Omid Nemalhabib Work
Omid Nemalhabib is a graphic designer working at the intersection of type design, visual language, and multilingual typography. He draws on philosophy, visual culture, poetry, and practice-led artistic research to build multilayered narratives, shaped into typographic systems through an ongoing dialogue between analogue tools and digital experimentation. This cross-disciplinary approach spans identity, editorial, printed objects, web design, and motion. He co-founded Studio Melli, an independent practice born in Tehran and based in The Hague.

Part Stationery
2024
Part Stationery is a sub-brand and independent imprint within Part Publications, a Tehran-based publisher. The project brings together journals, pocket notebooks, and postcards, functional, well-made objects designed to slow down and enrich daily life.
               The visual identity is a modular, typographic system built on a precise grid, clean and systematic in its logic yet fluid enough to move freely across formats and surfaces. It builds on Part's existing visual language, reinterpreting and expanding it into a new framework aligned with the collaborative nature of the project and its material values. Sustainable and recycled papers are treated not as background, but as part of the visual experience itself.
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Canta & Dance
2025
Canta and Dance for Flute and Piano is the debut EP of Vali Project, an ongoing initiative dedicated to archiving and publishing works of contemporary Iranian music in both digital and print form. The release features two compositions for flute and piano. 
                The visual identity and album cover were developed using a custom typographic tool to explore the relationship between musical sequencing, distortion, and the proportions of letterforms. The process itself became the outcome, a flexible typographic system that shifts in form, colour, and rhythm across each release, while maintaining a consistent core voice. Rooted in the interplay between Iranian music and geometry, the visual language is conceived as a living system that grows with the project.

No—Land Modular Type
2025No—Land Modular Type Design began as a visual identity project and evolved into a typographic experiment built on modular systems. At its centre is the redesign of the bird, the simple mark that had represented the No—Land collective. While reworking its shape, the project revealed how the bird's own components, its lines, curves, and negative space, could become the base units of a new modular structure, opening space to explore unexpected forms within a defined system.
               The result is a typeface built through the deconstruction of the bird symbol. Its details and components were extracted and reworked into a cohesive typographic system, rich in texture, structure, and visual potential. A full type specimen was made to present the typeface across its range of forms.

Shekanj Type Specimen
2025Shekanj is a Nastaliq-based typeface for Arabic, Persian, and Urdu designed by Amir Mahdi Moslehi under Kristyan Sarkis at Typotheque Arabic, built on the idea of shekanj, the folds and texture that appear as Nastaliq's diagonal flow meets a horizontal baseline. Rather than a conventional type specimen, the presentation takes the form of a typographic essay, treating the typeface as a narrative system shaped by history, script politics, and the tension between calligraphic tradition and digital standardization.
               The essay and full visual content, text, structure, and typographic direction, were written and designed to move through this history, how print and later digitization reshaped Perso-Arabic scripts, and how writing itself becomes a political act when a script resists the tools built to standardize it. Rooted in critical theory and the shared visual culture of Arabic, Persian, and Urdu, the specimen presents Shekanj not as a finished object, but as a living inquiry into script, form, and resistance.

Verses of Destruction
2025Verses of Destruction is a typographic installation and performance staged at Royal Academy of Art The Hague, Gallery 3, carried by a single motif, destruction as a force that gives shape to what comes after it, the ground from which meaning grows back. Reinterpreting a poem by the 14th-century Persian poet Hafez, the work sits at the space between power and language, staging the collapse of one and the endurance of the other through fragments of stone, cement blocks, soil, and burnt paper inscribed with verses, unstable lettering, and crumbling, imperfect ornament, a landscape built by hand from the same materials it mourns. At its centre is the idea of metamorphosis, the belief that no power holds its shape forever, civilizations rise and dissolve, tyranny gives way to ruin, and what stands tall today is already becoming tomorrow's ground.
                During the performance, the poem was read aloud in Farsi and English while fragments of it were carved into stone, an act of holding memory against its own disappearance that carried the installation's central tension between what is written and what is lost. The sound of carving moved through the gallery, human and unscripted, drawing visitors closer into the presence of language being shaped and worn away at once.

Lipstick to the void
2021

Lipstick to the Void is a book designed for Iranian artist Ali Meer Azimi, published in 2021 to accompany his solo exhibition at Argo Factory, a contemporary art and cultural centre in Tehran. Drawing on Fredric Jameson, Siah Armajani's Sound Towers, and Kiarostami's cinema, Azimi's work investigates a specific moment in time, what he calls “the moment of contact”: the final years of the Iran—Iraq war, when radar disruption technologies made bombings untraceable, turning sound itself into a field of power and erasure.
               The book design responds to this tension through a strict red, white, and black system, typography and structure shaped to hold the weight of the subject. The book was featured among notable cover designs by It's Nice That, and accompanied Azimi's installation at Liste Art Fair Basel.

Traces Of Power
2024
Traces of Power is the first episode of an ongoing lecture and performance series by the Permacomputing Evenings at WdKA, in collaboration with Permacomputing. The event brought together researchers and artists to trace the hidden material and energy costs of computation, from supercomputers to data centres.
               For the event, the visual identity, publication, web design, and social media visuals were developed alongside a series of motion pieces and Riso posters in multiple sizes. The design draws on the language of terminal output, system monitoring command-line typography, ASCII, load statistics, and process logs to make visible the infrastructure the event itself is concerned with. Rooted in the tension between the digital's apparent weightlessness and its physical, extractive reality, the visual system treats each surface, screen, print, and poster as another trace left behind by power.

Abide
2024Abide is the debut album by Iranian violinist and composer Pooya Eshghinejad, released by Kherad Art House Records. Part of the Zaryab series, an ongoing collection introducing rare and significant voices in contemporary Iranian music, the album sits at the intersection of Iranian indigenous music, jazz, and world music, resisting easy categorization.
              The visual identity for the release sits within the Zaryab series framework, a system built around typography and structure, where information becomes part of the design rather than secondary to it. Each release in the series carries its own distinct character while sharing a coherent binding logic. The work spans the physical package, a poster, stickers, motion and digital content, and materials for live events.


JT-Cyrax ASCII Series
2025
JT Cyrax is a superfamily by Rafał Buchner for July Type, combining slab and sans styles in squarish, sci-fi-inflected letterforms reminiscent of classic film titles and tech branding. Spanning a full range of widths and weights, it sits within the tradition of superfamilies, balancing technical precision with a distinct, contemporary character.
              In collaboration with July Type, a series of motion pieces was developed to demonstrate the typeface's range, using creative coding to explore its variable axes and weights in real time. Each animation treats the shift between weights and widths as its own form of expression, letting the type move, stretch, and flex to reveal the flexibility and technical depth built into its structure. The concept and aesthetic of each piece are rooted in the typeface's own origins: sci-fi typography and machine-like precision, translated into motion rather than illustrated on top of it.
Atrough 1401
2022
1401 is a poster–calendar published through Atrough, Studio Melli's print and experimentation platform. The work brings together three calendar systems, solar, Gregorian, and lunar, into a single typographic composition, drawing from the visual language of historical Persian manuscripts, astronomy books, and geometric documents. Numbers, units, columns, and mathematical structures become the material of design: a dense, layered system that is as much a typographic object as it is a functional calendar.
               The result is something that operates beyond time, a piece that carries the logic and aesthetics of old Persian books into a contemporary frame. Originally produced as a printed poster, the work has since been realised in various materials as a flag and blanket appearing across different exhibitions and installations.

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