Iranian-born, London-raised and New York-based graphic designer Houman Momtazian uses a modernist influence to create a wealth of graphic design projects. Whether he’s working in publishing, on a branding brief or interactive projects, Houman has got the graphic design bases covered with accomplished outcomes.
Across his client list of The New York Times, The Fader and TransitCenter, Houman applies an approach “based on modernist typographic style, while attempting to add moments of tension and vibrancy,” he tells It’s Nice That. “I believe that working somewhere in-between the structure of modernism and trying to add jarring elements can create visually interesting results.” The consequence of taking a traditional influence but manipulating it depending on the project, means that Houman’s work remains varied, from typographic-based magazine spreads to slick exhibition invites and space design.
Working across multiple design platforms, Houman has found collaboration to be a key influence on the development of a project. “I enjoy working with people who might have a different approach to design than me, but who have a core methodology that is similar.” As Houman tackles design problems with a constructed method, he enjoys to work with creatives who have a less structured approach, to bring “unexpected results” compared with working alone.
Despite a large amount of the designer’s work being based in print, “technology and its impact on graphic design is also something that interests me,” Houman explains. “The way in which stories are being told interactively and dynamically on the web makes me question the format of a conventional book, and how much we as designers can create something that is as engaging and immersive as the way one can potentially do on the internet.” We look forward to seeing how the designer utilises this interest with development of technology and his curiousness “to see where print and digital can overlap to create a new way of engaging with content”.
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