In 2011, as a corporate design project, Mohammad Reza Abdolali, Tehran based graphic designer, used Persian type as the main idea to develop Royal Trains visual identity.

Elnaz Bagheri, born in 1987, has been experimenting with Square Kufic as part of her senior thesis project in graphic design at Tonekabon Azad University. She says she chose to work with Square Kufic for its structured yet non-limiting nature and she is fascinated by the jigsaw-puzzle-like architecture.

This series based on and inspired by a poem by Wallace Stevens (American poet 1879-1955) is part of Shahrzad Changalvaee B.A. thesis project in 2006.

This July, Iman Raad, Tehran based graphic designer, in collaboration with Saeed Eskandari and Naghi Vasei, curated an exhibition of contemporary Persian logotypes at the Molana Asem Gallery in "Zanjan", Iran.

Zeynab Izadyar's attempts for undergraduate thesis led to a thematic type face design for the Iranian contemporary poet, Yadolah Royayee, along with typographic design with the Typeface for Royayee's book of poetry “70 Tomb Stone”.

In the middle of the square in an old garden, “the Words” are embracing the space. “The Space” which is accessible to everyone, to pass through or pause for a moment; and experience being surrounded by “dancing words” and Persian Shekasteh-Nasta’liq calligraphy.

Ad series for Mohsen Art Gallery is designed as a part of the gallery corporate identity by Tehran based designer, Aria Kasaei [StudioKargah] in 2009.

Mohsen Art Gallery was founded in 2009 in memory of Mohsen Rasoulof, a young Iranian photographer and street artist who died at the very age of 23.
The concept of design is to reach a high degree of flexibility in order to attribute a sense of change and dynamism to Mohsen’s name.

As a part of NID’s Golden Jubilee Celebrations, Typography Day 2011 was held at National Institute of Design-India on 3rd & 4th March 2011. International Seminar was about the expressive typography, various multi-language scripts and its expression, typographic expressions of local contextual design, expressions concerning native (Indigenous) Scripts, research activities in multi-lingual communication.

KAMINEH (meaning minimal in Persian) is an experimental Persian-Arabic typeface designed by Iman Raad in 2005, to developed the idea of designing an ultra minimal Persian-Arabic typeface.

These are the artworks made by students of Sculpture for the course of “Graphic Design” in the Department of Visual Arts of Fine Arts Faculty, Tehran University, under the supervision of Mohammadreza Abdolali. They were supposed to choose a free concept in order to be materialized in the form of sculptural typography.

The images created by humankind on the surface of stones and pottery can be considered as the first efforts at writing, the oldest examples of which are the patterned ceramics from the western regions of Iran. Perhaps since ancient times, it has been a dream of people to record and leave behind their collective memories for later generations or perhaps drawing and writing simply possessed a magical role and use. Today, some researchers consider many ancient created images and paintings to have magical qualities.

In Persian-Arabic manuscripts, calligraphy and typefaces there is often a small mark on top of the "final form" of letter Kaaf. Instead of the "stroke" on top of Kaaf the calligrapher in some cases pens in a little mark in the negative space inside of Kaaf.

Dabireh: Alef, Dabireh Collective's first edited volume, was published in October 2009. This edition is a distillation of two years of research and experiments by Dabireh members.
The book is printed in 160 pages in two colors and contains fifteen articles by Dabireh members and contributors. Articles in this issue, all in Persian, span over historic and theoretical discussions, Persian-Arabic writing system, Persian language, case studies and project features.

Arabic printing did not start in Europe, as is sometimes stated. In fact the Arabic script first appears in printed documents in Egypt, as early as the 10th century CE. Although these include passages from the Qur'an and other Islamic religious texts, it seems that they were not really designed to be read, nor were they generally intended to be artistic: some pieces have rather crude decoration, but calligraphy was beyond the capability of those who produced them.

The art of Qattai (Scrapping) is eloquent of distinct elegance, concentration and overflowing talent of the Iranian artist. The old Qattai works help us determine the genesis of this art which can date back to early 9th century A.H. Indubitably enough, this art is regarded as a specific branch of  calligraphy as most of the survived pieces bear calligraphic themes.

In the 8th century A.H. (14th century A.D.), during the reign of Timur, a sufi from the city of Tabriz famous for his ability to interpret dreams began the dissemination of a new faith. By emphasizing the authenticity of letters and paying great attention to their properties and mysteries, he began an interpretation of Qur'an along with its apothegm: using this method he found new meanings, which he considered to be the basis of the holy book.