Atefeh Mohammadi is a type designer and researcher working at the intersection of design, cognitive science, and cultural studies. From the beginning of her career, she has been driven by the question of how Persian type can be simultaneously legible, rooted in tradition, and adaptable to the digital age. Her research began with the history of Persian calligraphy and classical styles, gradually expanding to topics such as readability and reading behavior in both print and digital environments. She has presented her work at international conferences including ATypI and Typewknd. She approaches type design as a problem-solving process that requires deep understanding, user-centered research, and the creation of enduring resources for the field.

She is the founder of Quick Studio, a platform for accessible educational content, and the organizer of Tehran Type Week, the first specialized Persian type event in Iran with international recognition. Her current focus is on strengthening collaborations among Arabic and Persian type designers and developing research projects. For her, type is not merely a writing system; it is a vessel of cultural memory and a tool to engage readers and convey messages effectively.

M. S.: Tell us a bit about your upbringing in Tehran. How has your background - your family, where you come from, and your heritage - shaped who you are today and influenced your interest in letterforms?

Atefeh Mohammadi: I was born and raised in Tehran, a city rooted in the Qajar era; a historical moment when Iranian culture and art began merging with Western technology and ideas. This duality still defines the city’s atmosphere: a constant tension between tradition and modernity, visible in everything from architecture to daily life. Growing up in this context shaped how I see the world. It made me question how we balance heritage with change. This question was never abstract—it surfaced in our conversations, decisions, and even the smallest social gestures. It became the foundation of how I think and how I engage with the world around me.

M. S.: Dibaj is such a beautiful and rich Arabic-Persian text typeface, with its nine weights and three different contrasts. How did the design process begin, and what were your initial inspirations and goals?

Atefeh Mohammadi: Dibaj was my first experience in type design. At the beginning, I encountered questions about the identity of the Persian script and its calligraphic traditions, and how these could be balanced with legibility and readability. With no educational resources available, I turned to research. I studied and combined the rules of Naskh and Muhaqqaq: Muhaqqaq’s large counters and high x-height supported legibility, while Naskh’s kerning, tracking, and baselines enhanced readability. But were these structures still effective for today’s readers?

These questions led me to field studies. I tested reading behavior in a lab and identified key factors behind readability. Dibaj was designed based on these findings and shaped around the preferences and visual habits of Persian readers. Its weights and contrasts make it suitable for both print and digital use.

The same research method was applied to the design of the Noora typeface, with one key difference: Noora was created specifically for web use. It was designed around user reading behavior on screens, providing maximum clarity and readability in digital environments.

M. S.: Your work bridges the gap between research and practice. What do you think are the most important steps for preserving the identity of Persian typography in contemporary designs?

Atefeh Mohammadi: To preserve the identity of Persian typography, we must first recognize, analyze, and define it clearly. This identity is rooted, on one hand, in the history of Persian calligraphy and its gradual evolution, and on the other, in a deep understanding of the visual preferences and reading habits of today’s audience. My research seeks to reconcile these two perspectives: historical tradition and the contemporary world.

Throughout its history, Iran has absorbed influences from many cultures, yet has consistently reshaped them according to its own tastes and requirements. The same is true of calligraphy. A close study of how Iranians adapted letterforms and calligraphic rules reveals how Persian script achieved a distinct identity. But is that identity still aligned with the needs of today’s readers? To answer this, I identified the factors that shape identity, tested them with contemporary readers, and, based on the findings, designed typefaces—a practical method for preserving identity in the modern world.

M. S.: Can you tell us about the origins of Quick Studio and what motivated you to create the platform?

Atefeh Mohammadi: As I mentioned before, there were no educational resources for Persian type design. For years, I searched for answers on my own, studying, comparing, and experimenting. When I started teaching at university, I turned my findings into a course syllabus. Over seven years of teaching helped me understand effective learning paths. I decided to make this knowledge public, beyond universities. That’s how Quick Studio was launched on Instagram. I chose the name “Quick” because my goal was to teach Persian type design in a fast and practical way. I created posts that ranged from basic concepts to complex research topics, summarized books and articles, and shared them with my audience. The biggest challenge was conveying ideas clearly in just a few slides, but it was well received. I tried to fill the gaps I once faced for the next generation of type designers. I’m happy this path became a source of inspiration.

Maybe “stoke” is hope, too. Many times during my creative career I felt completely lost and questioned what I was doing. But there was always at least a little bit of fight left inside, and I’m so glad I didn’t give up on whatever this was supposed to become. Although I always felt at home playing with letterforms, I actually didn’t realize I wanted to be a type designer until recently. Then this domino effect happened: first learning the Glyphs app through Victor Baltus, then taking Juan Villanueva’s Type Electives class and loving it, and finally going to New York this past summer to study typeface design at Cooper Union’s Condensed Type program. Years of keeping up the stoke—passionately learning and creating, while searching, praying, and listening to life’s little nudges—have led me here.

M. S.: What is Tehran Type Week, and what inspired you to create it?

Atefeh Mohammadi: During the COVID-19 pandemic, I launched a series of live sessions on the Quick Studio Instagram page, where I interviewed Persian type designers—something that had never happened before. Until then, there had been no platform for sharing experiences among Persian type designers. Given the lack of educational resources, I believed each designer could be a source of knowledge; all we needed was an opportunity to share. These live sessions were very well received. Many people messaged us, wishing these conversations could happen in person. Over time, students even referenced them in their theses and asked us to publish the content in written form.

These responses inspired the launch of Tehran Type Week—an annual event focused on the growth of Persian type design through education and community. It was an extension of Quick Studio’s efforts, now in a physical space with wider participation. For the first time, everyone involved in Persian typography—from designers and developers to users such as publishers, editors, and graphic designers—came together to share ideas and learn from one another. Each year, the event features key achievements in Persian type design and hosts specialized talks. It also became the first project to document and archive the history of Persian type design—an effort that continues to grow annually. The event helped Persian type design gain recognition as an independent field, distinct from general graphic design.

M. S.: The two editions of the Tehran Type Week were a great success. How do you envision it growing and evolving in the coming years?

Atefeh Mohammadi: Yes, fortunately, the event has received a warm welcome. Over the past two years, participants from across Iran have joined enthusiastically. Each year, we strive to introduce emerging talents, motivate them to continue their path, and support the release of their typefaces. Seeing the spark in their eyes inspires us deeply. As I mentioned before, my main concern is showcasing and preserving the identity of Persian calligraphy in the contemporary world—and this event continues that mission.

I have two key goals for the future: first, to bridge the gap between type designers, users, and readers. I aim to create a platform for deeper research into the real needs of today’s font landscape. I believe we must move beyond seeing fonts as mere products; they are cultural tools that carry meaning.

The second goal is to explore typographic identity through comparative studies—especially between designers who share a calligraphic heritage but come from different cultural contexts and have taken different paths. This year, we established connections with Arabic type designers and the international Granshan Biennale to showcase achievements and facilitate dialogue about our experiences. These steps are part of building a broader, connected, and active type community grounded in growth, collaboration, and education.

I warmly invite all those who share this vision to join us. Together, we can build greater momentum. We extend a hand of collaboration to everyone who shares our concerns and goals.