The Visual Structure of the Typography of the Posters of the Fourth and Fifth Generation of Iranian Graphic Designers from the Perspective of Gestalt Visual Perception

Over the years, various visual signs, symbols, and elements formed an organized communication system and became a common language to fulfill communication goals and respond to the needs of society and interpersonal and social interaction. They found a comprehensive and inclusive definition in a wide range of meanings. Expression, with visual language, had such a face and property; therefore, compared to words, it was more universal and could not be framed according to specific instructions or logic due to the dynamic and malleable nature, following dynamic visual grammar. The purpose of this research was to explain the structural and formal relationships of Persian typography based on the principles of visual perception of Gestalt in the posters of the fourth and fifth generations of Iranian graphic designers. In this way, the research question was: To what extent were the Gestalt organizing principles in the typography of the fourth and fifth generation posters, and what were the qualities of the resulting visual effect? The current research was of a qualitative type and addressed the research issue in a descriptive and content analysis manner. Also, the collection of information in the form of library documents, and the method of analysis was based on the principles of visual arts and the rules of visual perception. The results indicated that the three principles of continuity, proximity, and figure-ground from Gestalt principles were used the most in the works of both generations. In this way, "continuity" and "proximity" in the formal elements of letters were often factors to create "figure," in contrast to the "ground," so that writing elements could be used to approach the visual aspect. In the same direction, because of the connected and continuous movements, letter groups found a visual meaning and in the course of visual movements, they created a visual load, a visual emphasis, and guided the eye so that the visual-written forms sometimes found a pictorial character and sometimes conformed to the "principle of closure" to complete a form.