The Censored Playing Cards
Fourth Year Thesis project at OCAD university
Playing Cards + Box + Booklet
This project is part of my thesis project that investigates the symbols, shapes, and motifs which have emerged from the censorship of Iranian artists and the suppression of Iranian culture.
These playing cards explore this theme and use motifs and shapes of censorship in a different way. Each suit is censored differently: hearts are redacted, the same way themes of love and romance, is redacted and considered "taboo"; diamonds are blurred, the same way wealth, and material possessions are stolen; spades are cut out, the same way people and information are cut out to hide the truth; and clubs are pixelated, the same way bodies are pixelated, identity, creativity and achievements striped away. Every card becomes a small metaphor for how information is distorted and people are controlled.
By using a small, familiar, and meaningful object of entertainment within Iranian culture, the cards speak to something much larger.
The Censored Playing Cards
Fourth Year Thesis project at OCAD university
Playing Cards + Box + Booklet
This project is part of my thesis project that investigates the symbols, shapes, and motifs which have emerged from the censorship of Iranian artists and the suppression of Iranian culture.
These playing cards explore this theme and use motifs and shapes of censorship in a different way. Each suit is censored differently: hearts are redacted, the same way themes of love and romance, is redacted and considered "taboo"; diamonds are blurred, the same way wealth, and material possessions are stolen; spades are cut out, the same way people and information are cut out to hide the truth; and clubs are pixelated, the same way bodies are pixelated, identity, creativity and achievements striped away. Every card becomes a small metaphor for how information is distorted and people are controlled.
By using a small, familiar, and meaningful object of entertainment within Iranian culture, the cards speak to something much larger.
Process & Failures
Inspiration
The deck below was designed by V. Romanowski de Boncza for the Royal Iranian Government Playing Card Monopoly (Ministry of Finance), and was created for the Persian market and reflects Iran’s rich cultural history. Printed by De la Rue & Co., Ltd. around 1937, the double-ended court cards feature figures dressed in traditional costumes from various Persian dynasties.
The paintings below are Qajar paintings of royal figures and people working in the court. I drew inspiration from the Romanowski deck and wanted to incorporate a deeper sense of history into my design. I focused on the Qajar era (often considered the golden age of Iranian art) where portraiture and imagery depicted figures in bold, unconventional ways. Women were shown dancing, posing, and even partially unclothed, challenging traditional norms and presenting a visual language unlike anything seen before.
Inspiration
The deck below was designed by V. Romanowski de Boncza for the Royal Iranian Government Playing Card Monopoly (Ministry of Finance), and was created for the Persian market and reflects Iran’s rich cultural history. Printed by De la Rue & Co., Ltd. around 1937, the double-ended court cards feature figures dressed in traditional costumes from various Persian dynasties.
The paintings below are Qajar paintings of royal figures and people working in the court. I drew inspiration from the Romanowski deck and wanted to incorporate a deeper sense of history into my design. I focused on the Qajar era (often considered the golden age of Iranian art) where portraiture and imagery depicted figures in bold, unconventional ways. Women were shown dancing, posing, and even partially unclothed, challenging traditional norms and presenting a visual language unlike anything seen before.
