Interviews med Mohsen Koofiani

My interest in design starts in childhood. My mother was a costume designer, my sister was a graphic designer also my brother was a writer and poet. As a teenager, I became acquainted with industrial work environments through my good illustration and design. I continued my education in painting. But my interest in packaging design started 20 years ago. In Iran, I work with famous companies such as Daiti ice cream, Parsirang eggs, Saliz chicken, Proshot coffee, etc.

It has always been interesting for me to create and implement what goes on in my mind. I was fascinated by the fact that I could see a different world from the others. The design lightens my soul and gives me a sense of calmness.

Understanding the creation of a project and giving meaning to it, is very important to me. It is essential that you understand customers and their needs. Generate ideas and select the required technique and present the work. After brainstorming, I usually pre-design and execute it with software and then I will present it.

Two parts of a project are really enjoyable. The first is to create an idea and the second is to present the project. I'm totally excited about these two parts.

Painting, illustration, sculpture, and photography have been very effective in shaping my designer's vision.

All I try to do is be an influential designer for the community. I want to present projects that can have a cultural impact on people and society.

The only thing I can say is to be yourself and strengthen your mind.

You do not have to be a copycat to be different and special. Gaining experience with great designers can help you improve yourself.

A good coffee, an energetic atmosphere, and amazing impressive music. Things I try to have during the day.

Study and research is the best way to connect with the new world. Being able to update your style with new technology is very effective in your progress.

A good design should catch the eyes in a second. Whether I like that style or not, a good design will affect my mind for a moment and attracts me all the time.

I have been constantly thinking about its formation since the design started. I check the design when it is in the shop window or in the hands of a customer and look at it from this point of view. When I get to the word wow, it is when I press the file save key firmly on the computer.

Everything I start is a big project for me and I see it as big. All projects are respectable to me and I love them all.

I like a design that respects itself and the community and offers a standard and acceptable design.

I like countries that have a long and rich culture. I love places where art is growing and its community respects art and the artist. Certainly, all cultures in any project can be inspiring. It does not matter if the idea and the impact are related to the culture of my own country or to another country. Rich art and culture are common languages.

The first thing that matters to me in business communication is personal communication. I work with someone who cares about originality. It has always been very easy for me because I enjoy designing. It does not matter to me individually or as a team. It's fun for me when it comes to achieving your goal.

I myself love and respect the environment. As far as I can, I direct my client in the same direction. But in my plans, I try to have a part of it. For those who work in this field. He has a lot of respect.

The first advantage of participating in the A'design contest was that the contest was different. The second was its size and prestige, and the third was that I knew I was going to meet valuable designers, and it was an honor to be with them. It is definitely important for you and those around you to get badges and achievements when you compete in a Level 1 race. That this word makes you feel very good about your body and you feel that you have chosen the right path.

The main idea behind the design was to create a playful, farm-fresh visual identity that communicates trust, quality, and tradition. The illustration of the hen with a human-like character adds a storytelling element inspired by folk art and rural culture.

My focus was to create an emotionally engaging packaging that stands out on the shelf while clearly communicating the product type and quality. I wanted consumers to feel a sense of nostalgia, warmth, and confidence in the product.

I plan to expand the visual identity into a full product line, including larger and smaller pack formats, and potentially license the character design for merchandising or promotional purposes.

The entire process—from concept development to final production files—took about 3 weeks.

This was a commissioned project. The client requested a unique and memorable packaging design for their fresh and double yolk egg products.

The design is currently in production and used by the client company. I retain the illustration rights for potential use in broader branding applications.

I enjoy working on FMCG packaging projects that allow me to blend illustration, branding, and storytelling. This project provided a great opportunity to showcase that mix.

Yes, I was inspired by vintage European food packaging and children’s book illustrations from the 1960s and 70s, which often used bold lines, limited color palettes, and character-driven visuals.

The target customer is families and health-conscious individuals who prefer farm-fresh, natural food products and value visually distinctive, trustworthy brands.

The hand-drawn illustration style and the anthropomorphized hen character create a strong emotional connection and brand recognition, which is rare in egg packaging design.

The brand name and the product name were provided by the client. I focused on enhancing their meaning through illustration and layout.

I used Adobe Illustrator and Photoshop for the design and coloring, and did the initial sketches by hand.

The most unique aspect is the illustrated character—a proud, expressive hen wearing a scarf or apron—which adds humor and humanity to a simple product like eggs.

I worked closely with the client’s marketing team and the packaging production company to ensure the design matched both branding goals and technical print specifications.

Technology played a role in the digital illustration and layout stages, as well as in preparing files for production with accurate color matching and die-line fitting.

Yes, I conducted competitor analysis and studied consumer behavior in egg purchasing to identify visual gaps in the market and opportunities for shelf impact.

The main challenge was balancing humor and professionalism in a way that still communicates product freshness and quality. Also, ensuring the illustration maintained print clarity on the textured egg cartons was a technical hurdle.

I believed the uniqueness and visual strength of the design had international appeal, and entering it into a competition was a way to gain wider exposure and professional recognition.

I improved my ability to simplify complex ideas into visually impactful elements and deepened my understanding of color psychology in FMCG packaging.

This project reminded me how a touch of humor and storytelling can elevate even the most everyday product. It was also a great example of how illustration can be a powerful branding tool in packaging design.

The design is inspired by the vibrancy of summer, the freshness of natural fruits, and the dynamic appeal of bold typography. The main idea was to create an immediate visual connection with flavor, fun, and energy.

My main focus was to visually translate the taste and freshness of the product. I aimed to achieve a bold and memorable presence on store shelves that resonates with a younger audience.

The future plan is to expand this design series with new flavors and retain the same visual language for marketing campaigns and seasonal editions.

It took around 3 weeks from concept development to final production files.

This was a commissioned project by Daity, but I had full creative freedom to turn the brief into a highly expressive and original packaging design.

This design is currently being produced and distributed by Daity, a well-known company in the frozen dessert industry.

I was motivated by the challenge of creating something that stands out visually while maintaining a natural and refreshing appeal. The fusion of fun typography with fruit imagery excited me creatively.

Yes, I was influenced by contemporary beverage and snack packaging such as Fanta and Chupa Chups, particularly their bold use of color and playful typography.

The main target audience includes teenagers, young adults, and families looking for tasty and refreshing ice treats, especially during the warmer seasons.

Its custom, fluid typography, vivid color palette, and the seamless integration of realistic fruit imagery make it visually distinctive and easy to remember.

The names come directly from the fruit flavors, keeping the message clear, fresh, and straightforward for instant recognition.

I used Adobe Illustrator for the typography, Adobe Photoshop for photorealistic fruit integration, and Rebelle for some texture and visual enhancements.

The most unique aspect is the harmony between bold, custom lettering and vibrant fruit visuals, which creates an almost tactile, flavor-rich aesthetic.

I collaborated with the marketing team at Daity to better understand the target market, and with print technicians to ensure accurate color output and print compatibility.

Technology was essential—from digital sketching to advanced photo editing and prepress production. It ensured precision and high visual impact in the final printed version.

Yes, I conducted market research, shelf testing, and consumer behavior analysis to ensure the packaging would stand out and communicate effectively in real retail environments.

One of the main challenges was ensuring color vibrancy after print and working within the limited horizontal space of the packaging while still keeping the design impactful.

After receiving positive feedback from both the client and end consumers, and recognizing its unique style and effectiveness, I felt it had strong potential for international recognition.

I gained deeper insights into consumer psychology, refined my approach to typographic branding, and improved my collaboration with print production teams.

This project proved that effective packaging is more than just good design—it’s about storytelling, emotional connection, and strategic thinking all wrapped into one.

In this project, the designer, considering the audience's interaction with the type of product and animals, advanced the design by creating cartoon characters and tried to convey the sense of cuteness of animals to the viewer by using different characters and colors.

The main focus in this design has been simplicity and effective communication with the audience. The different emotional transfer that the designer has shown in the design style has made this packaging look completely different and impressive at first glance. Pure colors without additional shadows make the viewer understand more.

The premium award of this packaging paved the way for the manufacturer. The value of this award will be highlighted in the campaigns.

It has always been a bit challenging to reach simple elements and use simple colors in design. Due to the feeling that the designer has towards animals, the idea of ​​Pouzeh was created in a very short period of time.

design or did you decide to take inspiration?

This design is not inspired from anywhere. The purpose of this design was simplicity and the simple world of animals. Animals teach us the way of life in real language. Uncomplicated life. The simpler the design in this type of packaging, the more understandable it will be for the audience.

More attention to the inner feeling of animals and simple and uncomplicated communication with humans.

The main target is the contacts who understand their pets and prepare the right environment and food for their life and peace. They understand what this design conveys. They understand the simple and pure life of animals.

In this project, cartoon characters have replaced real images. In this type of product, this style is less discussed.

Characters that are very happy and colors that are considered very relaxed and simple.

According to the name of the brand and the place of its formation, the designer has considered his ideas based on the stories and culture of that country. The use of characters and symbols of England is the main idea, which is displayed in the form of simplified characters on the packaging.

The main focus of the designer is to coordinate the brand name with the design on the packaging. The designer has tried to create characters with simple characters, which are all symbols of the stories and culture of England. And by using different colors, it has displayed a different design style of the previous decades of that country.

Now we will make the most of this opportunity to share it more with our audience and create exciting campaigns for this product series, considering that the plan is leading in the field of design.

The point that is very important in creating a plan is to come up with an idea that can be implemented in a wide range of dimensions. The time spent on the idea of ​​this plan was much more than its implementation.

he packaging design was a planned and purposeful order. A different name behind which was the display of a culture. The elements used in the design each have different capabilities in the creation of a campaign, they can be the narrator of a separate story in the form of the main design.

No, this is an exclusive project for Zarrin Ghazal company and all its legal interests belong to that company.

Studying and using the culture of that country has led the designer to use it. Remembering famous stories in this culture alone can be fascinating.

This project is individually conceived and designed.

According to the type of product and design style, it is clear that the main target is the youth and youth sector of the society. But the type of design will express the renewal of memories for adults.

Using busy and complicated designs is not always bad. Sometimes it makes you focus more to see it and see it better.

Illustrator software has been used to implement this project.

The type of arrangement of colors (patterns) and the design style of the characters and their stories are among the features of the design.

Research and study have been done regarding the culture and stories of England.

The designer decided to send the design to the competition in order to show that cultures can be introduced along with advertising designs. to be evaluated by the big A competition and to share the design with all designers.

In this project, the designer went through the challenge of combining multiple colors together and in this project learned how to arrange multiple colors together and tries to make more efforts in this matter.

The packaging is related to the beverage dessert product. According to the manufacturer's sales goal of producing this product, which was children, creating a dreamy and distinct world for children in the form of different drinks was created in the designer's mind.

The main focus in the design of this project was to create a fantasy and effective space that can communicate effectively with children. All the efforts of the designer to create the space have been to establish a sensory connection between drinks and children.

Due to the good opinion of the judges, we are convinced that the packaging will perform well and creating related campaigns will have a double effect on its impact. Therefore, the creation of physical fantasy spaces will be on the agenda to have a better visual interaction with children.

This has been a 6-month project for the designer. From idea generation to research and final implementation of the project.

This was a custom project from Zarin Ghazal Company (an ice cream manufacturer) for a beverage dessert product in Iran. Their request was to create a suitable idea to communicate better with the children's world.

No, this is a custom project and after the completion of the project, all the legal rights of the work belong to Zarrin Ghazal Company.

My interest in the children's world and the activeness of my "inner child" was one of the most important factors that tempted me to do this project.

The target customers of the design were children. Creating a children's fantasy atmosphere that can only be seen in their dreams and game world. Creating a happy and colorful atmosphere.

In this design, we tried to convey excitement to the audience from the illustration and colors along with the characteristic taste (fruits) in the packaging. Not using large and sharp images of fruits is a feature of this design. Because we tried to implement it with illustration.

Daity is one of the brands of Zarrin Ghazal Company. Keeping the previous name, we tried to create a different world and used the name of the galaxy along with the name of Daity.

Pencil and watercolor were the tools used. We felt that maybe watercolor would give a better feeling to this issue.

The most unique aspect of the design is the use of numerous colors in the design. Colors are the point of contact between the emotions of a design and the visual vision of the audience and convey the mood of the design better.

To design this project, we did a lot of research on children's behavior and emotions and examined their drawings. In fact, it was done with the cooperation of children.

Yes. Children have been the most important part of this issue. Analyzing and examining children's drawings, examining their games and periods, group games, all have had a great impact on the role-playing of this project.

Connecting with children and working in their world was one of the most important challenges and what a beautiful world it is to be with them.

I decided to trust the children's feelings and evaluate my design based on their feelings, and if successful, I could share this experience with other designers.

To be patient, to be happy, to see and think differently, to stay away from some intellectual barriers that prevent mental creativity, were all the things that I learned in this project while working with children.

The packaging is related to the ice cream product. According to the manufacturer's sales goal of producing this product, which were children, creating a dreamy and distinctive world for children was created in the mind of the designer.

The main focus in the design of this project was to create a fantasy and effective space that children usually dream about. All the efforts of the designer to create a space have been to establish a sensory connection with children.

Due to the good opinion of the judges, we are convinced that the packaging will perform well and creating related campaigns will have a double effect on its impact. Therefore, the creation of physical fantasy spaces will be on the agenda to have a better visual interaction with children.

This has been a 6-month project for the designer. From idea generation to research and final implementation of the project.

This was a custom project from Zarrin Ghazal Co. (ice cream manufacturer) in Iran. Their request was to create a suitable idea to communicate better with the children's world.

This is a custom project and after the completion of the project, all the legal rights of the work belong to Zarrin Ghazal Company.

My interest in the children's world and the activeness of my "inner child" was one of the most important factors that tempted me to do this project.

The target customers of the design were children. Creating a children's fantasy space that can only be seen in their dreams.

Among all the ice cream packaging designs, although the product itself has a childish excitement, the luxurious and special design is more noticeable. The place for such a fantasy and colorful space was very empty in this context. Perhaps this is the most important distinction.

Daity is one of the brands of Zarrin Ghazal Company. Keeping the previous name, we tried to create a different world and used the name of the galaxy along with the name of Daity.

Pencil and watercolor were the tools used. We felt that maybe watercolor would give a better feeling to this issue.

The most unique aspect of the design is the use of numerous colors in the design. Colors are the point of contact between the emotions of a design and the visual vision of the audience and convey the mood of the design better.

To design this project, we did a lot of research on children's behavior and emotions and examined their drawings. In fact, it was done with the cooperation of children.

Yes. Children have been the most important part of this issue. Analyzing and examining children's drawings, examining their games and periods, group games, all have had a great impact on the role-playing of this project.

Connecting with children and working in their world was one of the most important challenges and what a beautiful world it is to be with them.

I decided to trust the children's feelings and evaluate my design based on their feelings, and if successful, I could share this experience with other designers.

To be patient, to be happy, to see and think differently, to stay away from some intellectual barriers that prevent mental creativity, were all the things that I learned in this project while working with children.

The packaging design is inspired by trying to maintain and preserve nature. Just as outstanding works of art (which represent the civilization and history of the world) are maintained at a high cost, one should be diligent in preserving and maintaining the ecosystem. Therefore, to maintain it, animals that play an important role in it should be protected.

The main focus is to create a mutual relationship regarding the importance of preserving an ecosystem and the cultural history of the world, which affects the main quality of a product.

Carrying out advertising campaigns in schools along with providing products to children and teaching them to preserve nature and culture from the basic education period is one of the future plans of this brand.

It took nearly 6 months to research and collect information and establish a relationship between this information and portray it.

It was a custom design for a dried fruit manufacturer. Two goals were considered in this design: 1. Awareness and message to the consumer 2. Awareness and messaging to the producer

No, all intellectual and commercial rights of this plan belong to the employer.

The importance of preserving the environment was the first and most important reason.

The entire process of research and design was my responsibility.

The main goal is to raise awareness about the conservation of natural resources and the role of animals in our lives for all the people of the world.

The simultaneous use of products, animals and historical statues that are combined in a different style.

according to the product itself and because no preservatives are used in this product, and everything is taken from the heart of nature.

In this project, pen and ink were used for design and finalized with related software.

The design style and the relationship between the animal characters and the product

The entire process of research and design was my responsibility.

Using paper packaging because it is degradable.

The only research done for this project is to effectively communicate the characters created with its product.

The biggest challenge has been creating a relationship between the images and how to execute them. For this purpose, due to the fact that some designs could not be implemented with different techniques, the design style and technique were forced to change several times.

My whole purpose for entering this packaging in the contest is to convey the message of the product to all who see my design. So that I can make a small impact.

I got deeper into my surroundings and my awareness of different techniques increased.

Show energy and health-based product.

My main focus in this design of a limitless space with countless creations is how exciting it can be to use this product.

Obtaining this point made the team gain more energy to continue the journey. More creativity in the field of creating physical and virtual space and direct communication with the customer.

Took a lot of time to communicate this. For each product, a different goal was considered and according to the product, the design was completed and finalized. In the meantime, nearly 4 months were spent.

According to the request of the customer and his needs in the field of communication of this product with the audience, ideas were put on the table and the final idea was formed during different meetings.

No, this is an exclusive design and all its financial and intellectual rights belong to the ordering company.

A different approach and attitude towards similar products.

No, this design and the implementation of all its images were my responsibility.

From the age group of 20 and above

The type of attitude and the connection of images with each other and its impact on the audience

To show the health and energy of the product and its effect on the consumer

Black pencil - Photoshop and illustrator software

Style and technique in character design and its relationship with each product

No special technology is used in this design.

A sense of what the consumer should get from this product. This was all the research that was done in this area.

Connecting the character with each product was the most challenging part of the project.

To find out to what extent I took the right path. And after the result, I can improve the next work.

For big things, you have to think bigger to get the desired result.

The main idea, taken from nature, from fantasy, there are guards who protect nature. I saw them as giants. This is the way nature produces coffee for us.

There were several purposes to this design, But the main focus is to show the coffee process steps through revolutionary designing giant characters doing the process as natural bodies. It has simply a good feeling for everyone. (the first is that I wanted to connect with everyone through an imaginary world. Secondly, I wanted to show everyone the stages of the coffee process. Thirdly, through these giants, I wanted to invite everyone to peace and reconciliation with nature.)

In the future, we intend to make famous all the giants on the packaging. Show the giants to everyone and we have a big plan to make them bigger. From making small dolls to making cartoons and movies.

Almost a year, from the time of idea generation to packaging printing.

This project was commissioned by Proshot Company. But I was in charge of the design idea and character creation and printing of the packages.

All the points of this project belong to Proshot Company and this is an exclusive and registered work.

When the decision was made to use these characters, we were all fighting the Covid pandemic. Depression and discouragement had crept into many people’s life. That's why I decided to put a smile on people's faces.

The idea, design, and illustration of this package were my responsibility.

Anyone who drinks coffee.

The difference is in how you approach the coffee packaging design. What you see on coffee packages around the world are all real-world images and approaches. But in the packaging of Proshot coffee, you will be faced with an imaginary world. In fact, we wanted to lead the customer to a world that does not exist at that moment.

Proshot means super happy in the ancient Persian language. It is already the brand name.

Pencil, paper, and watercolor

Illustration and creation of coffee giants.

Here I would like to express my special thanks to the Proshot Coffee Co. crew for their help in producing the content (familiarity with the coffee production process and tools). Undoubtedly, this would not have been possible without them.

In order to execute more correctly and better, all the lines on the colors had to be reconstructed. Colors were controlled. That's why I used graphic software when implementing it.

The process of coffee production and familiarity with simple tools required general research in ancient and modern coffee processing history. That's why I used a special researcher for this.

Creating characters that are both product-related and audience-friendly was hard work, and most importantly, it was the first time the coffee process steps were shown with cartoon characters on coffee packs.

When we saw that we had a good idea and a different implementation, we decided to see ourselves in this very important challenge.

And what's better than A'design.

I learned that to achieve a comprehensive and good job, you have to take a long time and wait.

I am very happy that I came out proud of this challenge. I'm happy for myself and for Proshot coffee.

I graduated in painting then I became interested in design as a teenager. Packaging design, illustration, and painting is my main specialty in designing.

I enjoy creating what is in my mind and displaying it. I feel the statistics and flight while designing. The design gives me a sense of relief.

I neither chose nor had to, I felt like becoming a designer from the inside.

I am a packaging designer and illustrator. I design whatever I can. I really like a design for food industries and beverage companies.

I am not a myth. But to become a good designer, they must have a beautiful attitude and try hard to listen, look and be different.

A good designer designs well and executes well. But a great designer has a broader vision. Sees well, hears well, understands well, analyzes well, designs well, and delivers well.

A correct and different understanding of the design in a way that nobody else can. A good design lasts forever!

Good designs look better. Good design looks different and impressive. It does not become repetitive and old. Anything that works should be invested in, but a good plan should be maintained because it will last longer.

For someone who respects my work, I offer a design that is born within me and with all my emotions.

Illustration of characterization and design of Ferdowsi Shahnameh book with different packaging, one of the most influential poetry books in the world.

Do not duplicate or copy.

Salvador Dali, Picasso.

I like the Picasso cow design because it is simply completely drawn. Coca-Cola glass packaging design, creating a simple and impressive form of packaging.

My best design so far has been Proshot coffee packaging. Because a large part of my soul is in these packages. These packs offer a different version of the coffee product marketing hand in hand with revolutionary coffee characters.

Ideation and style and being able to identify exactly what they are great at and what they like.

I think I was dying.

Design is, in my opinion, abandonment. Designing a bridge between the inner and outside of our mind. Design is a common language among all the people of the world.

Childish senses.

Being accepted by the community as a designer is not an easy task. Building trust is hard work and there is nothing worse than a designer not being able to put his ideas into work.

Display your works either virtually or as an exhibition.

I have lots of projects. It is a difficult question, but all I am trying to do is come up with a new plan for better communication with the community.

Achieving goals is cross-sectional. Achieving goals is easy with effort. If you have an ultimate goal, then everything is much easier.

Good public relations, good design, and ideas.

By changing and cultivating public culture and visual and aesthetic vision.

A project on dried fruit and the continuation of Proshot coffee packaging.

Projects in which there was illustration. Because repentance has a stronger visual connection with the audience.

Type of project presentation

Design is a means of advancing the mind. Ideas and designs are endless.

Depends on the type of project.

Listening to customer's needs.

Always protect your inner child.

Both are possible. But I think so far the design has determined the trends.

Technology creates a broader vision in creating a design and presenting it to us.

Any tool and technique that can help me convey my inner feelings.

Color, material, and environment complete the design process. Creating a space is a very important point along with the design, which is definitely very effective in the viewer's eyes.

I would rather like they to ask me about brainstorming and how to create a work.

I'm happy that a designer has been able to come up with an idea, either individually or as a team. I'm glad to see that something has been created that makes our surroundings look more beautiful.

My partner has to think differently from me and you have to see differently from me, but as a team, we have to be like-minded and at the forefront of coming up with an idea. Yes, I like teamwork, and most of the time I get good results from teamwork.

My family

It might be funny, but books that are simple and not complicated are as effective to me like children's books.

By practicing and updating myself. Create a goal to achieve a new technique or a different line of thinking.

Picasso, Jim Carrey, Walt Disney, and Spielberg.

Yes, becoming famous increases human responsibility towards its audience.

All colors, Italy, stick, spring, pencil, and paper, Rolls-Royce.

​​In one project, I had finished the design, the illustration (watercolor) was done and the file was ready to print. The client came to me for final approval and said, "I have a few small changes." The small changes were: the background color changed, the face image turned 30 degrees, and the hat. And the color of her clothes should be striped. And then he said to me with a special look, "Isn't that hard work?"

High energy environment

I did my best and one of my dreams was to work at Walt Disney.

Progress, Progress, and progress.

Ideation and design is a timeless world, just try to create beauty.

As a child, my interest in designing was bright. Art had a special place in our family. Now that I am designing, I am completely happy and I feel good.

do not have a design studio. I'm a freelancer. But since I started graphic design, like all professional design studios, I have been professionally loyal to my clients.

Design is like a sense of liberation to me. It is indescribable.

Designs for food industries and children as well as very luxurious works.

I really like the design that uses illustration. The use of details, both complex and very simple, can engage the mind and makes it think.

Design a frog character.

Anything that can convey a feeling with it is attractive to me. Sometimes using a pencil to create a design and sometimes using software that is used for drawing.

For me, inner feelings are something that gives me the opportunity to come up with ideas. I have to connect with what I am going to design.

I try my best to communicate with my audience. Color, layout, form, and ...

I am in a different world when designing, especially when it comes to illustration and idea generation. I dream and I deal with it.

It is unbelievable, but I feel relaxed and light.

Ideation, correct execution, and courage in creating a work.

Every beautiful design is formed from a beautiful mind and has a different world. Every design has a point of view that must be heard and felt and they should not be judged by personal taste. Beauties are a priority.

The designer must be the messenger of the new world. The designer must acquaint the mental and inner view of the society with what they do not see. The designer must show beauty. Create culture and awareness.

Every human being has an idea. As discoveries and knowledge of the unknown world become new every day, ideas and innovations in design will advance. The only thing that is as endless as the world is the beautiful human mind. It is the designers who shape and guide the future of humanity.

My exhibitions are works that are made according to the needs of my customers. Each of the designs that I present and print and enter the market is like an exhibition for me that people will see and choose and take home with them. Maybe I'm preparing for the next exhibition right now.

The world and the people around us are so instructive that they are constantly displaying different ideas. But I take them, nurture them, and let them go with my inner childlike sense.

My design style is based on childish feelings. Now it can be modern or classic. But what matters is the feeling that is conveyed and you absorb it. All my design effort is to create a smile. My approach to design is a universal design. Creating communication between people through design, breaking down boundaries through a common language.

I live in Iran. In the city of Shiraz, a city whose king was once the founder of the Charter of Human Rights. Where there are great poets and beautiful houses. Where its wine is known to the whole world. City of Orange Spring Blossoms. Certainly, the designers of each country have been influenced by the artistic heritage of their own country and the world. If not, the creativity of a designer will definitely not be rooted. The rich art of my country is so much that it has always had a positive impact on my life. Iranian artistic culture has very strong roots.

I understand their needs, I see myself as part of that company, I come up with ideas based on those needs and I present.

In my opinion, every company should find its own style and choose its own designer based on that, knowing its own method of sale and the position of its own brand name in the market. After choosing, they should trust and release the designer mentally.

After negotiating with the applicant company and hearing their needs, I typically examine their market for similar products. I study customer behavior. I provide the data to the customer and by consulting and cooperating with them, I find a good idea according to the type of product and market needs, and finally, I present it.

Pencil, pen and ink drawing, charcoal, office and design paper, watercolor, Wacom pen display.

I start my day with a relaxing coffee. I check my daily schedule. I will contact customers if needed. I complete daily information. I turn on the music. I prepare the line sketches of the designs I need. I will start implementing according to the priority of things. After work, I spend time with my family and get ready for the next day. (Of course, it was very, very brief)

A good designer must have a broad vision and plan. Be a master designer. Know art and color and not be far from society. Pay attention to the environment and be beautiful and endless in creativity. To strengthen the mind through study and research, a designer must display his ideas and enjoy what he does. All of this is achieved through practice and perseverance.

The designer must be creative, up-to-date, courageous and, in general, original, that is, himself. But there is one thing that all designers have in common, and that is that they are emotional. A bad event can delay the process of brainstorming in an artist's mind.

Do not copy and always be creative.

Skills in design, photography, skills in good communication, skills in research.

Pencil and paper, Photoshop, Illustrator, painter, sketchbook pro, camera, and relaxation software.

Sometimes you may fail again and again in creating an effect. In such cases, I empty my mind by listening to good music or designing another project so that I can make the right decision after a while.

I do things very quickly and I am fully aware of this ability of mine. I spend all my time on idea generation. Depending on the idea, each project can take between 1 to 4 days to run.

How much does the design cost and how long does it take to deliver it?

Most of my customers are food and beverage manufacturers.

Works in which illustration is used and has details. Design refreshes me, but when I paint, I feel like a part of me remains in it. In my opinion, illustration is the most effective way of visual communication.

My plan is to create different designs in the future. A design through which I can create a culture or be a messenger to a community.

I develop my own designs. But if we look deeper into the design process, the environment and the people around us are our teammates.

Yes, I have several projects in progress, juice, dried fruit (for which I designed a cultural and support program), flour, and ...

Usually either via Instagram or linkedin

No, everything was perfect

The creative journey began with the idea that each child lives within their own imaginative universe, shaped by colors, emotions, and tastes. I wanted to translate this psychological landscape into a tangible visual world.Using watercolor textures and hand-drawn expressiveness, I designed five unique child characters, each embodying a fruit’s personality. For instance, Orange is playful and bright, Melonberry is dreamy and romantic, and Mango is warm and friendly. Each character was developed through sketches inspired by real children’s drawings, ensuring authenticity and emotional connection.

The upward flow of the characters’ hair was both a visual metaphor and a functional design solution. It represents joy, energy, and imagination ascending, while also guiding the viewer’s gaze toward the flavor name and logo placement.This subtle motion visually integrates narrative and hierarchy, turning a static package into an animated form. For children, the movement feels magical, like gravity doesn’t exist in their world. It keeps their attention on the product in a playful, intuitive way.

The field research was deeply interactive. I invited groups of children to participate in color preference sessions, storytelling, and sketch interpretation. One key insight was that children prefer emotional colors over realistic ones; for example, they might associate mango with sunshine rather than orange tones.Another revelation was their love for character interaction; they wanted to “see themselves” in the illustration. This guided me to design open, empathetic facial expressions and postures that reflect curiosity and happiness, not perfection.

Creating a unified brand identity across five variants required a painter’s discipline. The challenge was to balance individual flavor identity with brand cohesion.I built a color rhythm palette where each flavor has a dominant hue supported by secondary tones shared across the range. For instance, the yellow of Pina Colada resonates subtly within Mango and Orange, creating subconscious continuity. This orchestration of tones makes the lineup visually cohesive yet distinctively flavorful.

Children’s imagination is boundless, which makes it both inspiring and unpredictable. During testing, I discovered that every child visualized fruit characters differently. To resolve this, I synthesized their shared perceptions: brightness, humor, and softness.I refined the characters to be symbolic rather than literal, allowing every child to project their own imagination onto the design. Validation came through follow-up sessions, where the majority described the packaging as “happy,” “tasty,” and “fun to hold.” That emotional resonance confirmed success.

The packaging’s tetraprim structure required careful adaptation of the illustrations to curved and angled surfaces. Each layer, polyethylene, aluminum foil, and cardboard, introduced printing and reflection challenges.I strategically designed highlight areas and gradient transitions to maintain color intensity despite lamination and light distortion. This fusion of engineering precision with artistic control ensured that the final printed result retained its watercolor vibrancy and storytelling clarity.

Every design element is rooted in emotional behavior mapping. Research shows that rounded shapes, open gestures, and warm hues elicit trust and joy in children. Thus, I avoided sharp angles or aggressive contrast.The characters’ oversized heads and expressive eyes invite empathy, while the tactile visual texture from watercolor gives a handcrafted warmth, bridging the gap between digital illustration and human touch.

The dual audience demanded layered communication: fantasy for children, reassurance for parents. For kids, the world is magical; for parents, it’s clean, safe, and trustworthy.The fantasy atmosphere was carefully balanced with structured typography and legible information hierarchy. The use of watercolor, a traditional art medium, also subconsciously signals authenticity and care, qualities parents associate with safe, high-quality products.

Entering a competitive children’s drink market meant redefining how a brand could look without losing familiarity. Instead of using glossy realism or mascots, I created an illustrated emotional universe, imaginative yet credible.The key was strategic innovation: retaining essential packaging cues (flavor visibility, product type, color coding) while enriching them with storytelling and emotional design. The result is both fresh and commercially aligned.

Daity Galaxy is not just a packaging design; it’s a visual ecosystem that can evolve endlessly. Future expansions could include animated characters, AR experiences, collectible editions, or interactive storytelling elements, keeping the brand alive in children’s imaginations.The long-term goal is to deepen the emotional continuity between product and user, where every sip connects to a character, and every character inspires creativity. That’s how design moves beyond packaging into the child’s world of wonder.

The idea began with the observation that both music and ice cream trigger emotional memory. Each has rhythm, tone, and tempo that influence human mood. I wanted to merge these sensory experiences to visualize how taste could sound.Each flavor became a musical composition: Solo for deep, bold chocolate; Duette for the romantic blend of vanilla and berries; Rhythm and Melody for tropical and chocolate variations. By connecting auditory structure to gustatory pleasure, the packaging itself became an orchestra of flavors.

To visualize this connection, I employed vector-based illustration with sharp yet flowing forms, reminiscent of musical waves. Layering and rhythm were central principles: shapes repeat like melodies, and color transitions echo tonal shifts.The key was harmony between abstraction and legibility. Each artwork had to sing, not literally, but emotionally. The result was a symphony of color, shape, and tempo that mirrors both sound and flavor.

My painting background guided the entire creative structure. Compositionally, I treated each package as a stage where movement, balance, and color dialogue occur.I relied on chromatic harmony rather than contrast; each tone was tuned like a note to express mood: warm reds and violets for passion, mint greens for freshness, and creamy neutrals for calm. The painter’s intuition about rhythm and negative space was crucial in achieving emotional fluidity across the series.

The research focused on cross-sensory perception, how auditory cues influence taste perception. Studies show that high-pitched sounds enhance sweetness, while low-pitched tones evoke richness.By mapping these emotional parallels, I built a design system where melodic visuals corresponded to the taste profile. This approach turned packaging into a synesthetic bridge, where the act of choosing ice cream feels like selecting a favorite song.

Using In-Mold Labeling (IML) presented precise color limitations and alignment challenges. Musical illustrations rely on subtle gradients and overlapping transparencies, both difficult in IML due to heat fusion and plastic curvature.To overcome this, I optimized the artwork for layer durability and visual integrity, simplifying gradients into color zones while maintaining visual rhythm. Technical precision became part of the aesthetic discipline.

The balance emerged through discipline: the package had to protect, preserve, and perform, but also inspire. By designing within strict technical parameters, I discovered creative opportunities, for instance, using lid colors as rhythmic cues that connect product variants visually on-shelf.This synthesis of art and function transformed the packaging into both a practical container and a sensory narrative.

Each musician illustration was developed as a symbolic performer of the flavor’s emotion. The guitarist, flutist, cellist, and harpist are not literal depictions; they represent moods of taste.The design process started with expressive sketches, refining body gestures to evoke rhythm and harmony. Simplified geometric anatomy and dynamic postures help the viewer “feel” sound without hearing it. Every pose visually conveys the flavor’s personality.

Neev’s design aligns with the current movement toward experiential minimalism, packaging that communicates emotion through abstraction rather than excess. While many ice cream brands rely on hyper-realistic imagery, Neev offers a cultural and artistic narrative.Its fusion of art and sensory storytelling positions it within premium emotional branding, appealing to design-conscious consumers seeking meaning beyond indulgence.

Music is a universal language; this was the foundation. I intentionally avoided any cultural specifics, focusing instead on emotion through posture and color. The musical metaphor transcends language and age: a child sees joy, an adult perceives nostalgia.By using abstract illustration, I ensured the design could communicate universally human emotions, excitement, harmony, and pleasure across markets and demographics.

Neev represents my belief that packaging can be multi-sensory storytelling. The future lies in fusing sensory channels, sight, touch, emotion, and even sound, into cohesive brand experiences.This project reaffirmed that visual silence and rhythm can create deeper emotional engagement than literal imagery. In future works, I will continue to explore synesthetic design, where form and feeling unite into one seamless sensory dialogue.

The concept of the smiling animal faces was born from the idea that simplicity can communicate emotion more effectively than realism. I wanted to humanize pets without losing their animal innocence. Each character was developed through multiple hand sketches to achieve the perfect balance of friendliness and purity.The key visual strategy was to create uncomplicated line drawings with open, rounded facial expressions and slightly exaggerated eyes and mouth elements, proven to trigger empathy and positive emotional response. These characters don’t just represent pets; they represent companionship, comfort, and personality.

The research revealed that viewers emotionally engaged more with stylized illustrations than with real animal photos. Psychologically, this occurs because illustrated faces act as emotional mirrors; they allow viewers to project their own affection and imagination onto the image.This finding influenced the final design profoundly: we minimized realism, emphasized warmth through simplified shapes, and built a visual language of joy rather than documentation. It reaffirmed that authentic emotion in design often comes from abstraction, not imitation.

The matte three-layer structure with aluminum was a deliberate balance of protection, sustainability, and tactility. The rotogravure printing method offered exceptional precision for the clean vector lines and consistent color saturation needed to maintain character integrity.Matte finishing reduces glare and provides a premium feel that aligns with emotional warmth. Aluminum ensures product preservation against humidity, vital in pet food storage. In short, every material choice was both functional and sensorially intentional.

Color decisions were guided by both psychological contrast and environmental harmony. I chose vivid yet desaturated hues, mint green, apricot yellow, and warm beige, to stand out on the shelf while remaining comforting and organic.The principle was restraint: each color serves a communicative purpose, supporting the character and aiding quick product differentiation. Through extensive color testing, I found that simplicity in color composition enhances memory retention, an essential factor in brand recall for pet food markets.

The Bronze Award validated that emotional intelligence and simplicity can coexist with commercial success. It encourages a broader movement in packaging design, one that replaces over-saturated visuals with human warmth and narrative value.I believe this recognition will inspire designers and brands to prioritize empathy over ornamentation, to create packaging that speaks to the heart before it sells to the hand.

One pivotal moment came when early sketches were tested with actual pet owners. Their spontaneous smiles confirmed we were on the right path. Another decisive stage was finalizing the balance between the playful illustration and product clarity, ensuring it felt credible yet charming.Every iteration refined not only the visuals but also the emotional tone, transforming the packaging from a simple product wrapper into a small piece of storytelling.

My background in painting and illustration shaped every aspect of Pavanpet. I approached each package as a canvas of empathy, not just a design surface. The discipline of fine arts taught me to respect balance, composition, and emotional texture.This foundation allowed me to merge aesthetic harmony with market logic, ensuring the design could attract attention while sustaining a sense of artistic authenticity that resonates with pet owners on a personal level.

The 200×400×80 mm format was chosen after analyzing both retail shelving standards and ergonomic handling. The proportion allows the illustration to breathe, maintaining visual clarity from a distance.Additionally, the tall vertical format enhances brand presence in crowded retail environments. It turns the character into a standing figure, almost like a mascot on display, subtly reinforcing recognition and shelf visibility.

The main challenge was to persuade stakeholders that emotional minimalism could outperform photographic realism. Traditional marketing often relies on literal imagery, but through behavioral testing and clear design logic, I demonstrated how a friendly illustration could generate deeper trust and memorability.It required educating the team about the cognitive science behind visual empathy, a crucial bridge between artistic intuition and market data.

Pavanpet confirmed that true innovation in packaging lies in emotional authenticity. Going forward, I intend to extend this principle across categories, from food to wellness and sustainable brands, where design becomes not just an aesthetic, but a language of feeling.Each future project will explore how simplicity, narrative, and psychology can merge to form packaging that not only sells but also connects.

The hand-drawn hen in a headscarf was inspired by rural life and traditional poultry farming. I aimed to evoke trust, nostalgia, and natural quality by humanizing the hen as a caring figure. Using ink and watercolor added warmth and authenticity. The design connects emotionally, standing out with a handcrafted feel while reflecting the brand’s values—freshness, purity, and a deep cultural bond.

The color choices were rooted in emotional symbolism and product essence. Yellow reflects egg yolks, sunlight, and freshness—evoking morning warmth. Red adds energy and tradition, while white symbolizes purity. Together, they reinforce the brand’s rural authenticity, natural origin, and promise of freshness, creating an emotional, sensory link with customers that feels both familiar and genuine.

I chose cellulose for its strength and eco-friendliness, ensuring eggs stay protected. To balance function with emotion, I paired this with hand-drawn illustrations and watercolor textures. The structure met technical needs, while the visuals delivered warmth and nostalgia—blending practicality with a handcrafted, authentic feel that sets the brand apart.

The typography was designed to feel both confident and personal. I chose bold, legible letterforms to ensure clarity on shelves, then softened them with subtle curves and handcrafted touches. This balance reflects the brand’s blend of trustworthy quality and rural charm, supporting the nostalgic, human story told by the illustration and reinforcing the design’s emotional impact.

Research showed that consumers value authenticity, freshness, and emotional connection in food packaging. By studying market trends and local buying behavior, I found a gap for designs that feel both natural and trustworthy. This insight guided the blend of traditional rural imagery with sustainable materials and functional structure—positioning Parsirang as both nostalgic and modern.

To ensure visual consistency, I created a modular layout where key elements—like the hen illustration and typography—could scale or shift without losing balance. I preserved the core visual identity across all sizes, adjusting spacing and proportions carefully. This approach kept the emotional and aesthetic impact intact, while meeting practical and structural needs for each pack.

I experimented with ink and pen sketches combined with watercolor washes to capture warmth and nostalgia. Watercolor’s organic texture added a handcrafted feel that digital methods couldn’t replicate. To adapt for mass production, I refined the artwork digitally to preserve details and color fidelity, ensuring the design retained its authentic, artistic quality on sustainable packaging materials.

My illustration background helped me create a hen character that balances cultural authenticity with universal warmth. By blending traditional elements like the headscarf with expressive, approachable features, I crafted a mascot that resonates locally while appealing broadly. This fusion deepens emotional connection and reinforces the brand’s story of care, quality, and heritage.

The project’s success stems from its authentic storytelling, sustainable materials, and handcrafted aesthetics. The hand-drawn hen and warm color palette evoke nostalgia and trust, while the cellulose packaging aligns with eco-conscious values. This thoughtful blend of emotional design, functionality, and sustainability made Parsirang stand out, earning it the Bronze A’ Design Award.

Parsirang’s approach shows that sustainable packaging can be both eco-friendly and emotionally engaging. By integrating traditional artistry with modern materials like cellulose, it sets a new standard for authentic, responsible design. I believe this fusion will inspire the industry to prioritize cultural storytelling and sustainability together, creating packaging that connects deeply while protecting our planet.

This technique is a free, dreamy way. The colors are placed together both randomly and precisely, which helps tell the brand story in the packaging. Where we want to tell a dreamy, free, and limitless space. Using watercolor is very exciting for children. The combination of colors and their intertwining, as well as preserving the texture of the paper and its visibility, is very special.

It is very exciting when you are among a group of children in this age range. Their emotions are amazing. What they want is always different from what we think. Their desires and dreams are limitless, but our thoughts end up in a certain framework based on logic. Therefore, I tried to use these emotions in a way that does not harm them. But with a separator in the design, I considered the packaging requirements. In the end, although the illustrations have certain complexities, a combination of simplicity and freedom was seen in the design.

The story begins here, where the brand has prepared itself to face the world of children in order to achieve its goals. An endless galaxy. For this reason, each product had to tell a different story in a specific visual framework. Each package, depending on its contents (the taste of the product), tells a different story in order to challenge its audience. Since our goal in the brand is clear, we had to tell them different stories. Because their mental world is limitless and I had to meet their needs.

The durability of the design on the packaging is very important. For a design to be durable, all aspects must be considered, considering the storage conditions of the product. Using packaging that has the highest surface area for presenting a visual idea can be effective in its effectiveness in the eyes of the viewer.

To create a work of art that can influence children, your "inner child" must be active. Creating a childlike world requires you to live in it and to maintain your boundless creativity at all times. Therefore, based on my own experiences and mental and emotional structure, I was able to form this connection and use it in my work.

The design and storytelling of a picture in a frame should be such that everyone can create a different story for themselves. How the elements are put together is a completely sensory issue. This is a very important issue for children who, when they are narrating something, can tell different stories over and over again because of the very wide mental space they have.

One of my challenges was mentally aligning myself with children. They think very abstractly and are very abstract. To do that, you have to live and play in the middle. Another challenge was to apply those deep emotions to a commercial and how these two spaces should sit together and communicate the brand's goals.

Continuous presence in schools and organizations related to children. Presence of children in the production site and inclusion of them in the formation of the product and showcasing the packaging and spaces in the form of weekend and group camps. The main goal of the brand was not to create a luxury product. The brand wants to sit next to its audience and experience stages of childhood with them.

The world of childhood is not a place that changes with the change of place, time, and physical growth of humans. This world has a special place in the hearts of all of us. Therefore, it is always possible to see and travel to this world at any age, dialect, nationality, and location, and it has a common language.

Communicating with an audience always starts with a need. This need varies depending on the type of product and the audience. Understanding an audience comes when you understand them and recognize their emotional needs. Business is not just about exchanging goods. Business is about exchanging the soul of the product and its inner feelings.

When the idea of ​​communicating with the audience through a story came to my mind, I tried to build a bridge between this idea and the audience. For that, I created a character and wrote their story. Yes, they became the guardians of nature and I decided that they would tell the story to the audience. Because the giants had unique characters and no one had ever looked at the story of coffee from such a perspective in coffee packaging, it became interesting for the audience and the giants could speak for themselves.

The watercolor technique in drawing and painting is a free and liberated method. Colors have their expression. The captivating spots in the colors are beautiful and impressive. That is why I used this technique, as it was close to the main theme of the story. In the printing technique, I considered all the ornaments of the giants shiny to emphasize them more. The luxury of the giants, while being simple and primitive, is a tangible contrast in today's world. The confrontation between workers who endure great hardship for a luxurious world.

The richest products are always created with different difficulties and skills. The most valuable products must have gone through a difficult path to be different. The more industrialized the production, the cheaper the resulting goods are. The use of nomadic tools in the giants reflects this principle. This shows that the giants live in a world far from industry and technology and that the products they obtain with difficulty are very valuable.

To get the answer to this question, I will give a topic. I hope I can give a good answer. We live in a world where everything is created through the process of "feeling a need". When society is immersed in various issues, as a designer, I try to create a work with my creativity that is more visible and meets the visual and emotional needs of society. Laughter and good feelings have a great impact on the audience's understanding of your story.

When the movement trend of a product in the market is clear, a different path can always make you more visible. You should always appear in a way that others will talk about you. The difference in the vision and purpose of your message is not visible at first, but over time, this difference will open its way and will have its impact on the heart. Undoubtedly, there were many difficulties in implementing this idea, but when it comes to winning hearts, everything takes on a different color. This idea affects the viewer through the "inner child".

There are different ways to get the message across to the consumer. But you have to find a way. When you step into the human being, you can see a different imaginary world. All humans have this world. When a different story is created, a window opens in the audience where they find themselves in a part of that story. At that moment, no one pays attention to what they see but only follows the story and that strange world. This is a profound impact. That is where the story tells its narrative easily.

The chosen packaging is a normal form in the coffee packaging process. Its three-layer structure helps preserve the aroma and flavor of the coffee. However, the glossy packaging technique makes it more attractive and focuses the audience's attention on the design.

When I started researching the coffee process, I was looking for a way to get my message across to the audience. Using an industrial coffee production environment didn’t help. So I was looking for something that could have a big impact. Something that could tell the story in an exciting and different way. Creating a different character was the best tool. Something that didn’t exist before or was rarely seen. And those were the giants of Proshot Coffee.

Bringing these giants to life will be more impressive than their images. Each of the packages has a complete story and can convey multiple messages to the audience. Without a doubt, the animation of the giants will be very impressive. In addition, making different character figures of the characters, and designing mugs, keychains, T-shirts, etc. can be very effective in promoting the brand. Collecting them for a different collection will be very attractive. It can even be seen in terms of different age categories and branding can be expanded to different age groups. From small to large character figures.

In general, when a design with a clear story and a different and influential idea is seen on a global level, the theory arises in different industries that the packaging design process can play an effective role in the growth of the brand and its impact on the audience. Therefore, they will not be indifferent to it and will pay more attention to it in the future. But it will also have an impact on the coffee industry. Without a doubt, manufacturers will realize that the current trend in the market will not be the only way to communicate with the customer.