antonelli (Sr. Curator of Architecture & Design of MoMA), Don Norman (American psychologist, specialist in cognition, design, and user engineering), and others. When you are young and in love with your profession, such phrases by people who have authority in the field can really shatter your romantic professional vision into pieces. However, what brought those pieces back together is the underlying statement that

talks about the responsibility of a designer in designing such things that can lead to change.

Whose work do you find intriguing? Who inspires you most?

I don’t heroize people. But there are people who inspire me and people that I admire. When I see people who really love their work and they do it good and with great enthusiasm, they know every detail of it, tried many different things to reduce errors, to enhance quality—they inspire me! They can be very ordinary people, yet this ability, in my eyes, makes them extraordinary.

People I admire are standing a step higher than the ones I mentioned. They always work on three levels of selfdevelopment: physical, intellectual, and spiritual. These are people of high rank, yet they keep themselves simple. They normally have a mission in life and an ideology that helps them to fulfill that mission. I have such a friend—Dada Sadananda (you can find him on Youtube).

Among designers, the work of the German designer Ingo Meurer was a great inspiration to me when I was younger. I remember that whenever I lost faith or my love for design—when I saw his art­like lighting projects, it filled me with joy.

Are there examples where you would say design makes a change?

Design that brings change is done by people who have high values and their design reflects them. I have never encountered a strong design project suggested by a weak personality. So we should start with ourselves. But the important fact

here is the invisible presence of design everywhere in our lives. We are surrounded by design, and the change that it suggests is never radical and destructive, but rather invisible and incremental, so that it is easier perceived by people. This is a huge tool and I know that in some countries, like Denmark for example, if authorities want to change something they turn to design.

Any tutors / books you would recommend. Why?

Design for the Real World by Victor Papanek, which I already mentioned. Although it was published in 1972, it is still very relevant these days. He speaks of unconscious design that produces unnecessary things and the manipulation of advertising that makes people buy these things. He speaks of overproduction and, ecological issues that this chain of effects causes. He talks about Human Ecology and Social Change. I see the similarity of the values that this book unfolds with priorities of what we now call Sustainable Design. Back then the term “Sustainable Design” was not common, however, the term “Sustainable Development” first was introduced in 1972, as an outcome of the Stockholm Conference. Interestingly, this book was first published not in the USA in 1972, but in 1970 in Stockholm titled “Miljön och Miljonerna,” which means “The Environment and the Millions.” And I think this is not a pure coincidence. It was the Zeitgeist.

The second book I would recommend has a similar title to the first one. It is Design for the Better World, written by Don Norman, whom I mentioned earlier.

Nona Shiroyan

Kristina Sargsyan, Tigran Iguahi

Alek Bayanduryan-Levasgani

We met Alek Bayanduryan-Levasgani in the Mirzoyan Library, a bohemian photography library and bar in the heart of Yerevan. The library—one of the largest photographic collections in the Caucasus—is the eponymous creation of Tbilisi-born Armenian photographer Karen Mirzoyan. Pursuing a lifelong passion fuelled by photobooks, Mirzoyan spent many years on the road, working for publications such as Time, Harper’s Magazine, and Newsweek. His friend Alek opened the gallery for us, where we saw some of his works in a kind of hidden cloakroom.

yerevan—armenia

content

intro

Armenian Fate

Krzysztof Strachota

studios

Araz Bogharian

Ruben Malayan

Edik Ghabuzyan

Angela Poghosova

TUMO Studios

formascope

Braind

Antares

Edik Boghosian

Tigran Tsitoghdzyan

Nona Shiroyan

Nkarazard Archive

Alek Bayanduryan-Levasgani

slanted armenia