Bulletin04 - Idea by Onish Aminelahi

‫ﺷﻤﺎﺭﻩ ﭼﻬﺎﺭﻡ‪ ،‬ﺗﺎﺑﺴﺘﺎﻥ ‪1388‬‬

‫ﻓﻬﺮﺳﺖ ﺩﻭﺭﻩ ﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ ﺗﺮﻡ ﭘﺎﺋﻴﺰ ﺩﺭ ﻣﺪﺭﺳﻪ ﺍﻳﺪﻩ‬ ‫ﻧﺎﻡ ﺩﻭﺭﻩ‬

‫ﻧﺎﻡ ﻣﺪﺭﺱ‬

‫ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯﻯ ﺩﺭ ﺁﮔﻬﻰ ﻫﺎﻯ ﺗﺠﺎﺭﻯ‬

‫ﺍﻭﻧﻴﺶ ﺍﻣﻴﻦ ﺍﻟﻬﻰ‬

‫ﺳﺎﺯﻣﺎﻧﺪﻫﻰ ﺩﻓﺎﺗﺮ ﺗﺒﻠﻴﻐﺎﺗﻰ‬

‫ﭘﻴﺎﻡ ﺑﻠﻮﺭﻳﺎﻥ ﻛﺮﺩ‬

‫ﺑﺮﻧﺎﻣﻪ ﺭﻳﺰﻯ ﻳﻚ ﻛﻤﭙﻴﻦ ﺗﺒﻠﻴﻐﺎﺗﻰ‬

‫ﭘﻴﺎﻡ ﺑﻠﻮﺭﻳﺎﻥ ﻛﺮﺩ‬

‫ﻣﺪﻳﺮﻳﺖ ﺑﺮﻧﺪ )‪(Brand Management‬‬

‫ﺷﺮﻭﻳﻦ ﻓﺮﻳﮕﺎﻡ‬

‫ﺗﺤﻘﻴﻘﺎﺕ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ‬

‫ﺩﻛﺘﺮ ﻣﻨﺼﻮﺭ ﺍﺣﺴﺎﻥ‬

‫ﻣﺎﺭﻛﺘﻴﻨﮓ )‪(Marketing‬‬

‫ﺩﻛﺘﺮ ﻋﻠﻴﺮﺿﺎ ﺻﺪﺭ ﻣﺤﻤﺪﻯ‬

‫ﺭﻭﺍﺑﻂ ﻋﻤﻮﻣﻰ )‪(PR‬‬

‫ﻧﺪﺍ ﺳﻠﻴﻤﺎﻧﻰ‬

‫ﻧﻮﺷﺘﺎﺭ ﺑﺮﺍﻯ ﺗﺒﻠﻴﻐﺎﺕ )‪(Copywriting‬‬

‫ﻓﺮﺷﻴﺪ ﺷﻬﻴﺪﻯ‬

‫ﺻﺎﺣﺐ ﺍﻣﺘﻴﺎﺯ ﻭ ﺩﺑﻴﺮ ﺷﻮﺭﺍﻯ ﺁﻣﻮﺯﺷﻰ‪ :‬ﺁﺭﺵ ﺳﻠﻄﺎﻧﻌﻠﻰ‬

‫ﻣﻬﻨﺪﺳﻰ ﺗﺒﻠﻴﻐﺎﺕ‬

‫ﺑﻬﻨﻮﺩ ﺍﻟﻪ ﻭﺭﺩﻯ ﻧﻴﻚ‬

‫ﺗﺤﺮﻳﺮﻳﻪ‪ :‬ﻫﺪﺍ ﺍﻣﻴﻦ‬ ‫ﺻﻔﺤﻪ ﺁﺭﺍﻳﻰ‪ :‬ﻣﺮﻳﻢ ﺍﻳﺰﺩﻯ‬ ‫ﻃﺮﺡ ﺭﻭﻯ ﺟﻠﺪ‪ :‬ﺍﻭﻧﻴﺶ ﺍﻣﻴﻦ ﺍﻟﻬﻰ‬ ‫)ﻣﺮﺑﻮﻁ ﺑﻪ ﻣﻄﻠﺐ ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯﻯ ﺩﺭ ﺁﮔﻬﻰ ﻫﺎﻯ ﺗﺠﺎﺭﻯ (‬

‫‪Adobe Photoshop‬‬

‫ﻋﻠﻰ ﺷﻤﺲ‬

‫‪Adobe Illustrator‬‬

‫ﻋﻠﻰ ﺷﻤﺲ‬

‫‪) Adobe InDesign‬ﭘﺎﻳﻪ(‬

‫ﻓﺮﻳﺒﺮﺯ ﺳﻴﺎﻣﻚ ﻧﮋﺍﺩ‬

‫‪) Adobe InDesign‬ﺗﺨﺼﺼﻰ(‬

‫ﻓﺮﻳﺒﺮﺯ ﺳﻴﺎﻣﻚ ﻧﮋﺍﺩ‬

‫‪Adobe Flash‬‬

‫ﻛﺴﺮﺍ ﻳﻮﺳﻔﻰ‬

‫ﺗﺎﻳﭙﻮﮔﺮﺍﻓﻰ ﺧﻂ ﻓﺎﺭﺳﻰ‬

‫ﺍﺳﺪﺍﷲ ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯ‬

‫ﺧﻼﻗﻴﺖ ﻭ ﺳﺎﻣﺎﻧﺪﻫﻰ ﺗﺼﻮﻳﺮ‬

‫ﻃﺎﻫﺮﻩ ﻣﺤﺒﻰ ﺗﺎﺑﺎﻥ‬

‫ﻃﺮﺍﺣﻰ ﻧﺸﺎﻧﻪ‬

‫ﺍﺳﺪﺍﷲ ﭼﻬﺮﻩ ﭘﺮﺩﺍﺯ‬

‫ﻫﻮﻳﺖ ﺟﺎﻣﻊ ﺑﺼﺮﻯ )‪(Corporate Identity‬‬

‫ﺁﺭﺵ ﺳﻠﻄﺎﻧﻌﻠﻰ‬

‫ﻃﺮﺍﺣﻰ ﭘﻮﺳﺘﺮ‬

‫ﻣﻬﺪﻯ ﻣﺤﻤﺪﻯ‬

‫ﮔﺮﺍﻓﻴﻚ ﻣﺤﻴﻄﻰ‬

‫ﻃﺎﻫﺮﻩ ﻣﺤﺒﻰ ﺗﺎﺑﺎﻥ‬

‫ﺍﻧﻴﻤﻴﺸﻦ‬

‫ﻛﻴﻮﺍﻥ ﻧﻈﺎﻡ ﺁﺑﺎﺩﻯ‬

‫ﺗﻬﺮﺍﻥ‪ ،‬ﺧﻴﺎﺑﺎﻥ ﺧﺮﺩﻣﻨﺪ ﺷﻤﺎﻟﻰ‪ ،‬ﻛﻮﭼﻪ‬ ‫ﻫﺠﺪﻫﻢ‪ ،‬ﭘﻼﻙ ‪26‬‬ ‫ﺗـﻠﻔﻦ‪8882 3387 :‬‬ ‫‪8882 3625‬‬ ‫‪8830 3759‬‬ ‫ﻓﻜﺲ‪88844454 :‬‬

‫ﻃﺮﺍﺣﻰ ﻭﺏ‬

‫ﻛﺴﺮﺍ ﻳﻮﺳﻔﻰ‬

‫ﻛﺎﺭﮔﺎﻩ ﻃﺮﺍﺣﻰ ﺧﻼﻗﻪ ﺫﻫﻨﻰ‬

‫ﭘﻴﺎﻡ ﻳﺎﺳﻴﻨﻰ‬

‫ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﺩﺭ ﺗﺒﻠﻴﻐﺎﺕ‬

‫ﻛﻴﺎﻧﻮﺵ ﻏﺮﻳﺐ ﭘﻮﺭ‬

‫ﮔﺮﺍﻓﻴﻚ ﻣﻄﺒﻮﻋﺎﺗﻰ ﻭ ﺻﻔﺤﻪ ﺁﺭﺍﺋﻰ‬

‫ﺳﻮﺳﻦ ﻣﺤﻤﻮﺩﻯ‬

‫ﻣﺪﻳﺮﻳﺖ ﺭﻧﮓ‬

‫ﺳﻮﺳﻦ ﻣﺤﻤﻮﺩﻯ‬

‫‪info@ideaschool.ir‬‬

‫ﻋﻜﺎﺳﻰ ﭘﺎﻳﻪ‬

‫ﻋﻠﻴﺮﺿﺎ ﺭﻭﺡ ﻧﻮﺍﺯ‬

‫ﻋﻜﺎﺳﻰ ﺗﺨﺼﺼﻰ‬

‫ﻋﻠﻴﺮﺿﺎ ﺭﻭﺡ ﻧﻮﺍﺯ‬

‫ﻋﻜﺎﺳﻰ ﺗﺒﻠﻴﻐﺎﺗﻰ‬

‫ﭘﺮﻫﺎﻡ ﺗﻘﻰ ﺍُﻑ‬ ‫ﻣﺤﺴﻦ ﻣﺤﻤﺪﻯ‬

‫ﻟﻴﺘﻮﮔﺮﺍﻓﻰ‪ ،‬ﭼﺎپ ﻭ ﺻﺤﺎﻓﻰ‪ :‬ﮔﺮﻭﻩ ﻋﻤﺎﺩ‬

‫ﻣﺪﺭﺳﻪ ﺍﻳـﺪﻩ ﺍﺯ ﺍﺑﺘـﺪﺍﻯ ﻣﻬﺮﻣـﺎﻩ ﺑﻪ ﻣﺤـﻞ‬ ‫ﺟﺪﻳﺪ ﻣﻨﺘﻘﻞ ﻣﻰ ﺷﻮﺩ‪.‬‬

‫‪www.ideaschool.ir‬‬

‫ﭼﺎپ ﻭ ﺑﺴﺘﻪ ﺑﻨﺪﻯ ﻭ ﻧﻈﺎﺭﺕ ﺑﺮ ﺁﻥ‬

‫ﺳﻰ ﺍﻡ ﻣﻬﺮﻣﺎﻩ‪ ،‬ﺍﻓﺘﺘﺎﺡ ﺑﺎﺷﮕﺎﻩ ﺍﻳﺪﻩ ﻭ ﺟﺸﻦ ﻳﻚ ﺳﺎﻟﮕﻰ ﺁﻣﻮﺯﺷﮕﺎﻩ ﺍﻳﺪﻩ‬ ‫ﺍﺯ ﺗﻤﺎﻣﻰ ﺍﺳﺎﺗﻴﺪ ﻭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﻫﻨﺮﺁﻣﻮﺧﺘﮕﺎﻥ‪ ،‬ﻋﻼﻗﻤﻨﺪﺍﻥ ﻭ ﺻﺎﺣﺒﺎﻥ ﻓﻦ‬ ‫ﻫﻨﺮ ﻭ ﮔﺮﺍﻓﻴﻚ‪ ،‬ﺗﺒﻠﻴﻐﺎﺕ ﻭ ﺭﻭﺍﺑﻂ ﻋﻤﻮﻣﻰ ﺩﻋﻮﺕ ﻣﻰﺷﻮﺩ ﺩﺭ ﺭﻭﺯ ﭘﻨﺠﺸﻨﺒﻪ‬ ‫ﺳﻰﺍﻡ ﻣﻬﺮﻣﺎﻩ ﺩﺭ ﺑﺮﻧﺎﻣﻪ ﺍﻓﺘﺘﺎﺡ ﺑﺎﺷﮕﺎﻩ ﺍﻳﺪﻩ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺟﺸﻦ ﻳﻚ ﺳﺎﻟﮕﻰ‬ ‫ﺁﻣﻮﺯﺷﮕﺎﻩ ﺣﻀﻮﺭ ﺑﻬﻢ ﺭﺳﺎﻧﺪﻩ ﻭ ﺩﺭ ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺫﻳﻞ ﺷﺮﻛﺖ ﻧﻤﺎﻳﻨﺪ‪.‬‬ ‫• ﺍﻋﻄﺎﻯ ﺑﺴﺘﻪ ﻫﺎﻯ ﺍﻫﺪﺍﺋﻰ ﺍﻋﻀﺎﻯ ﺑﺎﺷﮕﺎﻩ ﺍﻳﺪﻩ‬ ‫• ﺍﻋﻄﺎﻯ ﮔﻮﺍﻫﻴﻨﺎﻣﻪﻫﺎﻯ ﭘﺎﻳﺎﻥ ﺩﻭﺭﻩ ﻫﻨﺮﺁﻣﻮﺧﺘﮕﺎﻥ ﺍﻳﺪﻩ‬ ‫• ﻧﻤﺎﻳﺶ ﻣﻨﺘﺨﺐ ﺑﺮﺗﺮﻳﻦ ﺗﺒﻠﻴﻐﺎﺕ ﺗﺠﺎﺭﻯ ﻭ ﻓﺮﻫﻨﮕﻰ ﺟﻬﺎﻥ‬ ‫• ﻋﺮﺿﻪ ﻭ ﻓﺮﻭﺵ ﻭﻳﮋﻩ ﻣﺤﺼﻮﻻﺕ ﻓﺮﻫﻨﮕﻰ ﻫﻨﺮﻯ‬ ‫• ﮔﻔﺘﮕﻮ ﺑﺎ ﺍﺳﺎﺗﻴﺪ ﭘﻴﺶﻛﺴﻮﺕ ﻭ ﻣﺪﻳﺮﺍﻥ ﺁﻣﻮﺯﺷﻰ ﺩﺍﻧﺸﮕﺎﻫﻰ‬ ‫• ﮔﻔﺘﮕﻮ ﺑﺎ ﺍﻋﻀﺎﻯ ﺷﻮﺭﺍﻯ ﺁﻣﻮﺯﺷﻰ ﻭ ﺍﺳﺎﺗﻴﺪ ﺍﻳﺪﻩ‬ ‫• ﺍﺭﺍﺋﻪ ﺗﺨﻔﻴﻒ ﻭﻳﮋﻩ ﺛﺒﺖ ﻧﺎﻡ‬ ‫• ﺩﺭ ﺍﻳﻦ ﻣﺮﺍﺳﻢ ﻣﺮﺍﻛﺰ ﻃﺮﻑ ﻗﺮﺍﺭﺩﺍﺩ ﺑﺎﺷﮕﺎﻩ ﺍﻳﺪﻩ ﺍﺯ ﺟﻤﻠﻪ ﺷﻬﺮ ﻛﺘﺎﺏ‪،‬‬ ‫ﻛﺎﻧﻮﻥ ﺍﻧﻔﻮﺭﻣﺎﺗﻴﻚ‪ ،‬ﻧﺸﺮ ﭼﺸﻤﻪ‪ ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺳﻴﺘﻪ‪ ،‬ﻣﺮﻛﺰ ﻣﻮﺳﻴﻘﻰ ﺑﺘﻬﻮﻭﻥ‪،‬‬ ‫‪ Faber Castell‬ﻭ ‪ ...‬ﻣﺤﺼﻮﻻﺕ ﻓﺮﻫﻨﮕﻰ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺗﺨﻔﻴﻒﻫﺎﻯ ﻭﻳﮋﻩ‬ ‫ﻋﺮﺿﻪ ﻣﻰﻧﻤﺎﻳﻨﺪ‪.‬‬ ‫ﻣﺪﺭﺳﻪ ﺗﺨﺼﺼﻰ ﺍﻳﺪﻩ ﺩﺭ ﺍﺩﺍﻣﻪ ﻓﻌﺎﻟﻴﺖ ﻫﺎﻯ ﻓﺮﻫﻨﮕﻰ‪ -‬ﻫﻨﺮﻯ ﺧﻮﺩ ﺍﻗﺪﺍﻡ ﺑﻪ‬ ‫ﺭﺍﻩ ﺍﻧﺪﺍﺯﻯ ﺑﺎﺷﮕﺎﻩ ﺍﻳﺪﻩ ﻭ ﻓﺮﺍﻫﻢ ﺁﻭﺭﺩﻥ ﺗﺴﻬﻴﻼﺗﻰ ﺑﺮﺍﻯ ﺍﻋﻀﺎﻯ ﺁﻥ ﻧﻤﻮﺩﻩ‬ ‫ﺍﺳﺖ‪ .‬ﺍﻋﻀﺎﻯ ﺍﻳﻦ ﺑﺎﺷﮕﺎﻩ ﺿﻤﻦ ﺑﺮﺧﻮﺭﺩﺍﺭﻯ ﺍﺯ ﺍﻣﻜﺎﻧﺎﺕ ﮔﺴﺘﺮﺩﻩ ﺁﻣﻮﺯﺷﻰ‬ ‫ﺍﻳﻦ ﻣﺪﺭﺳﻪ ﺷﺎﻣﻞ ﻣﻮﺍﺭﺩ ﻣﺘﻌﺪﺩﻯ ﻫﻤﭽﻮﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻣﺘﻴﺎﺯ ﺗﺨﻔﻴﻒ ﺩﺭ‬

‫ﺛﺒﺖ ﻧﺎﻡ ﺩﻭﺭﻩ ﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ ﻭ ‪workshop‬ﻫﺎ ﻭ ﺛﺒﺖ ﻧﺎﻡ ﺩﺭ ﻛﻨﻔﺮﺍﻧﺲﻫﺎ‬ ‫ﻭ ﺳﻤﻴﻨﺎﺭﻫﺎ‪ ،‬ﺍﺯ ﺗﺴﻬﻴﻼﺕ ﺩﻳﮕﺮﻯ ﻧﻴﺰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﺯ ﻗﺒﻴﻞ ﺩﺭﻳﺎﻓﺖ‬ ‫ﺍﻣﺘﻴﺎﺯ ﺗﺨﻔﻴﻒ ﺩﺭ ﻣﺮﺍﺟﻌﻪ ﻭ ﺧﺮﻳﺪ ﺍﺯ ﺳﺎﻳﺮ ﻣﺮﺍﻛﺰ ﻓﺮﻫﻨﮕﻰ‪ -‬ﻫﻨﺮﻯ ﻭ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﺍﺯ ﺍﻣﻜﺎﻧﺎﺕ ﻣﺮﺍﻛﺰ ﻣﺮﺗﺒﻂ ﺑﺎ ﺣﺮﻓﻪ ﮔﺮﺍﻓﻴﻚ ﻭ ﺗﺒﻠﻴﻐﺎﺕ‪ ،‬ﺣﻀﻮﺭ ﺩﺭ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ‬ ‫ﻫﻨﺮﻯ ﻭ ﺗﻔﺮﻳﺤﻰ ﺍﻋﻀﺎء‪ ،‬ﺷﺮﻛﺖ ﺩﺭ ﺗﻮﺭﻫﺎﻯ ﺗﻔﺮﻳﺤﻰ ﻭ ﺗﻮﺭﻫﺎﻯ ﻋﻜﺎﺳﻰ ﺑﺎ‬ ‫ﻗﻴﻤﺖﻫﺎﻯ ﻣﻨﺎﺳﺐ ﻭ ‪...‬‬ ‫ﻣﺪﺭﺳﻪ ﺍﻳﺪﻩ ﺑﺎ ﻣﺮﺍﻛﺰ ﻣﺸﺨﺼﻰ‪ ،‬ﻗﺮﺍﺭﺩﺍﺩﻫﺎﻳﻰ ﺗﻨﻈﻴﻢ ﻧﻤﻮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺍﻋﻀﺎء‬ ‫ﺑﺎﺷﮕﺎﻩ ﺍﻳﺪﻩ ﻣﻰ ﺗﻮﺍﻧﻨﺪ ﺑﺎ ﺩﺍﺷﺘﻦ ﻛﺎﺭﺕ ﻫﺎﻯ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ ﻋﻀﻮﻳﺖ ﺑﺎﺷﮕﺎﻩ‬ ‫ﺍﺯ ﺁﻥ ﻣﺮﺍﻛﺰ ﺧﺮﻳﺪ ﻛﻨﻨﺪ‪ .‬ﺍﻋﻀﺎء ﺩﺭﻣﻘﺎﺑﻞ ﺧﺮﻳﺪ ﺧﻮﺩ ﺍﺯ ﻫﺮ ﻣﺮﻛﺰ ﻃﺮﻑ‬ ‫ﻗﺮﺍﺭﺩﺍﺩ‪ ،‬ﺍﻣﺘﻴﺎﺯﻯ ﺩﺭﻳﺎﻓﺖ ﻣﻰﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺍﻣﺘﻴﺎﺯﻫﺎ ﺩﺭ ﻛﺎﺭﺕ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ ﺍﻋﻀﺎ‬ ‫ﺛﺒﺖ ﻣﻰﺷﻮﺩ‪ .‬ﺩﺍﺭﻧﺪﻩ ﻛﺎﺭﺕ ﻣﻰﺗﻮﺍﻧﺪ ﺩﺭ ﻫﻨﮕﺎﻡ ﻣﺮﺍﺟﻌﻪﻫﺎﻯ ﺑﻌﺪﻯ ﺑﻪ ﺍﻳﻦ‬ ‫ﻣﺮﺍﻛﺰ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻣﺘﻴﺎﺯﻫﺎﻯ ﺑﺪﺳﺖ ﺁﻣﺪﻩ ﺍﻗﺪﺍﻡ ﺑﻪ ﺧﺮﻳﺪ ﻧﻤﺎﻳﺪ ﻭ ﺑﻪ ﺍﻳﻦ‬ ‫ﺗﺮﺗﻴﺐ ﺍﺯ ﺗﺨﻔﻴﻒﻫﺎﻯ ﻭﻳﮋﻩ ﺍﻋﻀﺎﻯ ﺑﺎﺷﮕﺎﻩ ﺑﻬﺮﻩﻣﻨﺪ ﺷﻮﺩ‪.‬‬ ‫ﺍﻋﻀﺎﻯ ﺑﺎﺷﮕﺎﻩ ﺍﻳﺪﻩ ﺍﺯ ﺍﻣﺘﻴﺎﺯﻫﺎﻯ ﻓﺮﻫﻨﮕﻰ ﺩﻳﮕﺮﻯ ﻧﻴﺰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺧﻮﺍﻫﻨﺪ‬ ‫ﺷﺪ؛ ﺍﺯ ﺟﻤﻠﻪ ﺑﺮﮔﺰﺍﺭﻯ ﻧﻤﺎﻳﺸﮕﺎﻩ‪ ،‬ﺍﻧﺘﺨﺎﺏ ﮔﺎﻟﺮﻯ ﻭ ﺗﺨﻔﻴﻒ ﻭﻳﮋﻩ ﻛﺴﺎﻧﻰ ﻛﻪ‬ ‫ﻣﺎﻳﻠﻨﺪ ﻧﻤﺎﻳﺸﮕﺎﻫﻰ ﺑﺮﺍﻯ ﻧﻤﺎﻳﺶ ﺁﺛﺎﺭ ﻫﻨﺮﻯ ﺧﻮﺩ ﺗﺮﺗﻴﺐ ﺩﻫﻨﺪ‪ .‬ﻫﻨﺮﺟﻮﻳﺎﻥ‬ ‫ﻣﺪﺭﺳﻪ ﺍﻳﺪﻩ ﺑﺼﻮﺭﺕ ﺭﺍﻳﮕﺎﻥ ﺩﺭ ﻋﻀﻮﻳﺖ ﺑﺎﺷﮕﺎﻩ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﻧﺪ ﻭ ﺳﺎﻳﺮ‬ ‫ﻋﻼﻗﻤﻨﺪﺍﻥ ﻋﻀﻮﻳﺖ ﺩﺭ ﺑﺎﺷﮕﺎﻩ ﺍﻳﺪﻩ ﻧﻴﺰ ﻣﻰ ﺗﻮﺍﻧﻨﺪ ﺑﺎ ﭘﺮﺩﺍﺧﺖ ﻣﺒﻠﻎ ﺍﻧﺪﻛﻰ‬ ‫ﺻﺮﻓﺎ ﺑﺎﺑﺖ ﻫﺰﻳﻨﻪ ﺻﺪﻭﺭ ﻛﺎﺭﺕ‪ ،‬ﻋﻀﻮ ﺑﺎﺷﮕﺎﻩ ﺍﻳﺪﻩ ﺷﻮﻧﺪ ﻭ ﺍﺯ ﻛﻠﻴﻪ ﺍﻣﻜﺎﻧﺎﺕ‬ ‫ﻋﻀﻮﻳﺖ ﺩﺭ ﺑﺎﺷﮕﺎﻩ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪.‬‬

‫ﺑﺮﺧﻰ ﺍﺯ ﻣﺮﺍﻛﺰﻯ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﻃﺮﻑ ﻗﺮﺍﺭﺩﺍﺩ ﺑﺎﺷﮕﺎﻩ ﺍﻳﺪﻩ ﻫﺴﺘﻨﺪ‪:‬‬

‫ﺭﺳﺘﻮﺭﺍﻥ ﺧﺎﻧﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ‬

‫ﭼﺎﭘﺨﺎﻧﻪ ﻋﻤﺎﺩ‬

‫ﺷﻬﺮ ﻛﺘﺎﺏ ﻧﻴﺎﻭﺭﺍﻥ‬

‫ﻧﺸﺮ ﭼﺸﻤﻪ‬

‫ﺍﻧﺘﺸﺎﺭﺍﺕ ﺳﻴﺘﻪ‬

‫ﻓﺮﻭﺷﮕﺎﻩ ﭘﺎﺳﻜﺎﻝ‬

‫)ﻧﺎﺷﺮ ﻛﺘﺎﺏﻫﺎﻯ ﺗﺨﺼﺼﻰ ﺗﺒﻠﻴﻐﺎﺕ ﻭ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ(‬

‫)ﻧﻤﺎﻳﻨﺪﮔﻰ ﻓﺮﻭﺵ ﻣﺤﺼﻮﻻﺕ ‪(... ،FABER CASTELL، Canson‬‬

‫ﻣﺮﻛﺰ ﻣﻮﺳﻴﻘﻰ ﺑﺘﻬﻮﻭﻥ‬

‫ﻛﺎﻧﻮﻥ ﺍﻧﻔﻮﺭﻣﺎﺗﻴﻚ‬

‫”ﺧﻼﻗﻴﺖ ﻭ ﺳﺎﻣﺎﻧﺪﻫﻰ ﺗﺼﻮﻳﺮ“‬ ‫ﻣﺪﺭﺱ‪ :‬ﻃﺎﻫﺮﻩ ﻣﺤﺒﻰ ﺗﺎﺑﺎﻥ‬

‫”ﺧﻼﻗﻴﺖ ﻭ ﺳﺎﻣﺎﻧﺪﻫﻰ ﺗﺼﻮﻳﺮ“‪ ،‬ﻋﻨﻮﺍﻥ‬ ‫ﺩﻭﺭﺓ ﺗﺨﺼﺼﻰ ﺍﺳﺖ ﻛﻪ ﺍﺳﺘﺎﺩ ﻃﺎﻫﺮﻩ‬ ‫ﻣﺤﺒﻰ ﺗﺎﺑﺎﻥ ﺩﺭ ﻣﺪﺭﺳﻪ ﺗﺨﺼﺼﻰ ﮔﺮﺍﻓﻴﻚ‬ ‫ﻭ ﺗﺒﻠﻴﻐﺎﺕ ﺍﻳﺪﻩ ﺁﻣﻮﺯﺵ ﻣﻰ ﺩﻫﺪ‪ .‬ﺍﻳﻦ‬ ‫ﺩﻭﺭﻩ ﻫﻢ ﻃﺒﻖ ﺭﻭﺍﻝ ﻣﻌﻤﻮﻝ ﺍﻳﻦ ﻣﺪﺭﺳﻪ‬ ‫ﺑﺎ ﺟﻠﺴﻪ ﭘﺮﺳﺶ ﻭ ﭘﺎﺳﺦ ﺁﻏﺎﺯ ﺷﺪ؛‬ ‫ﺟﻠﺴﻪ ﺍﻯ ﻛﻪ ﺧﻮﺩ ﺑﻪ ﺍﻭﻟﻴﻦ ﺟﻠﺴﻪ ﺩﺭﺳﻰ‬ ‫ﺗﺒﺪﻳﻞ ﺷﺪ‪.‬‬

‫ﻛﻼﺱ ﻫﺎﻯ ﺩﻭﺭﻩ ﺧﻼﻗﻴﺖ ﻭ ﺳﺎﻣﺎﻧﺪﻫﻰ‬ ‫ﺗﺼﻮﻳﺮ ﺭﻭﺯﻫﺎﻯ ﺳﻪ ﺷﻨﺒﻪ ﺍﺯ ﺳﺎﻋﺖ ‪ 5‬ﺗﺎ‬ ‫‪ 8‬ﺑﻌﺪﺍﺯﻇﻬﺮ ﺗﺸﻜﻴﻞ ﻣﻰ ﺷﻮﺩ‪.‬‬

‫ﺧﺎﻧﻢ ” ﺗﺎﺑﺎﻥ“ ﺩﺭ ﺍﻭﻟﻴﻦ ﻗﺪﻡ ﺍﻳﻦ ﺟﻠﺴﻪ‪ ،‬ﭘﻴﺸﻨﻬﺎﺩ ﺗﻐﻴﻴﺮ ﺷﻜﻞ ﻛﻼﺱ ﺑﻪ ﺻﻮﺭﺕ ﻧﺸﺴﺘﻦ ﻫﻨﺮﺟﻮﻳﺎﻥ ﻭ‬ ‫ﺍﺳﺘﺎﺩ ﺩﻭﺭ ﻳﻚ ﻣﻴﺰ ﺭﺍ ﺩﺍﺩ ﺑﻪ ﺻﻮﺭﺗﻰ ﻛﻪ ﻛﻼﺱ ﺍﺯ ﺻﻮﺭﺕ ﺍﺳﺘﺎﺩ ﻭ ﺷﺎﮔﺮﺩﻯ ﺧﺎﺭﺝ ﺷﻮﺩ‪ .‬ﺭﻭﻧﺪ ﺑﺮﻧﺎﻣﻪ ﺍﻳﻦ‬ ‫ﻛﻼﺱ ﺑﻨﺎ ﺑﻪ ﮔﻔﺘﻪ ﻭﻯ ﺑﻪ ﺻﻮﺭﺕ ﻛﺎﺭ ﮔﺮﻭﻫﻰ ﻭ ﺍﺭﺍﺋﻪ ﭘﺮﻭژﻩ ﮔﺮﻭﻫﻰ ﺍﺳﺖ ﻛﻪ ﺍﻟﺒﺘﻪ ﭘﺮﻭژﻩ ﻫﺎﻯ ﺷﺨﺼﻰ‬ ‫ﻫﻢ ﺩﺭﻭﻥ ﺁﻥ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺁﻧﻜﻪ ﻳﻜﻰ ﺍﺯ ﻫﻨﺮﺟﻮﻳﺎﻥ ﺩﺭ ﻣﻮﺭﺩ ﻧﮕﺮﺍﻧﻰ ﺧﻮﺩ ﺩﺭ ﺍﺭﺍﺋﻪ ﺍﻳﺪﻩ ﻫﺎﻯ ﻧﻮ‬ ‫ﻋﻨﻮﺍﻥ ﻛﺮﺩ ﺧﺎﻧﻢ ﺗﺎﺑﺎﻥ ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﻛﺎﺭ ﮔﺮﻭﻫﻰ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﺍﻳﻨﻜﻪ ﺩﺭ ﻳﻚ ﮔﺮﻭﻩ ﻫﻢ ﺑﻪ ﺍﻳﺪﻩ ﺧﻮﺏ ﻧﻴﺎﺯ‬ ‫ﺍﺳﺖ ﻭ ﻫﻢ ﺍﺟﺮﺍﻯ ﺧﻮﺏ‪ .‬ﺩﺭ ﺍﺩﺍﻣﻪ ﺍﻭ ﺑﻪ ﺍﺣﺴﺎﺱ ﻧﻴﺎﺯﻯ ﻛﻪ ﺩﺭ ﻃﻮﻝ ﺳﺎﻝ ﻫﺎﻯ ﺗﺪﺭﻳﺲ ﺧﻮﺩ ﻧﺴﺒﺖ ﺑﻪ‬ ‫ﻣﻘﻮﻟﻪ ﺩﻳﺪﻥ ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻭ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ :‬ﺩﺭ ﻃﻰ ﺍﻳﻦ ﻛﻼﺱ ﺑﻪ ﺻﻮﺭﺕ ﻋﻤﻠﻰ ﻳﺎﺩ ﻣﻰ ﮔﻴﺮﻳﻢ ﻛﻪ‬ ‫ﭼﮕﻮﻧﻪ ﺁﺷﻐﺎﻝ ﻫﺎﻯ ﺫﻫﻨﻰ ﻭ ﻋﺎﺩﺕ ﻫﺎﻯ ﻏﻠﻂ ﺧﻮﺩ ﺭﺍ ﺩﻭﺭ ﺑﺮﻳﺰﻳﻢ ﻭ ﺁﺯﺍﺩﺍﻧﻪ ﺑﻪ ﺭﺍﻩ ﻫﺎﻯ ﺗﺎﺯﻩ ﻓﻜﺮ ﻛﻨﻴﻢ‪،‬‬ ‫ﻓﻘﻂ ﻛﺎﻓﻰ ﺍﺳﺖ ﻣﻘﺎﻭﻣﺖ ﺫﻫﻨﻰ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ‪ .‬ﺍﻭ ﺗﺎﻛﻴﺪ ﻛﺮﺩ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﻛﻼﺱ ﺁﻧﻘﺪﺭ ﺩﺭ ﻣﻮﺭﺩ ﻳﻚ‬ ‫ﺳﻮژﻩ ﺻﺤﺒﺖ ﻣﻰ ﻛﻨﻴﻢ ﻛﻪ ﺩﻳﮕﺮ ﻫﻴﭻ ﻧﻘﻄﻪ ﺗﺎﺭﻳﻚ ﻭ ﻣﺒﻬﻤﻰ ﺍﺯ ﺁﻥ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪ‪ .‬ﻭﻯ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪ :‬ﺍﻳﻦ‬ ‫ﻛﻼﺱ ﺑﺮ ﭘﺎﻳﻪ ﭼﻬﺎﺭ ﻣﺒﺤﺚ ﭘﻴﺶ ﺧﻮﺍﻫﺪ ﺭﻓﺖ‪:‬‬ ‫‪ –1‬ﺩﻳﺪﻥ‬ ‫‪ –2‬ﺗﺨﻴﻞ ﺁﺯﺍﺩ‬ ‫‪ –3‬ﭘﻴﺸﻨﻬﺎﺩ ﺍﻳﺪﻩ‬ ‫‪ –4‬ﻫﻤﺎﻫﻨﮓ ﻛﺮﺩﻥ ﺁﻥ ﺩﺭ ﺣﻮﺯﻩ ﺍﺭﺗﺒﺎﻁ ﺗﺼﻮﻳﺮﻯ ﻭ ﮔﺮﺍﻓﻴﻚ‪.‬‬

‫ﺍﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﻧﺴﺒﺖ ﺑﻪ ﺟﻬﺎﻥ ﺑﻴﻨﻰ ﻳﻚ ﻃﺮﺍﺡ ﮔﺮﺍﻓﻴﻚ ﻭ ﻟﺰﻭﻡ ﺷﻨﺎﺧﺖ ﺫﺍﺋﻘﻪ ﻣﺨﺎﻃﺐ ﺗﺎﻛﻴﺪ ﻛﺮﺩ ﻭ ﺩﺭ‬ ‫ﻣﻮﺭﺩ ﺍﺑﺰﺍﺭ ﺑﻴﺎﻥ ﺗﺼﻮﻳﺮ ﺩﺭ ﺍﻳﻦ ﻛﻼﺱ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ :‬ﺍﺯ ﻫﻤﻪ ﭼﻴﺰ ﺑﺴﺘﻪ ﺑﻪ ﺣﺮﻓﻰ ﻛﻪ ﻣﻰ ﺧﻮﺍﻫﻴﺪ ﺑﺰﻧﻴﺪ‪،‬‬ ‫ﻣﻰ ﺗﻮﺍﻥ ﺍﺳﺘﻔﺎﺩﻩ ﻛﺮﺩ‪ .‬ﺧﻼﻗﻴﺖ ﻓﻘﻂ ﺩﺭ ﺍﻳﺪﻩ ﻧﻴﺴﺖ‪ ،‬ﺑﻠﻜﻪ ﻟﺤﻦ ﺷﻤﺎ ﻣﻰ ﺗﻮﺍﻧﺪ ﺧﻼﻗﺎﻧﻪ ﺑﺎﺷﺪ‪.‬‬ ‫ﺍﻳﻦ ﻣﺪﺭﺱ ﻛﻪ ﺩﺭ ﺣﻮﺯﻩ ﻫﺎﻯ ﻣﺨﺘﻠﻒ ﻫﻨﺮﻯ ﺍﺯ ﺟﻤﻠﻪ ﻧﻘﺎﺷﻰ ﻭ ﻋﻜﺎﺳﻰ ﻧﻴﺰ ﻓﻌﺎﻟﻴﺖ ﻣﻰ ﻛﻨﺪ ﺩﺭ ﭘﺎﺳﺦ‬ ‫ﺑﻪ ﺍﻳﻦ ﺳﻮﺍﻝ ﻛﻪ ”ﭼﻪ ﺍﺗﻔﺎﻗﻰ ﺍﻓﺘﺎﺩ ﻛﻪ ﺑﻪ ﭼﻨﻴﻦ ﻧﻴﺎﺯﻯ ﭘﻰ ﺑﺮﺩﻳﺪ؟“ ﮔﻔﺖ‪ :‬ﻧﻴﺎﺯ ﺑﻪ ﺍﺩﺍﻣﻪ ﺣﻴﺎﺕ ﻭ ﻧﻴﺎﺯ ﺑﻪ‬ ‫ﺑﻮﺩﻥ ﻣﻮﺟﺐ ﻣﻰ ﺷﻮﺩ ﻛﻪ ﺷﻤﺎ ﺩﻧﺒﺎﻝ ﺭﺍﻫﻜﺎﺭ ﺧﻼﻗﺎﻧﻪ ﺑﮕﺮﺩﻳﺪ‪ .‬ﻣﺴﺎﻟﻪ ﺍﻳﻦ ﺩﺭﺱ ﺍﺻﻼ ﮔﺮﺍﻓﻴﻚ ﻧﻴﺴﺖ‪،‬‬ ‫ﻣﻦ ﻫﻤﻴﺸﻪ ﻓﻜﺮ ﻣﻰ ﻛﻨﻢ ﻛﻪ ﻳﻚ ﺁﺩﻡ ﺧﻼﻕ ﺩﺭ ﻫﺮ ﺣﻮﺯﻩ ﺍﻯ ﺑﻬﺘﺮ ﻣﻰ ﺗﻮﺍﻧﺪ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ ﭘﻴﺶ ﺑﺒﺮﺩ ﻭ‬ ‫ﺧﻼﻗﻴﺖ ﻣﺨﺘﺺ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻧﻴﺴﺖ‪ ،‬ﺧﻼﻗﻴﺖ ﺷﺎﻩ ﻛﻠﻴﺪﻯ ﺍﺳﺖ ﻛﻪ ﺑﺎ ﺩﺭ ﺩﺳﺖ ﺩﺍﺷﺘﻦ ﺁﻥ ﻫﻴﭻ ﺩﺭﻯ‬ ‫ﺑﺴﺘﻪ ﻧﺨﻮﺍﻫﺪ ﻣﺎﻧﺪ‪ .‬ﻫﻨﺮﺟﻮﻯ ﺩﻳﮕﺮﻯ ﭘﺮﺳﻴﺪ‪ :‬ﺗﺠﺮﺑﻪ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ ﻛﻪ ﻛﺎﺭﻫﺎﻯ ﻛﻼﺳﻰ ﻛﻪ ﺑﻪ ﺷﻴﻮﻩ‬ ‫‪ workshop‬ﺍﺩﺍﺭﻩ ﻣﻰ ﺷﻮﺩ‪ ،‬ﺧﻴﻠﻰ ﺷﺒﻴﻪ ﻛﺎﺭ ﺍﺳﺘﺎﺩ ﻣﻰ ﺷﻮﺩ‪ .‬ﺍﺳﺘﺎﺩ ﺗﺎﺑﺎﻥ ﺗﻮﺿﻴﺢ ﺩﺍﺩ‪ :‬ﻣﻦ ﺗﺎ ﺟﺎﻳﻰ ﻛﻪ‬ ‫ﺑﺘﻮﺍﻧﻢ ﺍﺟﺎﺯﻩ ﻧﻔﻮﺫ ﻧﻈﺮﺍﺕ ﺧﻮﺩﻡ ﺭﺍ ﻧﻤﻰ ﺩﻫﻢ ﻭ ﻫﻤﻴﺸﻪ ﺳﻌﻰ ﻛﺮﺩﻡ ﻫﻨﺮﺟﻮﻳﺎﻥ ﺑﻪ ﺻﻮﺭﺕ ﻣﺴﺘﻘﻞ ﻛﺎﺭ‬ ‫ﻛﻨﻨﺪ‪ .‬ﺍﻭ ﺩﺭ ﭘﺎﻳﺎﻥ ﺟﻠﺴﻪ ﺗﺎﻛﻴﺪ ﻛﺮﺩ‪ :‬ﺧﻼﻗﻴﺖ‪ ،‬ﻻﺯﻣﻪ ﻳﻚ ﺯﻧﺪﮔﻰ ﺧﻮﺍﺏ ﺯﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺧﺎﻧﻢ ﺗﺎﺑﺎﻥ ﺩﺭ ﺟﻠﺴﺎﺕ ﺑﻌﺪﻯ ﺑﺮ ﻧﻜﺘﻪ ﺍﻯ ﺍﺳﺎﺳﻰ ﺗﺎﻛﻴﺪ ﭘﻴﻮﺳﺘﻪ ﺩﺍﺷﺖ‪ :‬ﺭﻓﺖ ﻭ ﺑﺮﮔﺸﺖ ﺍﺯ ﻣﻔﻬﻮﻡ ﺑﻪ‬ ‫ﺗﺼﻮﻳﺮ ﻭ ﺍﺯ ﺗﺼﻮﻳﺮ ﺑﻪ ﻣﻔﻬﻮﻡ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ ﺍﻭ ﺑﻪ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺗﻮﺻﻴﻪ ﻛﺮﺩ ﻛﻪ ﺑﺎﺭ ﻣﻔﻬﻮﻣﻰ ﻳﻚ ﺷﻜﻞ ﺭﺍ‬ ‫ﺑﻴﺮﻭﻥ ﺑﻜﺸﻨﺪ ﻭ ﺁﻥ ﺭﺍ ﺑﺴﻂ ﺩﻫﻨﺪ ﻭ ﺑﻌﺪ ﺍﺗﻮﺩ ﺑﺰﻧﻨﺪ ﻭ ﺑﺒﻴﻨﻨﺪ ﻛﻪ ﭼﻪ ﭼﻴﺰﻯ ﺍﺯ ﺁﻥ ﺑﻴﺮﻭﻥ ﻣﻰ ﺁﻳﺪ؟ ﺩﺭ ﺍﻳﻦ‬ ‫ﻣﻴﺎﻥ ﺍﻭ ﺑﻪ ﺭﺍﺑﻄﻪ ﺑﻴﻦ ﺗﺼﻮﻳﺮ ﻭ ﻣﻔﻬﻮﻡ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺿﺮﺏ ﺍﻟﻤﺜﻞ ﻫﺎ ﺍﺷﺎﺭﻩ ﻛﺮﺩ‪ .‬ﺍﻭ ﺩﺭ ﺑﺨﺸﻰ ﺍﺯ ﻛﻼﺱ ﺑﺮ‬ ‫ﺗﺸﺎﺑﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺍﺟﺴﺎﻡ ﺑﻪ ﻟﺤﺎﻅ ﺷﻜﻠﻰ ﺗﺎﻛﻴﺪ ﻛﺮﺩ ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻜﻠﻴﻒ ﺩﺭﺳﻰ ﺍﺯ ﻫﻨﺮﺟﻮﻳﺎﻥ ﻣﻰ ﺧﻮﺍﺳﺖ‬ ‫ﺗﺎ ﺍﺟﺴﺎﻡ ﻫﻢ ﺧﺎﻧﻮﺍﺩﻩ ﺍﺯ ﻟﺤﺎﻅ ﺷﻜﻠﻰ ﻭ ﻣﻔﻬﻮﻣﻰ ﺭﺍ ﭘﻴﺪﺍ ﻛﻨﻨﺪ ﻭ ﺩﺭ ﻣﺮﺣﻠﻪ ﺑﻌﺪﻯ ﻳﻚ ﺷﻰء ﺭﺍ ﺑﻪ ﻣﺮﺍﺣﻞ‬ ‫ﺗﺸﺪﻳﺪ ﻋﻤﻠﻜﺮﺩ‪ ،‬ﺗﻀﻌﻴﻒ ﻋﻤﻠﻜﺮﺩ ﻭ ﺍﺯ ﻛﺎﺭ ﺍﻧﺪﺍﺧﺘﻦ ﻭﺍﺭﺩ ﻛﺮﺩ‪ .‬ﻣﺜ ً‬ ‫ﻼ ﻳﻚ ﻗﻴﭽﻰ ﻛﻪ ﻳﻚ ﺗﻴﻐﻪ ﺍﺵ ﺑﻠﻨﺪﺗﺮ‬ ‫ﺍﺳﺖ ﺗﺸﺪﻳﺪ ﻋﻤﻠﻜﺮﺩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻭﻯ ﺩﺭ ﺟﻠﺴﺎﺗﻰ ﺍﺯ ﻫﻨﺮﺟﻮﻳﺎﻥ ﺧﻮﺍﺳﺖ ﺗﺎ ﺯﻳﺮ ﻣﺠﻤﻮﻋﻪ ﻫﺎﻯ ﺷﻜﻠﻰ ﻭ‬ ‫ﻣﻔﻬﻮﻣﻰ ﺭﺍ ﭘﻴﺪﺍ ﻛﻨﻨﺪ ﻭ ﺑﻌﺪ ﺁﻧﻬﺎ ﺭﺍ ﺩﺭ ﻣﺤﻞ ﻫﺎﻯ ﻏﻴﺮ ﺍﻧﺘﻈﺎﺭ ﻗﺮﺍﺭ ﺩﻫﻨﺪ‪.‬‬

‫ﺳﺎﻧﺎﺯ ﺩﺭﻳﺎﺋﻰ‬

‫ﺍﻣﻴﻦ ﺳﻌﺎﺩﺗﻤﻨﺪ‬

‫ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯﻯ ﺩﺭ ﺁﮔﻬﻰ ﻫﺎﻯ ﺗﺠﺎﺭﻯ‬ ‫ﻣﺪﺭﺱ‪ :‬ﺍﻭﻧﻴﺶ ﺍﻣﻴﻦ ﺍﻟﻬﻰ‬

‫ﺷﺎﻳﺪ ﻳﻜﻰ ﺍﺯ ﺟﺬﺍﺏ ﺗﺮﻳﻦ ﻭ ﻫﻤﻴﻨﻄﻮﺭ‬ ‫ﻣﻬﻤﺘﺮﻳﻦ ﺑﺨﺶ ﻫﺎﻯ ﺁﮔﻬﻰ ﻫﺎﻯ ﺗﺠﺎﺭﻯ‪،‬‬ ‫ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯﻯ ﺑﺎﺷﺪ؛ ﺍﻳﻨﻜﻪ ﻫﺴﺘﻪ ﺍﻯ ﺗﺮﻳﻦ‬ ‫ﻋﻨﺼﺮ ﻳﻚ ﺁﮔﻬﻰ ﺗﺒﻠﻴﻐﺎﺗﻰ ﺍﺯ ﻛﺠﺎ ﻭ‬ ‫ﭼﻄﻮﺭ ﺷﻜﻞ ﻣﻰ ﮔﻴﺮﺩ ﻭ ﭼﮕﻮﻧﻪ ﺩﺭ ﻃﻮﻝ‬ ‫ﻳﻚ ﻣﺴﻴﺮ ﺑﻪ ﺗﻜﺎﻣﻞ ﻣﻰ ﺭﺳﺪ‪ ،‬ﻧﻜﺎﺗﻰ‬ ‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﮔﻔﺖ ﻭ ﮔﻮ ﺑﺎ »ﺍﻭﻧﻴﺶ‬ ‫ﺍﻣﻴﻦ ﺍﻟﻬﻰ« ﺑﻪ ﺭﻭﺷﻨﻰ ﺑﻴﺎﻥ ﻣﻰ ﺷﻮﺩ‪.‬‬ ‫»ﺍﻣﻴﻦ ﺍﻟﻬﻰ« ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻞ ﻛﺎﺭﺷﻨﺎﺳﻰ‬ ‫ﺍﺭﺷﺪ ﺍﺭﺗﺒﺎﻁ ﺗﺼﻮﻳﺮﻯ ﻭ ﻣﺪﻳﺮ »ﻫﻤﺮﻧﮓ‬ ‫ﮔﺮﺍﻓﻴﻚ« ﺍﺳﺖ ﻛﻪ ﻋﻀﻮ ﺭﺳﻤﻰ ﺍﻧﺠﻤﻦ‬ ‫ﺻﻨﻔﻰ ﻃﺮﺍﺣﺎﻥ ﮔﺮﺍﻓﻴﻚ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪،‬‬ ‫ﺗﺪﺭﻳﺲ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﻭ ﺷﺮﻛﺖ ﺩﺭ‬ ‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﺎﻯ ﻣﺘﻌﺪﺩ ﺩﺍﺧﻠﻰ ﻭ ﺧﺎﺭﺟﻰ ﺭﺍ‬ ‫ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ ﺧﻮﺩ ﺩﺍﺭﺩ‪ .‬ﻭﻯ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ‬ ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺸﺎﻭﺭ ﻭ ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯ ﺑﺮﺍﻯ ﭼﻨﺪﻳﻦ‬ ‫ﺷﺮﻛﺖ ﻭ ﺍﺭﮔﺎﻥ ﻣﻌﺘﺒﺮ ﺩﺍﺧﻠﻰ ﻣﺸﻐﻮﻝ ﺑﻪ‬ ‫ﻛﺎﺭ ﺍﺳﺖ‪.‬‬ ‫»ﺍﻭﻧﻴﺶ ﺍﻣﻴﻦ ﺍﻟﻬﻰ« ﺩﺭ ﻣﺪﺭﺳﻪ »ﺍﻳﺪﻩ«‪،‬‬ ‫ﺩﻭﺭﺓ »ﺍﻳﺪﻩ‪-‬ﭘﺮﺩﺍﺯﻯ ﺩﺭ ﺁﮔﻬﻰﻫﺎﻯ ﺗﺠﺎﺭﻯ«‬ ‫ﺭﺍ ﺗﺪﺭﻳﺲ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻳﻦ ﺩﻭﺭﻩ ﺭﻭﺯﻫﺎﻯ‬ ‫ﭼﻬﺎﺭﺷﻨﺒﻪ ﺍﺯ ﺳﺎﻋﺖ ‪ 5‬ﺗﺎ ‪ 7‬ﺑﻌﺪﺍﺯﻇﻬﺮ‬ ‫ﺗﺸﻜﻴﻞ ﻣﻰﺷﻮﺩ‪.‬‬

‫ﻳﻚ ﺍﻳﺪﻩ ﺗﺒﻠﻴﻐﺎﺗﻰ ﺩﺭ ﺑﺪﻭ ﺍﻣﺮﭼﮕﻮﻧﻪ‬

‫ﺳﻨﻰ ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ ﻣﻐﺰ ﺑﺮﺳﺪ‪ .‬ﭘﺲ ﺑﻬﺘﺮ ﺍﺳﺖ‬

‫ﺍﻳﺠﺎﺩ ﻣﻰ ﺷﻮﺩ؟‬

‫ﻛﻪ ﺩﺭ ﻫﺮ ﻟﺤﻈﻪ ﻭﺳﺎﻳﻞ ﺛﺒﺖ ﺁﻥ ﻣﻬﻴﺎ ﺑﺎﺷﺪ‪.‬‬

‫ﻣﻦ ﻫﻤﻴﺸﻪ ﻣﻰ ﮔﻮﻳﻢ ﻛﻪ ﻳﻚ ﺍﻳﺪﻩ ﻣﺜﻞ ﺭﻋﺪ ﻭ‬

‫ﻭﺳﺎﻳﻠﻲ ﺍﺯ ﻗﺒﻴﻞ ﭼﺸﻢ ﻭ ﻓﻜﺮ ﺑﺎﺯ ﺑﺮﺍﻯ ﺩﺭﻳﺎﻓﺖ‬

‫ﺑﺮﻕ ﺍﺳﺖ‪ .‬ﺍﮔﺮ ﻧﮕﺎﻫﺘﺎﻥ ﺑﻪ ﺁﺳﻤﺎﻥ ﻧﺒﺎﺷﺪ ﺗﺼﻮﻳﺮ‬

‫ﻭ ﻧﻴﺰ ﺩﻓﺘﺮﭼﻪ ﺍﻯ ﻛﻪ ﺍﻳﺪﻩ ﻫﺎ ﺭﺍ ﺛﺒﺖ ﻛﻨﻴﻢ‪ .‬ﺷﺎﻳﺪ‬

‫ﺭﻋﺪ ﻭ ﺑﺮﻕ ﺭﺍ ﻧﺨﻮﺍﻫﻴﺪ ﺩﻳﺪ ﻭ ﺍﻳﻦ ﭘﺪﻳﺪﻩ ﺑﻪ‬

‫ﺑﻪ ﻧﻈﺮ ﺑﻰ ﻣﺼﺮﻑ ﻭ ﺯﺍﺋﺪ ﺑﻴﺎﻳﺪ ﻛﻪ ﻫﺮ ﺍﻳﺪﻩ ﺍﻯ ﺭﺍ‬

‫ﺳﺮﻋﺖ ﺍﺯ ﺩﺳﺘﺘﺎﻥ ﻣﻲ ﺭﻭﺩ‪ .‬ﺍﻳﺪﻩ ﺩﺭ ﻳﻚ ﻟﺤﻈﻪ‬

‫ﺩﺭ ﺩﻓﺘﺮﭼﻪ ﺛﺒﺖ ﻛﻨﻴﻢ ﻭ ﺷﺎﻳﺪ ﺑﮕﻮﻳﻴﻢ » ﺍﺻﻼ ﺩﺭ‬

‫ﺑﻪ ﺷﺎﺧﻚ ﻫﺎﻯ ﺣﺴﺎﺱ ﻣﻐﺰ ﺷﻤﺎ ﻣﻰ ﺭﺳﺪ ﺍﮔﺮ‬

‫ﻳﻚ ﺭﻭﺯ ﭼﻴﺰﻯ ﺑﻪ ﻣﻐﺰ ﻣﻦ ﻧﻤﻰ ﺭﺳﺪ ﻛﻪ ﺑﺨﻮﺍﻫﻢ‬

‫ﺣﻮﺍﺳﺘﺎﻥ ﺟﻤﻊ ﺑﺎﺷﺪ ﻳﺎ ﺫﻫﻦ ﺧﻮﺩ ﺭﺍ ﺁﻣﺎﺩﻩ ﻛﺮﺩﻩ‬

‫ﺁﻥ ﺭﺍ ﺛﺒﺖ ﻛﻨﻢ!« ﺍﻣﺎ ﺑﻪ ﺗﺪﺭﻳﺞ ﻭ ﺑﺎ ﺗﻤﺮﻳﻦ‬

‫ﺑﺎﺷﻴﺪ ﺁﻥ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﺧﻮﺍﻫﻴﺪ ﻛﺮﺩ ﺩﺭ ﻏﻴﺮ ﺍﻳﻦ‬

‫ﻣﺘﻮﺟﻪ ﻣﻰ ﺷﻮﻳﻢ ﺍﮔﺮ ﺍﻳﺪﻩ ﻫﺎﻳﻤﺎﻥ ﺭﺍ ﻳﺎﺩﺩﺍﺷﺖ‬

‫ﺻﻮﺭﺕ ﻣﺜﻞ ﺭﻋﺪ ﻭ ﺑﺮﻕ ﮔﺬﺭﺍﺳﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ ﺍﮔﺮ‬

‫ﻧﻜﻨﻴﻢ‪ ،‬ﻛﻢ ﻛﻢ ﻣﻐﺰ ﻣﺎ ﺑﺎ ﺩﺭﻳﺎﻓﺖ ﺍﻳﺪﻩ ﻫﺎﻯ ﺟﺪﻳﺪ‪،‬‬

‫ﭼﺸﻢ ﺑﻪ ﻣﺤﻴﻂ ﺣﺴﺎﺱ ﺑﺎﺷﺪ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻳﺪﻩ‬

‫ﺍﻳﺪﻩ ﻫﺎﻯ ﻗﺒﻠﻰ ﺭﺍ ﻛﻤﺮﻧﮓ ﻳﺎ ﻓﺮﺍﻣﻮﺵ ﻣﻰ ﻛﻨﺪ‪.‬‬

‫ﺑﮕﺮﺩﺩ‪ ،‬ﺣﺘﻤﺎ ﻣﻐﺰ ﻧﻴﺰ ﺁﻥ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻣﻰ ﻛﻨﺪ‪.‬‬

‫ﻧﮕﻮﻳﻴﺪ ﻛﻪ ﺍﻳﺪﻩ ﻫﺎﻯ ﻣﻌﻤﻮﻟﻰ ﻣﻦ ﻛﻪ ﺍﺭﺯﺵ ﺛﺒﺖ‬

‫ﺑﺎﻳﺪ ﺗﻮﺟﻪ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻴﻢ ﻛﻪ ﺍﻳﺪﻩ ﺩﺭ ﻳﻚ ﺟﺎﻯ‬

‫ﻛﺮﺩﻥ ﻧﺪﺍﺭﻧﺪ! ﮔﺎﻫﻰ ﻫﻤﻴﻦ ﺍﻳﺪﻩ ﻫﺎﻯ ﺍﺑﺘﺪﺍﻳﻰ ﻭ‬

‫ﺧﺎﺹ ﻭ ﺑﺮﺍﻯ ﻳﻚ ﮔﺮﻭﻩ ﻳﺎ ﺳﻦ ﺧﺎﺹ ﻣﺘﻮﻟﺪ‬

‫ﺑﻪ ﻇﺎﻫﺮ ﺳﺎﺩﻩ ﺑﺎﻋﺚ ﺍﻳﺠﺎﺩ ﺍﻧﻘﻼﺑﻰ ﺩﺭ ﺗﺒﻠﻴﻐﺎﺕ‬

‫ﻧﻤﻰ ﺷﻮﺩ ﺑﻠﻜﻪ ﺩﺭ ﻫﺮ ﺷﺮﺍﻳﻂ ﻭ ﺩﺭ ﻫﺮ ﻣﺤﻴﻂ ﻭ‬

‫ﻳﻚ ﻛﺎﻻ ﻣﻰ ﺷﻮﻧﺪ‪.‬‬

‫ﭘﺲ ﺷﻤﺎ ﺍﻋﺘﻘﺎﺩ ﺩﺍﺭﻳﺪ ﻛﻪ ﻣﺎ ﺧﻮﺩﻣﺎﻥ ﺩﺭ‬ ‫ﺭﻭﻧﺪ ﭘﻴﺪﺍﻳﺶ ﺍﻳﺪﻩ ﻧﻘﺶ ﺩﺍﺭﻳﻢ؟‬ ‫ﺑﻠﻪ ﺣﺘﻤﺎ! ﺧﻴﻠﻰ ﻭﻗﺖ ﻫﺎ ﺑﺎ ﺍﻳﻦ ﺳﻮﺍﻝ ﺑﺮﺧﻮﺭﺩ‬ ‫ﻣﻰ ﻛﻨﻢ ﻛﻪ ﻣﺎ ﭼﻜﺎﺭ ﺑﺎﻳﺪ ﺑﻜﻨﻴﻢ ﺗﺎ ﻳﻚ ﺍﻳﺪﻩ ﺑﻪ‬ ‫ﻣﻐﺰ ﻣﺎ ﺑﻴﺎﻳﺪ؟ ﻭ ﺁﻳﺎ ﻣﺎ ﺩﺭ ﺩﺭﻳﺎﻓﺖ ﺍﻳﺪﻩ ﻧﻘﺸﻰ‬ ‫ﺩﺍﺭﻳﻢ ﻳﺎ ﺧﻴﺮ؟ ﺩﺭ ﺟﻮﺍﺏ ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﺑﻪ ﻧﻈﺮ ﻣﻦ‬ ‫ﺩﺭﻳﺎﻓﺖ ﻳﻚ ﺍﻳﺪﻩ ﻯ ﺑﻜﺮ ﺍﺣﺘﻴﺎﺝ ﺑﻪ ﺗﻤﺮﻳﻦ ﻣﻐﺰ‬ ‫ﻭ ﺣﺴﺎﺳﻴﺖ ﺗﻤﺎﻣﻰ ﺣﻮﺍﺱ ﺩﺍﺭﺩ‪ .‬ﻛﺎﻓﻴﺴﺖ ﺍﺑﺘﺪﺍ‬ ‫ﺭﺍﻩ ﻫﺎﻯ ﻭﺭﻭﺩﻯ ﻣﻐﺰ ﺭﺍ ﺑﺎﺯ ﻛﻨﻴﻢ ﻭ ﺳﭙﺲ ﺍﺯ ﻳﻚ‬ ‫ﺍﻳﺪﻩ ﻫﺮ ﭼﻨﺪ ﻛﻮﭼﻚ ﺩﻋﻮﺕ ﻛﻨﻴﻢ ﻛﻪ ﻗﺪﻡ ﺑﻪ ﻣﻐﺰ‬ ‫ﻣﺎ ﺑﮕﺬﺍﺭﺩ؛ ﻗﺪﻣﻰ ﻛﻮﭼﻚ ﻛﻪ ﻣﻨﺠﺮ ﺑﻪ ﻛﺎﺭﻫﺎﻯ‬ ‫ﺑﺴﻴﺎﺭ ﺑﺰﺭگ ﻭ ﺧﺎﺹ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺍﮔﺮ ﺑﺨﻮﺍﻫﻢ ﺑﻪ‬ ‫ﻃﻮﺭ ﺧﻼﺻﻪ ﺭﺍﻩ ﻫﺎﻯ ﺍﻳﺠﺎﺩ ﻭ ﺩﺭﻳﺎﻓﺖ ﻳﻚ ﺍﻳﺪﻩ‬ ‫ﺭﺍ ﺷﺮﺡ ﺩﻫﻢ ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ ﺗﻮﻟﺪ ﻳﻚ ﺍﻳﺪﻩ ﺩﺭ ﺩﻭ‬ ‫ﺻﻮﺭﺕ ﻣﻤﻜﻦ ﺍﺳﺖ‪» :‬ﺧﻮﺩ ﺁﮔﺎﻩ ﻳﺎ ﻧﺎﺧﻮﺩ ﺁﮔﺎﻩ«‬ ‫ﻳﻌﻨﻰ ﻳﺎ ﻣﺎ ﺑﺮﺍﻯ ﻣﻮﺿﻮﻉ ﻭ ﻣﺜﻼ ﻛﺎﻻﻯ ﺧﺎﺻﻰ‬ ‫ﻓﻜﺮ ﻣﻰ ﻛﻨﻴﻢ ﻛﻪ ﺩﺭ ﺁﻥ ﺻﻮﺭﺕ ﺑﺎﻳﺪ ﻋﻮﺍﻣﻞ‬ ‫ﺯﻳﺎﺩﻯ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﻨﻴﻢ ﻣﺜﻞ ﺍﻃﻼﻋﺎﺕ ﻛﺎﻣﻞ ﻭ‬ ‫ﺩﻗﻴﻖ ﺩﺭ ﻣﻮﺭﺩ ﺁﻥ ﻛﺎﻻ‪ ،‬ﺍﻳﻨﻜﻪ ﺍﻻﻥ ﺩﺭ ﺑﺎﺯﺍﺭ ﺭﻗﺎﺑﺘﻰ‬ ‫ﭼﻪ ﺟﺎﻳﮕﺎﻫﻰ ﺩﺍﺭﺩ‪ ،‬ﭼﻪ ﻧﻜﺘﻪ ﺑﺮﺟﺴﺘﻪ ﻭ ﺑﺎﺭﺯﻯ‬ ‫ﺑﻪ ﻧﺴﺒﺖ ﺑﻘﻴﻪ ﺩﺍﺭﺩ؟ ﻭ‪ .....‬ﺑﺴﻴﺎﺭﻱ ﻧﻜﺎﺕ ﺭﻳﺰ ﻭ‬ ‫ﺩﺭﺷﺖ ﻛﻪ ﺩﺭ ﺣﻮﺻﻠﻪ ﺍﻳﻦ ﺑﺤﺚ ﻧﻤﻰ ﮔﻨﺠﺪ‪ .‬ﻳﺎ‬ ‫ﺍﻳﻨﻜﻪ ﺑﺪﻭﻥ ﺩﺍﺷﺘﻦ ﻳﻚ ﻣﻮﺿﻮﻉ ﺧﺎﺹ ﺩﺭ ﺫﻫﻦ‬ ‫ﻭ ﺑﺪﻭﻥ ﺍﺑﻨﻜﻪ ﺑﻪ ﺳﻮژﻩ ﺑﺨﺼﻮﺻﻰ ﻓﻜﺮ ﻛﻨﻴﻢ‬

‫ﺑﺎ ﺷﻨﻴﺪﻥ ﻭ ﻳﺎ ﺩﻳﺪﻥ ﭼﻴﺰﻯ ﺩﺭ ﻣﺤﻴﻂ ﺍﻃﺮﺍﻑ‪،‬‬ ‫ﻧﺎﮔﻬﺎﻥ ﺍﻳﺪﻩ ﺍﻯ ﺑﻪ ﺫﻫﻦ ﻣﺎ ﻣﻰ ﺭﺳﺪ ﻛﻪ ﺷﺎﻳﺪ‬ ‫ﺑﻌﺪﻫﺎ ﺑﻪ ﻛﺎﺭﻣﺎﻥ ﺑﻴﺎﻳﺪ ﻭ ﺷﺎﻳﺪ ﻫﻢ ﻧﻴﺎﻳﺪ! ﺣﺘﻰ‬ ‫ﺩﺭ ﺑﺴﻴﺎﺭﻯ ﻣﻮﺍﻗﻊ ﺍﻳﻦ ﺍﻳﺪﻩ ﺍﺯ ﻻﻳﻪ ﻫﺎﻯ ﺯﻳﺮﻳﻦ‬ ‫ﻣﻐﺰﻣﺎﻥ ﺩﺭﺑﺎﺭﻩ ﻣﻮﺿﻮﻋﻰ ﻛﻪ ﻣﺪﺗﻬﺎ ﭘﻴﺶ ﺑﻪ ﺁﻥ‬ ‫ﻓﻜﺮ ﻣﻰ ﻛﺮﺩﻳﻢ ﻧﺸﺎﺕ ﻣﻰ ﮔﻴﺮﺩ‪ .‬ﭼﻨﻴﻦ ﺍﻳﺪﻩ ﻫﺎﻳﻰ‬ ‫ﻣﻌﻤﻮﻻ ﺑﻪ ﻛﺎﺭﻫﺎﻳﻰ ﻧﻈﻴﺮ ﺳﻠﻒ ﭘﺮﻭﻣﻮﺷﻦ‬ ‫)‪ (Self Promotion‬ﻭ ﻛﺎﺭﻫﺎﻯ ﺗﻚ ﻧﺴﺨﻪ ﺍﻯ‬ ‫ﻧﻤﺎﻳﺸﮕﺎﻫﻰ ﻣﻨﺠﺮ ﻣﻰ ﺷﻮﻧﺪ‪ ،‬ﻭ ﻳﺎ ﺑﻪ ﺍﺣﺘﻤﺎﻝ ﺯﻳﺎﺩ‬ ‫ﺩﺭ ﺁﻳﻨﺪﻩ ﺑﻪ ﺩﺭﺩ ﺳﻔﺎﺭﺷﻰ ﻣﺮﺗﺒﻂ ﻣﻲ ﺧﻮﺭﻧﺪ‪.‬‬ ‫ﻭ ﺩﺭﺳﺖ ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﺳﺖ ﻛﻪ ﺛﺒﺖ ﺗﻤﺎﻣﻰ‬ ‫ﺍﻳﺪﻩ ﻫﺎ‪ ،‬ﺻﺮﻑ ﻧﻈﺮ ﺍﺯ ﺍﻳﻨﻜﻪ ﭼﻘﺪﺭ ﺑﻪ ﻧﻈﺮﻣﺎﻥ‬ ‫ﺧﻮﺏ ﻣﻰ ﺁﻳﻨﺪ ﻳﺎ ﺑﺪ‪ ،‬ﺍﻫﻤﻴﺖ ﭘﻴﺪﺍ ﻣﻰ ﻛﻨﺪ‪.‬‬ ‫ﺩﺭ ﻣﺮﺣﻠﻪ ﺧﻠﻖ ﺍﻳﺪﻩ ﺗﺒﻠﻴﻐﺎﺗﻲ‪ ،‬ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯ‬ ‫ﺗﺎ ﭼﻪ ﻣﺮﺣﻠﻪ ﺍﻱ ﻣﻮﻇﻒ ﺑﻪ ﺍﺭﺍﺋﻪ ﺍﻳﺪﻩ‬ ‫ﺍﺳﺖ؟‬ ‫ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯ ﺑﺎﻳﺪ ﻳﻚ ﻓﻜﺮ ﺭﺍ ﺷﺴﺘﻪ ﻭ ﺭﻓﺘﻪ ﺑﻪ ﺩﺳﺖ‬ ‫ﺍﺟﺮﺍ ﻛﺎﺭ ﺑﺴﭙﺎﺭﺩ ﺣﺘﻰ ﺍﮔﺮ ﺑﺘﻮﺍﻧﺪ ﺍﺗﻮﺩﻯ ﺍﺯ ﻧﻮﻉ‬ ‫ﻧﮕﺎﻩ ﻭ ﺯﺍﻭﻳﻪ ﺩﻳﺪ ﺧﻮﺩﺵ ﺑﻪ ﺍﺟﺮﺍ ﻛﺎﺭ ﺑﺪﻫﺪ‪ ،‬ﺑﺴﻴﺎﺭ‬ ‫ﻣﺜﺒﺖ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﺍﻟﺒﺘﻪ ﻣﺘﺎﺳﻔﺎﻧﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﺩﺭ ﺑﻴﺸﺘﺮ‬ ‫ﺷﺮﻛﺖ ﻫﺎ ﺍﻳﺪﻩ ﻫﺎ ﺭﺍ ﺍﻛﺜﺮﺍ ﺧﻮﺩ ﻃﺮﺍﺡ ﺍﺟﺮﺍ ﻣﻰ ﻛﻨﺪ‪،‬‬ ‫ﻣﺜﻞ ﺧﻴﻠﻲ ﺍﺯ ﺷﺮﻛﺖ ﻫﺎﻳﻲ ﻛﻪ ﻛﺎﺭ ﺣﺮﻓﻪ ﺍﻯ‬ ‫ﻣﻴﻜﻨﻨﺪ ﺍﻣﺎ ﺑﺨﺸﻰ ﺑﻪ ﻧﺎﻡ ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯﻯ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺿﺮﺭ‬

‫ﺗﺨﺼﺼﻲ ﻧﺸﺪﻥ ﺍﻳﻦ ﻣﻮﺿﻮﻉ‪ ،‬ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺑﺴﻴﺎﺭ‬ ‫ﭘﻴﺶ ﻣﻰ ﺁﻳﺪ ﻳﻚ ﻃﺮﺍﺡ‪ ،‬ﺍﻳﺪﻩ ﺍﻯ ﻗﻮﻯ ﺩﺭ ﺫﻫﻦ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﺩﻟﻴﻞ ﻧﻘﺼﺎﻥ ﻳﺎ ﻋﺪﻡ ﻣﻬﺎﺭﺕ ﺩﺭ‬ ‫ﺍﺟﺮﺍ‪ ،‬ﺁﻥ ﺍﻳﺪﻩ ﺑﻪ ﺻﻮﺭﺕ ﻳﻚ ﻛﺎﺭ ﺿﻌﻴﻒ ﻭ ﭘﻴﺶ‬ ‫ﭘﺎ ﺍﻓﺘﺎﺩﻩ ﻧﻤﺎﻳﺎﻥ ﺷﻮﺩ‪ .‬ﺑﺎ ﺗﻤﺎﻡ ﺍﻭﺻﺎﻑ ﺑﺎﻳﺪ ﮔﻔﺖ‪:‬‬ ‫ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯ ﻣﻮﻇﻒ ﺍﺳﺖ ﺍﺯ ﺍﺑﺘﺪﺍ ﺗﺎ ﺍﻧﺘﻬﺎﻯ ﺍﺟﺮﺍﻯ‬ ‫ﻛﺎﺭ ﺑﺮ ﻛﻞ ﺭﻭﻧﺪ ﻧﻈﺎﺭﺕ ﻛﺎﻣﻞ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺣﺎﻻ‬ ‫ﻳﺎ ﺧﻮﺩﺵ ﺍﺟﺮﺍ ﻛﺎﺭ ﺍﺳﺖ ﻳﺎ ﻓﺮﺩ ﺩﻳﮕﺮﻯ‪ .‬ﺑﻪ ﻫﺮ‬ ‫ﺣﺎﻝ ﺑﺮﺍﻯ ﻳﻚ »ﺍﻳﺪﻩ ﺗﺒﻠﻴﻐﺎﺗﻰ« ﺑﺎﻳﺪ ﻛﺎﺭ ﻛﺎﻣﻞ ﻭ‬ ‫ﺑﻰ ﻋﻴﺐ ﻭ ﻧﻘﺺ ﺑﻪ ﻣﺸﺘﺮﻯ ﺗﺤﻮﻳﻞ ﺩﺍﺩﻩ ﺷﻮﺩ ﻭ‬ ‫ﺑﻬﺘﺮ ﺍﺳﺖ ﻛﻪ ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯ ﺗﺎ ﺁﺧﺮﻳﻦ ﻟﺤﻈﻪ ﺑﺮ ﺟﺮﻳﺎﻥ‬ ‫ﻧﻈﺎﺭﺕ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺗﺎ ﺍﻳﺪﻩ ﻯ ﺧﻮﺑﺶ ﺑﻪ ﺧﺎﻃﺮ‬ ‫ﺍﺟﺮﺍﻯ ﺿﻌﻴﻒ ﺍﺯ ﺑﻴﻦ ﻧﺮﻭﺩ! ﺍﻟﺒﺘﻪ ﺣﺘﻤﺎ ﺑﺮﻋﻜﺲ‬ ‫ﺁﻥ ﻫﻢ ﺻﺎﺩﻕ ﺍﺳﺖ ﻭ ﺁﻥ ﺍﻳﻨﻜﻪ ﻳﻚ ﺍﻳﺪﻩ ﻣﻌﻤﻮﻟﻰ‬ ‫ﺑﺎ ﻳﻚ ﺍﺟﺮﺍﻯ ﻗﻮﻯ‪ ،‬ﺍﻳﺪﻩ ﺍﻯ ﺑﺴﻴﺎﺭ ﻋﺎﻟﻰ ﺟﻠﻮﻩ ﻛﻨﺪ‪.‬‬ ‫ﺣﺘﻤﺎ ﺷﻤﺎ ﻣﻰ ﺩﺍﻧﻴﺪ ﺑﻪ ﺟﺰ ﺑﺨﺶ ﺍﺟﺮﺍ‪ ،‬ﻛﻪ ﻣﻤﻜﻦ‬ ‫ﺍﺳﺖ ﺑﻪ ﺍﻳﺪﻩ ﻟﻄﻤﻪ ﻭﺍﺭﺩ ﻛﻨﺪ‪ ،‬ﺑﺨﺶ ﻣﻬﻢ ﺗﺮﻯ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺑﻪ ﻧﺎﻡ ﺳﻔﺎﺭﺵ ﺩﻫﻨﺪﻩ ﻛﻪ ﺩﺭ ﺑﻌﻀﻰ‬ ‫ﻣﻮﺍﻗﻊ ﺑﺎ ﺍﻋﻤﺎﻝ ﻧﻈﺮﻫﺎﻯ ﺑﻴﺠﺎ ﻭ ﻏﻴﺮ ﻛﺎﺭﺷﻨﺎﺳﺎﻧﻪ‪،‬‬ ‫ﻣﺴﻴﺮ ﻭ ﺭﻭﻧﺪ ﺍﻳﺪﻩ ﻭ ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯﻯ ﺭﺍ ﻛﺎﻣﻼ ﻭﻳﺮﺍﻥ‬ ‫ﻣﻰ ﻛﻨﺪ‪.‬‬ ‫ﺍﻟﺒﺘﻪ ﺍﺯ ﺣﻖ ﻧﻤﻰ ﺗﻮﺍﻥ ﮔﺬﺷﺖ ﻛﻪ ﻣﻮﺍﻗﻌﻰ ﻧﻴﺰ‬ ‫ﭘﻴﺶ ﻣﻰ ﺁﻳﺪ ﻛﻪ ﺑﺎ ﺗﺠﺮﺑﻴﺎﺕ ﺳﻔﺎﺭﺵ ﺩﻫﻨﺪﻩ ﻛﺎﺭ‬ ‫ﺑﻬﺒﻮﺩ ﭘﻴﺪﺍ ﻛﻨﺪ‪.‬‬

‫ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯ ﭼﮕﻮﻧﻪ ﻣﻰ ﺗﻮﺍﻧﺪ ﺫﻫﻦ ﺧﻮﺩ ﺭﺍ‬ ‫ﺑﺮﺍﻯ ﺍﺭﺍﺋﻪ ﺍﻳﺪﻩ ﻫﺎﻯ ﻧﻮ‪ ،‬ﻟﺤﻈﻪ ﺑﻪ ﻟﺤﻈﻪ‬ ‫ﭘﻮﻳﺎ ﻭ ﻓﻌﺎﻝ ﻧﮕﻪ ﺩﺍﺭﺩ؟‬ ‫ﺍﻋﺘﻘﺎﺩ ﻣﻦ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺍﻳﺪﻩ ﻫﺎ ﻫﻤﻴﺸﻪ ﺩﺭ‬ ‫ﺍﻃﺮﺍﻑ ﻣﺎ ﻫﺴﺘﻨﺪ‪ .‬ﻣﺜﻞ ﺍﻣﻮﺍﺝ ﻭ ﺻﺪﺍﻫﺎﻳﻰ ﻛﻪ‬ ‫ﻣﺎ ﻧﻤﻰ ﺷﻨﻮﻳﻢ‪ .‬ﻛﺎﻓﻰ ﺍﺳﺖ ﻛﻪ ﮔﻮﺵ ﻣﺎ ﺑﻪ‬ ‫ﻓﺮﻛﺎﻧﺲ ﺁﻥ ﺁﺷﻨﺎ ﺷﻮﺩ ﺗﺎ ﺁﻧﺮﺍ ﺩﺭﻳﺎﻓﺖ ﻛﻨﻴﻢ‬ ‫ﻣﺜﻞ ﻳﻚ ﻣﺪﻳﻮﻡ ﻳﺎ ﺣﺪ ﻭﺍﺳﻂ‪ .‬ﺁﻥ ﻭﻗﺖ ﺍﺳﺖ‬ ‫ﻛﻪ ﻣﻰ ﺑﻴﻨﻴﻢ ﻣﺎ ﻛﺎﺭﻩ ﺍﻯ ﻧﻴﺴﺘﻴﻢ ﻭ ﺩﺍﻳﻤﺎ ﺍﻓﻜﺎﺭ‬ ‫ﻭ ﺍﻳﺪﻩ ﻫﺎ ﺑﻪ ﻣﻐﺰ ﻭ ﺩﺳﺖ ﻣﺎ ﺟﺎﺭﻯ ﻣﻰ ﺷﻮﻧﺪ ﻭ‬ ‫ﻣﺘﻮﺟﻪ ﻣﻰ ﺷﻮﻳﻢ ﺑﺪﻭﻥ ﺍﻳﻨﻜﻪ ﺑﻪ ﭼﻴﺰ ﺧﺎﺻﻰ‬ ‫ﻓﻜﺮ ﻛﻨﻴﻢ ﺗﺤﺖ ﺗﺎﺛﻴﺮ ﻣﺤﻴﻂ‪ ،‬ﻣﺸﻐﻮﻝ ﺧﻠﻖ‬ ‫ﺍﻳﺪﻩ ﻫﺴﺘﻴﻢ ﺁﻥ ﻫﻢ ﺑﻪ ﺷﻜﻠﻰ ﻏﻴﺮ ﻗﺎﺑﻞ ﻛﻨﺘﺮﻝ‪.‬‬ ‫ﺑﺎﺯﮔﺬﺍﺷﺘﻦ ﺩﺭﻫﺎﻯ ﻭﺭﻭﺩﻯ ﻣﻐﺰ ﺍﻭﻟﻴﻦ ﺍﻭﻟﻮﻳﺖ ﺩﺭ‬ ‫ﺧﻠﻖ ﺍﻳﺪﻩ ﺍﺳﺖ ﻭ ﺩﻳﮕﺮ ﺍﻳﻦ ﻛﻪ ﻫﺮﮔﺰ ﻧﮕﻮﺋﻴﻢ‪:‬‬ ‫»ﻣﻦ ﻛﻪ ﺍﻳﺪﻩ ﺍﻯ ﻧﺪﺍﺭﻡ« ﻳﺎ »ﺍﺻﻼ ﺑﻪ ﺫﻫﻦ ﻣﻦ‬ ‫ﺍﻳﺪﻩ ﺍﻯ ﻧﻤﻰ ﺭﺳﺪ« ﻳﺎ »ﺁﻧﻬﺎ ﺍﺯ ﻛﺠﺎ ﺍﻳﻦ ﺍﻳﺪﻩ ﻫﺎ ﺑﻪ‬ ‫ﺫﻫﻨﺸﺎﻥ ﻣﻰ ﺭﺳﺪ؟« ﻭ ﺍﻣﺜﺎﻝ ﺍﻳﻦ ﺟﻤﻼﺕ‪ .‬ﺣﺘﻤﺎ‬ ‫ﺑﺎ ﻣﻄﺎﻟﻌﺎﺕ ﺭﻭﺍﻥ ﺷﻨﺎﺳﻰ ﺩﺭ ﻣﻮﺭﺩ ﻧﮕﺮﺵ ﻣﻨﻔﻰ‬ ‫ﺁﺷﻨﺎ ﻫﺴﺘﻴﺪ‪ .‬ﺑﻪ ﻣﺠﺮﺩﻯ ﻛﻪ ﺍﻳﻦ ﻧﻮﻉ ﺗﻔﻜﺮﺍﺕ‬ ‫ﻣﻨﻔﻰ ﺑﻪ ﺳﺮﺍﻍ ﻣﺎ ﻣﻰ ﺁﻳﺪ ﻧﺎﺧﻮﺩ ﺁﮔﺎﻩ ﻳﻜﻰ ﺍﺯ‬ ‫ﺩﺭﻫﺎﻯ ﻣﻐﺰ‪ ،‬ﻛﻪ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ ﮔﻔﺖ ﺑﺰﺭﮔﺘﺮﻳﻦ‬ ‫ﺁﻧﻬﺎﺳﺖ‪ ،‬ﺑﺴﺘﻪ ﺧﻮﺍﻫﺪ ﺷﺪ ﻭ ﺍﻭﻟﻴﻦ ﺗﺎﺛﻴﺮ ﺁﻥ ﻧﻴﺰ‬

‫ﺑﺮ ﺯﺑﺎﻥ ﺟﺎﺭﻯ ﻣﻰ ﺷﻮﺩ‪ :‬ﻣﻦ ﻧﻤﻰ ﺗﻮﺍﻧﻢ! ﭘﺲ ﺩﺍﺋﻢ‬ ‫ﺑﺎ ﺧﻮﺩﻣﺎﻥ ﺑﺎﻳﺪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺭﺍ ﺗﻜﺮﺍﺭ ﻛﻨﻴﻢ ﻛﻪ‬ ‫ﻣﻦ ﺑﻬﺘﺮﻳﻦ ﺍﻳﺪﻩ ﻫﺎﻯ ﺩﻧﻴﺎ ﺭﺍ ﺩﺍﺭﻡ‪ .‬ﻭﻗﺘﻰ ﺍﺯ ﺍﻳﻦ‬ ‫ﻣﺮﺣﻠﻪ ﻣﻰ ﮔﺬﺭﻳﻢ‪ ،‬ﺫﻫﻦ ﺑﺎﺯ ﻣﻰ ﺷﻮﺩ ﻛﻪ ﻓﻜﺮ‬ ‫ﻛﻨﻴﻢ ﻭ ﻣﺤﻴﻂ ﺍﻃﺮﺍﻓﻤﺎﻥ ﺭﺍ ﺑﺮﺭﺳﻰ ﻛﻨﻴﻢ‪ .‬ﺑﺎﻳﺪ‬ ‫ﺩﺭ ﻛﻨﺎﺭ ﻣﻐﺰ‪ ،‬ﭼﺸﻢ ﻣﺎﻥ ﺣﺴﺎﺱ ﺑﺎﺷﺪ‪ .‬ﺑﻪ ﻫﺮ‬ ‫ﭼﻴﺰﻯ ﺩﺭ ﺍﻃﺮﺍﻓﻤﺎﻥ ﻧﮕﺎﻩ ﻛﻨﻴﻢ ﻭ ﻫﻤﻪ ﭼﻴﺰ ﺭﺍ‬ ‫ﻣﻮﺭﺩ ﺗﺤﻠﻴﻞ ﻗﺮﺍﺭ ﺩﻫﻴﻢ‪ :‬ﺭﻓﺘﺎﺭ ﺁﺩﻣﻬﺎﻯ ﻣﺤﻴﻂ‪،‬‬ ‫ﺻﺪﺍﻫﺎ‪ ،‬ﺭﻧﮕﻬﺎﻯ ﺍﻃﺮﺍﻑ‪ ،‬ﻧﻮﻉ ﺑﺮﺧﻮﺭﺩ ﺍﻓﺮﺍﺩ‪،‬‬ ‫ﻭ‪ ...‬ﺩﺭ ﻛﻨﺎﺭ ﺍﻳﻦ ﺣﺴﺎﺳﻴﺖ ﭼﺸﻢ‪ ،‬ﻫﺮ ﺷﺨﺼﻰ‬ ‫ﻛﻢ ﻛﻢ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﻣﻰ ﺭﺳﺪ ﻛﻪ ﺩﺭ ﺷﺮﺍﻳﻂ‬ ‫ﺧﺎﺻﻰ ﻣﻐﺰ ﺍﻭ ﺑﻴﺸﺘﺮﻳﻦ ﻓﻌﺎﻟﻴﺖ ﺭﺍ ﺩﺍﺭﺩ‪ .‬ﺣﺘﻰ ﺩﺭ‬ ‫ﺳﺎﻋﺎﺕ ﺧﺎﺻﻰ ﺍﺯ ﺭﻭﺯ ﻳﺎ ﺷﺐ‪ .‬ﻣﺜﻼ ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ‬ ‫ﻣﻰ ﺭﺳﻴﻢ ﻛﻪ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﭘﺮﻭﺳﻪ ﺧﻮﺍﺑﻴﺪﻥ ﺑﻴﺸﺘﺮﻳﻦ‬ ‫ﺍﻓﻜﺎﺭ ﻭ ﺍﻳﺪﻩ ﻫﺎ ﺑﻪ ﻣﻐﺰ ﻣﺎ ﻣﻰ ﺭﺳﺪ ﻳﺎ ﺷﺎﻳﺪ ﺩﺭ‬ ‫ﻫﻨﮕﺎﻡ ﭘﻴﺎﺩﻩ ﺭﻭﻯ ﺩﺭ ﻓﻀﺎﻯ ﺳﺒﺰ ﻳﺎ ﺩﻭﺵ ﮔﺮﻓﺘﻦ‬ ‫ﻭ ﻳﺎ ﺭﺍﻧﻨﺪﮔﻰ ﻭ‪ ...‬ﻭ ﺷﺎﻳﺪ ﻫﻢ ﺑﻪ ﻣﺮﻭﺭ ﺯﻣﺎﻥ ﻭ‬ ‫ﺑﺎ ﺗﻤﺮﻳﻦ ﺯﻳﺎﺩ‪ ،‬ﺩﺭ ﺗﻤﺎﻣﻰ ﻣﻮﺍﻗﻊ ﺑﺎﻻ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ‬ ‫ﺯﻣﺎﻧﻰ ﻛﻪ ﻳﻚ ﺍﻳﺪﻩ ﺑﻪ ﺫﻫﻦ ﻣﺎ ﻣﻰ ﺭﺳﺪ ﺷﺎﻳﺪ‬ ‫ﭼﻨﺎﻥ ﺷﻮﻛﻰ ﺑﻪ ﻣﺎ ﺩﺳﺖ ﺩﻫﺪ ﻛﻪ ﻧﺎﮔﻬﺎﻥ ﭘﻴﺶ‬ ‫ﺧﻮﺩ ﺑﮕﻮﻳﻴﻢ ﻛﻪ ﺍﻳﻦ ﺩﻳﮕﺮ ﺍﺯ ﻛﺠﺎ ﺁﻣﺪ؟ ﻣﻦ ﺑﻪ ﭼﻪ‬ ‫ﭼﻴﺰﻯ ﻓﻜﺮ ﻣﻰ ﻛﺮﺩﻡ؟ ﻳﺎ ﺩﺭ ﭼﻪ ﺷﺮﺍﻳﻄﻰ ﺑﻮﺩﻡ؟‬ ‫ﺁﻥ ﻭﻗﺖ ﺍﺳﺖ ﻛﻪ ﻣﺘﻮﺟﻪ ﻣﻰ ﺷﻮﻳﻢ ﺫﻫﻦ ﻭ ﻓﻜﺮ‬

‫ﻣﺎ ﺑﺎﺯ ﺷﺪﻩ ﻭ ﺩﺭ ﻫﺮ ﻟﺤﻈﻪ ﻓﻌﺎﻝ ﻭ ﭘﻮﻳﺎﺳﺖ‪.‬‬ ‫ﺁﻳﺎ ﭘﻴﺶ ﻧﻴﺎﺯ ﻳﺎ ﺗﺨﺼﺺ ﺧﺎﺻﻰ ﺑﺮﺍﻯ‬ ‫ﺍﻳﻦ ﻭﺍﺣﺪ ﺩﺭﺳﻰ ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﺍﺳﺖ؟‬ ‫ﺍﮔﺮ ﻣﻨﻈﻮﺭﺗﺎﻥ ﭘﻴﺶ ﻧﻴﺎﺯ ﺁﻛﺎﺩﻣﻴﻚ ﺍﺳﺖ ﻛﻪ‬ ‫ﺑﺎﻳﺪ ﻋﺮﺽ ﻛﻨﻢ ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺑﺮﺍﻯ ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯﻯ‬ ‫ﺩﺭ ﺭﺷﺘﻪ ﻫﺎﻯ ﻫﻨﺮﻯ ﭘﻴﺶ ﻧﻴﺎﺯﻯ ﻻﺯﻡ ﻧﻴﺴﺖ‪،‬‬ ‫ﺍﻣﺎ ﺍﻃﻼﻋﺎﺕ ﻛﻠﻰ ﺩﺭ ﺣﻮﺯﻩ ﮔﺮﺍﻓﻴﻚ ﻭ ﺗﺴﻠﻂ ﺑﺮ‬ ‫ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎﻯ ﻃﺮﺍﺣﻰ‪ ،‬ﻓﺮﺩ ﺭﺍ ﺑﻪ ﺣﺎﻝ ﻭ ﻫﻮﺍﻯ‬ ‫ﻛﺎﺭ ﻧﺰﺩﻳﻜﺘﺮ ﻣﻰ ﻛﻨﺪ ﻭ ﺷﺎﻳﺪ ﺳﺮﻳﻊ ﺗﺮ ﻭ ﺁﺳﺎﻥ ﺗﺮ‬ ‫ﺑﻪ ﻧﺘﻴﺠﻪ ﻧﻬﺎﻳﻰ‪ ،‬ﻛﻪ ﻫﻤﺎﻥ ﺧﻠﻖ ﺍﻳﺪﻩ ﺍﺳﺖ‪،‬‬ ‫ﺑﺮﺳﺎﻧﺪ‪ .‬ﺍﻣﺎ ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﻣﻰ ﺗﻮﺍﻥ ﮔﻔﺖ ﺑﺮﺍﻯ‬ ‫ﺩﺭﻳﺎﻓﺖ ﺍﻳﺪﻩ ﻫﺎﻯ ﺧﻮﺏ ﺑﻪ ﻳﻚ ﻣﻐﺰ ﺍﻧﺴﺎﻥ‪،‬‬ ‫ﻣﻘﺪﺍﺭ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩﻯ ﻋﺸﻖ ﻭ ﻋﻼﻗﻪ ﺑﻪ‬ ‫ﻛﺎﺭ‪ ،‬ﻛﻤﻰ ﺁﺭﺍﻣﺶ ﻭ ﺍﻧﺪﻛﻰ ﺣﺴﺎﺳﻴﺖ ﺑﻪ‬ ‫ﻣﺤﻴﻂ ﺍﻃﺮﺍﻑ ﻧﻴﺎﺯ ﺩﺍﺭﻳﻢ‪ .‬ﻣﻦ ﺩﻭﺳﺘﻰ ﺩﺍﺭﻡ ﻛﻪ‬ ‫ﻃﺮﺍﺡ ﻧﻴﺴﺖ ﺍﻣﺎ ﻫﺮ ﻭﻗﺖ ﻛﻪ ﺩﺭ ﻛﺎﺭﻯ ﻧﻴﺎﺯ ﺑﻪ‬ ‫ﻫﻤﻔﻜﺮﻯ ﺩﺍﺭﻡ ﺑﻪ ﺍﻭ ﻣﺮﺍﺟﻌﻪ ﻣﻰ ﻛﻨﻢ ﺻﺮﻓﺎ ﺑﻪ‬ ‫ﺧﺎﻃﺮ ﺩﺍﺷﺘﻦ ﺍﻳﺪﻩ ﻫﺎﻯ ﻧﺎﺏ ﻭ ﺧﻼﻗﺎﻧﻪ ﺍﺵ‪.‬‬ ‫ﺁﻳﺎ ﺍﻳﺪﻩ ﻫﺎ ﺑﺮ ﺍﺳﺎﺱ ﺳﻔﺎﺭﺵ ﺗﻮﻟﻴﺪ‬ ‫ﻣﻰ ﺷﻮﻧﺪ؟‬ ‫ﺣﺘﻤﺎ‪ .‬ﻫﻤﺎﻥ ﻃﻮﺭ ﻛﻪ ﻗﺒﻼ ﮔﻔﺘﻢ ﻳﻚ ﺣﺎﻟﺖ ﻗﻀﻴﻪ‬ ‫ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﺮ ﺍﺳﺎﺱ ﺳﻔﺎﺭﺷﻰ ﻛﻪ ﺑﻪ ﺷﻤﺎ‬

‫ﺩﺍﺩﻩ ﻣﻰ ﺷﻮﺩ ﺷﻤﺎ ﻭﺍﺩﺍﺭ ﺑﻪ ﺧﻠﻖ ﺍﻳﺪﻩ ﻣﻰ ﺷﻮﻳﺪ‪.‬‬ ‫ﺩﺭ ﺍﻳﻦ ﺣﺎﻟﺖ ﻳﻚ ﭘﺮﻭﺳﻪ ﭼﻨﺪ ﻣﺮﺣﻠﻪ ﺍﻯ ﺑﺎﻳﺪ‬ ‫ﻃﻰ ﺷﻮﺩ ﻛﻪ ﺍﮔﺮ ﺑﺨﻮﺍﻫﻢ ﺗﻴﺘﺮﻭﺍﺭ ﺑﻪ ﺁﻥ ﺍﺷﺎﺭﻩ‬ ‫ﻛﻨﻢ ﺑﺎﻳﺪ ﺑﮕﻮﻳﻢ‪ :‬ﺍﺑﺘﺪﺍ ﺑﺮﺭﺳﻰ ﻛﺎﻣﻞ ﻣﻮﺿﻮﻉ ﻭ‬ ‫ﺩﺭﻳﺎﻓﺖ ﻭ ﺟﻤﻊ ﺁﻭﺭﻯ ﺍﻃﻼﻋﺎﺕ ﻭ ﺩﺳﺘﻪ ﺑﻨﺪﻯ ﺁﻧﻬﺎ‬ ‫ﺍﺯ ﻟﺤﺎﻅ ﻣﻔﻴﺪ ﻭ ﻏﻴﺮ ﻣﻔﻴﺪ ﺑﻮﺩﻥ‪ ،‬ﻫﻤﭽﻨﻴﻦ ﺩﻳﺪﻥ‬ ‫ﻧﻤﻮﻧﻪ ﻛﺎﺭﻫﺎﻯ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺗﻮﺳﻂ ﺭﻗﺒﺎ ﻭ ﺑﺮﺭﺳﻰ‬ ‫ﺷﺮﺍﻳﻂ ﺑﺎﺯﺍﺭ ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﺟﻤﻊ ﺑﻨﺪﻯ ﻭ ﭘﻴﺪﺍ ﻛﺮﺩﻥ‬ ‫ﻧﻘﻄﻪ ﻧﻬﺎﻳﻰ ﻛﻪ ﻗﺮﺍﺭ ﺍﺳﺖ ﺑﻪ ﻛﺠﺎ ﺑﺮﺳﻴﻢ ﻭ ﭼﻪ‬ ‫ﺣﺮﻓﻰ ﺭﺍ ﺩﺭﺑﺎﺭﻩ ﺍﻳﻦ ﻣﺤﺼﻮﻝ ﺑﺰﻧﻴﻢ ﻭ ﺩﺭ ﻣﺮﺣﻠﻪ‬ ‫ﺑﻌﺪﻱ‪ ،‬ﺯﻧﺪﮔﻲ ﻛﺮﺩﻥ ﻟﺤﻈﻪ ﺑﻪ ﻟﺤﻈﻪ ﺑﺎ ﻣﻮﺿﻮﻉ‬ ‫ﻣﻮﺭﺩ ﺑﺤﺚ‪ .‬ﺩﺭ ﻧﻬﺎﻳﺖ ﻳﻜﻰ ﺩﻭ ﺭﻭﺯﻯ ﺍﺳﺘﺮﺍﺣﺖ‬ ‫ﺩﺍﺩﻥ ﺑﻪ ﻣﻐﺰ ﻭ ﻓﺎﺻﻠﻪ ﮔﺮﻓﺘﻦ ﺍﺯ ﻣﻮﺿﻮﻉ ﻭ‬ ‫ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﻛﺎﺭﻫﺎﻳﻰ ﻣﺜﻞ ﭘﻴﺎﺩﻩ ﺭﻭﻯ‪ ،‬ﺍﺳﺘﺮﺍﺣﺖ‬ ‫ﻭ ﻳﺎ ﻫﺮ ﻓﺮﺁﻳﻨﺪﻯ ﻛﻪ ﺗﺎﺛﻴﺮ ﺭﻳﻠﻜﺲ )‪(Relax‬‬ ‫ﻛﺮﺩﻥ ﺑﺮ ﺭﻭﻯ ﺷﻤﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭﻳﺎ ﺣﺘﻲ ﻓﻜﺮ‬ ‫ﻛﺮﺩﻥ ﺑﻪ ﻣﻮﺿﻮﻉ ﻛﺎﺭﻱ ﺩﻳﮕﺮﻱ‪ .‬ﻣﻌﻤﻮﻻ ﺩﺭ ﻛﻤﺎﻝ‬ ‫ﻧﺎﺑﺎﻭﺭﻯ‪ ،‬ﺯﻣﺎﻧﻰ ﻛﻪ ﻛﻤﺘﺮ ﺍﺯ ﻫﻤﻴﺸﻪ ﺍﻧﺘﻈﺎﺭﺵ ﺭﺍ‬ ‫ﺩﺍﺭﻳﺪ ﺍﻳﺪﻩ ﺧﻮﺩﺵ ﺭﺍ ﺑﻪ ﺷﻤﺎ ﻧﺸﺎﻥ ﻣﻰ ﺩﻫﺪ‪ .‬ﻣﻦ‬ ‫ﺍﺧﻴﺮﺍ ﻛﺘﺎﺑﻲ ﻣﻲ ﺧﻮﺍﻧﺪﻡ ﺑﻪ ﻧﺎﻡ »ﻳﻚ ﺭﻭﺵ ﺑﺮﺍﻱ‬ ‫ﺧﻠﻖ ﻫﺰﺍﺭﺍﻥ ﺍﻳﺪﻩ« ﻧﻮﺷﺘﻪ ﺟﻴﻤﺰ ﻭﺏ ﻳﺎﻧﮓ ﺍﺯ‬ ‫ﺍﻧﺘﺸﺎﺭﺍﺕ »ﺳﻴﺘﻪ« ﻛﻪ ﺑﺴﻴﺎﺭ ﺑﺮﺍﻳﻢ ﻋﺠﻴﺐ ﺑﻮﺩ‬ ‫ﭼﻮﻥ ﺗﻘﺮﻳﺒﺎ ﺗﻚ ﺗﻚ ﻣﺮﺍﺣﻠﻲ ﻛﻪ ﻫﻤﻴﺸﻪ ﺩﺭ‬

‫ﺫﻫﻦ ﻣﻦ ﺑﻮﺩ ﻭ ﺍﻻﻥ ﺑﺮﺍﻱ ﺷﻤﺎ ﮔﻔﺘﻢ ﺩﺭ ﺍﻳﻦ‬ ‫ﻛﺘﺎﺏ ﺫﻛﺮ ﺷﺪﻩ ﺑﻮﺩ ﺣﺘﻲ ﺑﺎ ﻫﻤﺎﻥ ﺗﺮﺗﻴﺐ ﺍﻭﻟﻮﻳﺖ!‬ ‫ﻭ ﺑﺎ ﺧﻮﺍﻧﺪﻥ ﺍﻳﻦ ﻛﺘﺎﺏ‪ ،‬ﻛﻪ ﺑﻪ ﻫﻤﻪ ﻛﺴﺎﻧﻲ ﻛﻪ‬ ‫ﺍﻳﻦ ﮔﻔﺘﮕﻮ ﺭﺍ ﻣﻲ ﺧﻮﺍﻧﻨﺪ ﺗﻮﺻﻴﻪ ﻣﻲ ﻛﻨﻢ ﺣﺘﻤﺎ ﺁﻧﺮﺍ‬ ‫ﻣﻄﺎﻟﻌﻪ ﻛﻨﻨﺪ‪ ،‬ﺑﻪ ﺍﻳﻦ ﻧﺘﻴﺠﻪ ﺭﺳﻴﺪﻡ ﻛﻪ ﺍﺣﺘﻤﺎﻻ‬ ‫ﻓﺮﺍﻳﻨﺪ ﺧﻠﻖ ﺍﻳﺪﻩ ﺩﺭ ﻫﻤﻪ ﺁﺩﻡ ﻫﺎ ﻳﻜﺴﺎﻥ ﺍﺳﺖ‪ ،‬ﻫﺮ‬ ‫ﻛﺠﺎﻱ ﺩﻧﻴﺎ ﻛﻪ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺁﻳﺎ ﻣﻮﺿﻮﻉ ﺳﻔﺎﺭﺵ‪ ،‬ﺑﺮ ﺭﻭﻯ ﺍﻳﺪﻩ ﺗﺎﺛﻴﺮ‬ ‫ﻣﻰ ﮔﺬﺍﺭﺩ؟‬ ‫ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﺪﻩ ﻳﺎﺑﻰ ﺑﺎﻳﺪ ﺩﻭ ﺑﺨﺶ ﺭﺍ ﺩﺭ ﻧﻈﺮ‬ ‫ﺑﮕﻴﺮﻳﻢ ﻳﻜﻰ ﺍﻳﻨﻜﻪ ﺍﺳﺎﺳﺎ ﺍﻳﺪﻩ ﺍﻯ ﺑﻪ ﺫﻫﻦ ﺷﻤﺎ‬ ‫ﺑﺮﺳﺪ ﻭ ﺩﻭﻡ ﺍﻳﻨﻜﻪ ﺁﻥ ﺍﻳﺪﻩ ﭼﻘﺪﺭ ﺧﻮﺏ ﺑﺎﺷﺪ! ﻳﺎ‬ ‫ﺑﻪ ﺯﺑﺎﻥ ﺩﻳﮕﺮ ﺩﻭ ﺑﺨﺶ ﺩﺭﻳﺎﻓﺖ ﺍﻳﺪﻩ )ﺍﺯ ﻣﺤﻴﻂ(‬ ‫ﻭ ﭘﺮﺩﺍﺧﺖ ﺁﻥ )ﺗﻮﺳﻂ ﺷﻤﺎ(‪.‬‬ ‫ﺩﺭﺑﺎﺭﻩ ﺩﺭﻳﺎﻓﺖ ﺍﻳﺪﻩ ﺑﺎﻳﺪ ﻋﺮﺽ ﻛﻨﻢ ﻛﻪ‪ :‬ﺧﻴﺮ‪،‬‬ ‫ﻣﻮﺿﻮﻉ ﺳﻔﺎﺭﺵ ﺗﺎﺛﻴﺮﻯ ﻧﺪﺍﺭﺩ! ﺑﺮﺍﻯ ﻫﺮ ﻧﻮﻉ‬ ‫ﺳﻔﺎﺭﺷﻰ‪ ،‬ﻣﻴﺘﻮﺍﻥ ﺍﻳﺪﻩ ﺩﺍﺩ‪ .‬ﻳﻌﻨﻰ ﺍﮔﺮ ﻓﺮﺩ ﺑﻪ‬ ‫ﺁﻥ ﻣﺮﺣﻠﻪ ﺍﺯ ﺧﻼﻗﻴﺖ ﺑﺮﺳﺪ ﻛﻪ ﺍﺯ ﺍﻋﺘﻤﺎﺩ‬ ‫ﺑﻪ ﻧﻔﺲ ﺑﺎﻻﻳﻰ ﺑﺮﺧﻮﺭﺩﺍﺭ ﺷﻮﺩ‪ ،‬ﺑﺮﺍﻳﺶ ﻫﻴﭻ‬ ‫ﻓﺮﻗﻰ ﻧﻤﻴﻜﻨﺪ ﭼﻪ ﻣﻮﺿﻮﻋﻰ ﺑﻪ ﺍﻭ ﺍﺭﺟﺎﻉ ﺷﻮﺩ‪.‬‬ ‫ﺍﻣﺎ ﺩﺭﻣﻮﺭﺩ ﭘﺮﺩﺍﺧﺖ ﺍﻳﺪﻩ‪ ،‬ﻭﺿﻊ ﻓﺮﻕ ﻣﻰ ﻛﻨﺪ‪.‬‬ ‫ﻣﻮﺿﻮﻉ ﺳﻔﺎﺭﺵ ﻭ ﺍﻳﻨﻜﻪ ﻃﺮﺍﺡ ﺗﺎ ﭼﻪ ﺣﺪ ﺑﺎ ﺁﻥ‬

‫ﺍﺭﺗﺒﺎﻁ ﺑﺮﻗﺮﺍﺭ ﻣﻰ ﻛﻨﺪ‪ ،‬ﻭﺍﻗﻌﺎ ﮔﺎﻫﻰ ﺩﺭ ﺍﻳﺪﻩ ﭘﺮﺩﺍﺯﻯ‬ ‫ﻧﻘﺶ ﺑﻪ ﺳﺰﺍﻳﻰ ﺩﺍﺭﺩ‪ .‬ﺷﻤﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻃﺮﺍﺡ‬ ‫ﺑﺎﻳﺪ ﺑﺘﻮﺍﻧﻴﺪ ﺍﺭﺗﺒﺎﻁ ﺧﻮﺑﻰ ﺑﺎ ﺳﻮژﻩ ﺑﺮﻗﺮﺍﺭ ﻛﻨﻴﺪ‬ ‫ﺗﺎ ﺑﺘﻮﺍﻧﻴﺪ ﻃﺮﺡ ﻫﺎﻯ ﺧﻮﺑﻰ ﻫﻢ ﭘﻴﺸﻨﻬﺎﺩ ﺩﻫﻴﺪ‪،‬‬ ‫ﭘﺲ ﻃﺒﻴﻌﻰ ﺍﺳﺖ ﻛﻪ ﻧﻮﻉ ﻣﻮﺿﻮﻉ ﺭﻭﻯ ﻓﻜﺮ ﻭ‬ ‫ﻧﻴﺰ ﺯﻣﺎﻥ ﺭﺳﻴﺪﻥ ﺑﻪ ﺍﻳﺪﻩ ﺗﺎﺛﻴﺮ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﻛﻨﺎﺭ ﺍﻳﻦ‬ ‫ﻣﻮﺿﻮﻉ‪ ،‬ﺷﺒﺎﻫﺖ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻮﺭﺩ ﺳﻔﺎﺭﺵ ﻳﺎ‬ ‫ﺗﻌﺪﺩ ﺳﻔﺎﺭﺷﺎﺕ ﺑﺎ ﻳﻚ ﻣﺤﺘﻮﺍ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﺑﻪ‬ ‫ﻋﻨﻮﺍﻥ ﻳﻚ ﻋﺎﻣﻞ ﺑﺎﺯﺩﺍﺭﻧﺪﻩ ﺗﻠﻘﻰ ﺷﻮﺩ ﻛﻪ ﺍﻟﺒﺘﻪ‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺩﺭﺳﺖ ﻧﻴﺴﺖ‪ .‬ﺩﺭ ﺩﻓﺘﺮ ﻣﺎ ﺯﻳﺎﺩ ﭘﻴﺶ‬ ‫ﻣﻰ ﺁﻳﺪ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻫﻤﺰﻣﺎﻥ ﻳﻚ ﻣﻮﺿﻮﻉ ﺍﺯ ﭼﻨﺪ‬ ‫ﻣﺸﺘﺮﻯ ﻣﺨﺘﻠﻒ ﺑﻪ ﻣﺎ ﺳﻔﺎﺭﺵ ﺩﺍﺩﻩ ﺷﻮﺩ ﺍﺑﺘﺪﺍ‬ ‫ﻋﻜﺲ ﺍﻟﻌﻤﻞ ﻫﻤﻜﺎﺭﺍﻧﻢ ﺑﺮﺍﻳﻢ ﺟﺎﻟﺐ ﺑﻮﺩ‪ ،‬ﻣﺜﻼ ﺑﻌﺪ‬ ‫ﺍﺯ ﭼﻨﺪ ﻛﺎﺭ ﻣﻰ ﮔﻔﺘﻨﺪ‪» :‬ﺩﻳﮕﺮ ﻧﻤﻰ ﺷﻮﺩ ﺍﻳﺪﻩ ﺍﻯ‬ ‫ﺑﺮﺍﻯ ﻓﻼﻥ ﻣﻮﺿﻮﻉ ﭘﻴﺪﺍ ﻛﺮﺩ« ﻳﺎ ﺩﻭﺳﺖ ﺩﺍﺷﺘﻨﺪ‬ ‫ﺭﻭﻯ ﻛﺎﺭ ﺩﻳﮕﺮﻯ ﻓﻜﺮ ﻛﻨﻨﺪ‪ .‬ﺍﻣﺎ ﺑﻪ ﻣﺮﻭﺭ ﻣﺘﻮﺟﻪ‬ ‫ﺷﺪﻧﺪ ﻛﻪ ﺍﻳﻨﻄﻮﺭ ﻧﻴﺴﺖ‪ .‬ﺧﻴﻠﻰ ﻭﻗﺖ ﻫﺎ ﻣﺤﺪﻭﺩﻳﺖ‬ ‫ﻭ ﭼﻬﺎﺭﭼﻮﺏ ﺩﺭ ﻣﻮﺿﻮﻉ‪ ،‬ﺑﺎﻋﺚ ﺧﻼﻗﻴﺖ ﺑﻴﺸﺘﺮ‬ ‫ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻛﻪ ﺍﻟﺒﺘﻪ ﺩﺭ ﺗﺮﻡ ﮔﺬﺷﺘﻪ ﺁﻣﻮﺯﺷﮕﺎﻩ‬ ‫»ﺍﻳﺪﻩ« ﻧﻴﺰ ﺑﺮ ﻫﻤﻴﻦ ﺍﺳﺎﺱ ﺗﻤﺮﻳﻨﺎﺗﻰ ﺭﺍ ﺑﺎ‬ ‫ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻳﻢ‪ .‬ﭘﺲ ﻣﻰ ﺑﻴﻨﻴﺪ ﻛﻪ‬ ‫ﺍﻳﺪﻩ ﻫﺎ ﺗﻤﺎﻡ ﺷﺪﻧﻰ ﻧﻴﺴﺘﻨﺪ ﻓﻘﻂ ﻣﻬﻢ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﻛﻪ ﻧﺘﺮﺳﻴﻢ ﻭ ﺩﺳﺖ ﺑﻪ ﻛﺎﺭ ﺷﻮﻳﻢ!‬

‫ﺍﺻﻮﻝ ﭼﺎپ ﻭ ﻧﻈﺎﺭﺕ ﺑﺮﺁﻥ‬ ‫ﻣﺪﺭﺱ‪ :‬ﻣﺤﺴﻦ ﻣﺤﻤﺪﻯ‬

‫ﺩﻭﺭﻩ ﺁﻣﻮﺯﺷﻰ ﺍﺻﻮﻝ ﭼﺎپ ﺭﻭﺯﻫﺎﻯ ﺳﻪ ﺷﻨﺒﻪ ﺍﺯ ﺳﺎﻋﺖ ‪ 5‬ﺗﺎ ‪ 7‬ﺑﻌﺪﺍﺯﻇﻬﺮ‬ ‫ﺗﺸﻜﻴﻞ ﻣﻰ ﺷﻮﺩ‪.‬‬

‫ﻓﻠﺴﻔﻪ‪ ،‬ﺭﻭﺡ ﻭ ﺭﺳﺎﻟﺖ ﻭﺟﻮﺩﻯ ﺁﺛﺎﺭ ﮔﺮﺍﻓﻴﻚ ﺩﺭ ﺳﺎﻳﻪ ﭼﺎپ ﻭ ﺗﻜﺜﻴﺮﭘﺬﻳﺮﻯ‬ ‫ﺁﻥ ﺍﺳﺖ ﻫﺮ ﺍﺛﺮ ﮔﺮﺍﻓﻴﻚ ﺟﺪﺍ ﺍﺯ ﻣﻘﻮﻟﻪ ﺯﻳﺒﺎﻳﻰﺷﻨﺎﺳﻰ‪ ،‬ﻛﻪ ﺧﻮﺩ ﺩﺭ ﺟﺎﻳﮕﺎﻩ‬ ‫ﺩﻳﮕﺮﻯ ﻗﺎﺑﻞ ﺑﺤﺚ ﻭ ﺗﺄﻣﻞ ﻣﻰﺑﺎﺷﺪ ﺑُﻌﺪ ﺩﻳﮕﺮﻯ ﺑﻪ ﻧﺎﻡ ﺑُﻌﺪ ﻓﻨﻰ ﻭ ﺗﻮﻟﻴﺪﻯ‬ ‫ﺭﺍ ﻧﻴﺰ ﺩﺭ ﺑﺮ ﺩﺍﺭﺩ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭﻳﻜﻪ ﺑﺨﺶ ﻃﺮﺍﺣﻰ ﮔﺮﺍﻓﻴﻚ ﻧﻴﺎﺯ ﺑﻪ ﻧﻴﺮﻭﻫﺎﻯ‬ ‫ﻛﺎﺭﺁﻣﺪ‪ ،‬ﻣﺘﺨﺼﺺ ﻭ ﻫﻨﺮﻣﻨﺪ ﺁﺷﻨﺎ ﺑﻪ ﻋﻠﻢ ﺭﻭﺯ ﺩﺍﺭﺩ‪ ،‬ﺑﺨﺶ ﻓﻨﻰ ﻧﻴﺰ ﺍﺯ ﺍﻳﻦ‬ ‫ﻗﺎﺋﺪﻩ ﻣﺴﺘﺜﻨﻰ ﻧﻴﺴﺖ ﻭ ﺍﻳﻨﺠﺎﺳﺖ ﻛﻪ ﺧﻼء ﻣﺘﺨﺼﺼﻴﻦ ﻭﺍﺟﺪ ﺷﺮﺍﻳﻂ ﺟﻬﺖ‬ ‫ﭘﻴﮕﻴﺮﻯ ﺍﻣﻮﺭ ﻓﻨﻰ ﻭ ﻧﻈﺎﺭﺕ ﻛﻴﻔﻰ ﭘﺮﻭﺳﻪ ﺗﻮﻟﻴﺪ ﺧﻮﺩ ﺭﺍ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ‪،‬‬ ‫ﻣﺘﺨﺼﺼﻴﻨﻰ ﻛﻪ ﺑﺘﻮﺍﻧﻨﺪ ﺑﻪ ﻣﺜﺎﺑﻪ ﭘﻠﻰ ﺑﺮﺍﻯ ﺍﺭﺗﺒﺎﻁ ﺩﻧﻴﺎﻯ ﺫﻫﻨﻰ ﻫﻨﺮﻣﻨﺪ‬ ‫ﻃﺮﺍﺡ ﺑﺎ ﺩﻧﻴﺎﻯ ﻛﺎﻣ ً‬ ‫ﻼ ﻓﻨﻰ ﺗﻮﻟﻴﺪ ﻧﻘﺶ ﺷﺎﻳﺴﺘﻪﺍﻯ ﺍﻳﻔﺎ ﻧﻤﺎﻳﻨﺪ‪.‬‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻣﻘﺪﻣﺔ ﻛﻮﺗﺎﻩ‪ ،‬ﻧﻘﺶ ﻭ ﺟﺎﻳﮕﺎﻩ ﻛﻠﻴﺪﻯ ﻧﺎﻇﺮ ﻓﻨﻰ ﭼﺎپ ﺑﻴﺸﺘﺮ‬ ‫ﺍﺯ ﭘﻴﺶ ﺧﻮﺩﻧﻤﺎﻳﻰ ﻣﻰﻛﻨﺪ‪ .‬ﻧﺎﻇﺮ ﻳﺎ ﻣﺘﺨﺼﺼﻰ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺑﺎ ﻋﻠﻢ ﺧﻮﺩ ﻳﻚ‬ ‫ﺍﺛﺮ ﺧﻠﻖ ﺷﺪﻩ ﮔﺮﺍﻓﻴﻚ ﺭﺍ ﻓﺮﺍﺗﺮ ﺍﺯ ﺫﻫﻨﻴﺖ ﻃﺮﺍﺡ ﺧﺎﻟﻖ ﺍﺛﺮ‪ ،‬ﻋﻴﻨﻴﺖ ﺑﺨﺸﻴﺪﻩ‬ ‫ﻭ ﺑﻪ ﻣﺮﺣﻠﻪ ﺗﻮﻟﻴﺪ ﻭ ﭼﺎپ ﺑﺮﺳﺎﻧﺪ‪.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﺷﻤﺎ ﺷﻨﺎﺧﺖ ﻣﺒﺎﻧﻰ ﮔﺮﺍﻓﻴﻚ‪ ،‬ﺭﻧﮓ ﻭ ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﻃﺮﺍﺣﻰ‬ ‫ﻭ ﻧﺮﻡﺍﻓﺰﺍﺭﻫﺎ ﭼﻘﺪﺭ ﺩﺭ ﻣﻮﻓﻘﻴﺖ ﺩﺭ ﺑﺨﺶ ﭼﺎپ ﻣﺆﺛﺮ ﺍﺳﺖ؟‬ ‫ﻣﺘﺨﺼﺺ ﻭ ﻧﺎﻇﺮ ﻓﻨﻰ ﭼﺎپ ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ ﺑﺎ ﻣﺒﺎﺣﺚ ﺗﺌﻮﺭﻯ ﻭ ﻋﻤﻠﻰ‬ ‫ﻣﻮﺿﻮﻋﺎﺗﻰ ﭼﻮﻥ ﺷﻨﺎﺧﺖ ﺩﺍﻳﺮﻩ ﺭﻧﮓ‪ ،‬ﻣﺒﺎﻧﻰ ﻭ ﺗﺮﻛﻴﺐ ﺭﻧﮓ‪ ،‬ﻧﺮﻡﺍﻓﺰﺍﺭﻫﺎﻯ‬ ‫ﺧﺮﻭﺟﻰ ﻭ ﻟﻰﺁﻭﺕ )ﺻﻔﺤﻪﺁﺭﺍﻳﻰ(‪ ،‬ﻧﻮﺭ ﻭ ﺳﺎﻳﻪ ﻭ ‪ . . .‬ﺁﺷﻨﺎ ﺑﺎﺷﺪ ﺩﺭﻙ ﺑﻬﺘﺮﻯ‬ ‫ﺍﺯ ﻛﺎﺭ ﺧﻮﺍﻫﺪ ﺩﺍﺷﺖ ﻭ ﺩﺍﻧﺴﺘﻦ ﺍﻳﻦ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻮﻓﻘﻴﺖ ﻭﻯ ﺭﺍ ﺩﺭ ﺍﻳﻦ ﻋﺮﺻﻪ‬ ‫ﺗﻀﻤﻴﻦ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﭼﻪ ﻣﻴﺰﺍﻥ ﺍﺯ ﻭﺍﺣﺪ ﺣﺎﺿﺮ ﺑﻪ ﺻﻮﺭﺕ ﺗﺌﻮﺭﻯ ﻭ ﭼﻪ ﻣﻴﺰﺍﻥ ﺑﻪ‬ ‫ﺻﻮﺭﺕ ﻋﻤﻠﻰ ﻭ ﺩﺭ ﭼﺎﭘﺨﺎﻧﻪ ﺗﺪﺭﻳﺲ ﻣﻰﺷﻮﺩ؟‬ ‫ﺩﻭﺭﻩ ﺁﻣﻮﺯﺷﻰ ﻓﻮﻕ ﺗﻮﺃﻣﺎﻥ ﺑﺼﻮﺭﺕ ﺗﺌﻮﺭﻯ ﻭ ﻋﻤﻠﻰ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ ﻛﻪ‬ ‫ﺣﺪﻭﺩ ‪ %70‬ﺍﺯ ﺁﻥ ﺁﻛﺎﺩﻣﻴﻚ ﻭ ﺗﺌﻮﺭﻯ ﺍﺳﺖ‪.‬‬

‫ﻛﻴﻔﻴﺖ ﭼﺎپ ﺩﺭ ﺩﺍﺧﻞ ﻛﺸﻮﺭ ﺭﺍ ﺩﺭ ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻛﺸﻮﺭﻫﺎﻯ ﺩﻳﮕﺮ‬ ‫ﭼﻄﻮﺭ ﺍﺭﺯﻳﺎﺑﻰ ﻣﻰﻛﻨﻴﺪ؟‬ ‫ﺍﻳﻦ ﺳﺆﺍﻝ ﺍﺯ ﺩﻭ ﺯﺍﻭﻳﻪ ﻗﺎﺑﻞ ﺑﺮﺭﺳﻰ ﺍﺳﺖ‬ ‫‪ (1‬ﺗﻜﻨﻮﻟﻮژﻯ ‪ (2‬ﻧﻴﺮﻭﻯ ﻣﺘﺨﺼﺺ‬ ‫ﺍﺯ ﻣﻨﻈﺮ ﺗﻜﻨﻮﻟﻮژﻯ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻧﻴﺎﺯ ﺭﻭﺯﺍﻓﺰﻭﻥ ﺟﺎﻣﻌﻪ‪ ،‬ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﺍﺧﻴﺮ‬ ‫ﮔﺎﻡﻫﺎﻯ ﻣﺆﺛﺮﻯ ﺟﻬﺖ ﻭﺭﻭﺩ ﺩﺳﺘﮕﺎﻩﻫﺎﻯ ﺭﻭﺯ ﺩﻧﻴﺎ ﺑﺮﺩﺍﺷﺘﻪ ﺷﺪﻩ ﻛﻪ ﺑﺴﻴﺎﺭ‬ ‫ﺭﻗﺎﺑﺘﻰ ﺍﺳﺖ ﻭ ﺩﺭ ﺳﻄﺢ ﻗﺎﺑﻞ ﻗﺒﻮﻟﻰ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪ .‬ﻭﻟﻰ ﺍﺯ ﻣﻨﻈﺮ ﻧﻴﺮﻭﻯ ﻣﺘﺨﺼﺺ‬ ‫ﺑﺎ ﻛﻤﺒﻮﺩﻫﺎﻳﻰ ﻣﻮﺍﺟﻪ ﻫﺴﺘﻴﻢ ﻛﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻦ ﻣﻬﻢ‪ ،‬ﺩﺭ ﺍﻳﺮﺍﻥ ﺩﺍﻧﺸﻜﺪﻩ ﻭ‬ ‫ﻣﺮﺍﻛﺰ ﺁﻣﻮﺯﺵ ﺗﺨﺼﺼﻰ ﭼﺎپ ﺩﺍﻳﺮ ﺷﺪﻩ ﻛﻪ ﮔﻤﺎﻥ ﻣﻰﺭﻭﺩ ﺍﻳﻦ ﺧﻼء ﻧﻴﺰ ﺑﻪ‬ ‫ﺯﻭﺩﻯ ﺑﺮﻃﺮﻑ ﺷﻮﺩ‪ .‬ﺍﻣﺎ ﺭﻭﻯ ﻫﻢ ﺭﻓﺘﻪ ﺍﻳﺮﺍﻥ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻣﻜﺎﻧﺎﺕ ﻣﻮﺟﻮﺩ‪،‬‬ ‫ﺟﺎﻳﮕﺎﻩ ﺧﻮﺑﻰ ﺩﺭ ﻣﻴﺎﻥ ﻛﺸﻮﺭﻫﺎﻯ ﻣﻨﻄﻘﻪ ﺩﺍﺭﺩ ﻭ ﻗﺎﺑﻞ ﺭﻗﺎﺑﺖ ﺑﺎ ﻛﺸﻮﺭﻫﺎﻯ‬ ‫ﺻﻨﻌﺘﻰ ﺟﻬﺎﻥ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﭘﺮﻭﺳﻪ ﭼﺎپ ﺩﺭ ﻛﺎﻣﻞ ﻛﺮﺩﻥ ﺭﻭﻧﺪ ﺗﺒﻠﻴﻐﺎﺕ‬ ‫ﻧﻘﺶ ﻣﻬﻤﻰ ﺭﺍ ﺍﻳﻔﺎء ﻛﻨﺪ ﻛﻪ ﮔﺎﻩ ﻛﻤﺘﺮ ﺑﻪ ﺁﻥ ﺗﻮﺟﻪ ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺿﻌﻒﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﺭﻭﻧﺪ ﭼﺎپ ﺁﺛﺎﺭ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﺭﺍ ﻣﺮﺑﻮﻁ ﺑﻪ ﭼﻪ‬ ‫ﺑﺨﺶﻫﺎﻳﻰ ﻣﻰﺩﺍﻧﻴﺪ؟‬ ‫ﻣﻘﻮﻟﻪ ﭼﺎپ ﻭ ﻛﻴﻔﻴﺖ ﻛﺎﺭﻫﺎﻯ ﺗﻮﻟﻴﺪ ﺷﺪﻩ ﭼﺎﭘﻰ ﺑﻪ ﺗﻌﺎﻣﻞ ﻭ ﻫﻤﻜﺎﺭﻯ ﺑﻴﻦ‬ ‫ﺑﺨﺶﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺧﺎﻧﻮﺍﺩﻩ ﺑﺰﺭگ ﭼﺎپ ﺑﺴﺘﮕﻰ ﺩﺍﺭﺩ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺩﺭ ﺻﻮﺭﺗﻴﻜﻪ‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﻣﺮﺍﺣﻞ ﺗﻮﻟﻴﺪ ﻭﻇﻴﻔﻪ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺩﻗﺖ ﻭ ﺩﺭﺳﺖ ﺍﻧﺠﺎﻡ ﻧﺪﻫﺪ ﻣﺴﻠﻤ ًﺎ‬ ‫ﻧﺘﻴﺠﻪ ﺗﻮﻟﻴﺪ ﺭﺿﺎﻳﺖﺑﺨﺶ ﻧﺨﻮﺍﻫﺪ ﺑﻮﺩ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﻛﻪ ﮔﻔﺘﻪ ﺷﺪ ﺩﺭ ﺣﺎﻝ‬ ‫ﺣﺎﺿﺮ ﺩﺭ ﻣﺮﺣﻠﻪ ﭼﺎپ ﺑﺎ ﻣﺸﻜﻼﺕ ﻛﻤﺘﺮﻯ ﺭﻭﺑﺮﻭ ﻫﺴﺘﻴﻢ ﻭ ﺑﻴﺸﺘﺮﻳﻦ ﺧﻼء‬ ‫ﺭﺍ ﺩﺭ ﺑﺨﺶ ﭘﻴﺶ ﻭ ﭘﺲ ﺍﺯ ﭼﺎپ ﺩﺍﺭﻳﻢ‪ ،‬ﻛﻪ ﻣﺴﺎﻳﻞ ﻣﻮﺟﻮﺩ ﺩﺭ ﺑﺨﺶ‬ ‫ﺍﻭﻝ ﻧﺘﻴﺠﻪ ﻧﺎﺁﮔﺎﻫﻰ ﻛﺎﺭﺑﺮﺍﻥ‪ ،‬ﺍﺟﺮﺍﻛﺎﺭﺍﻥ‪ ،‬ﻃﺮﺍﺣﺎﻥ ﮔﺮﺍﻓﻴﻚ ﻭ ﻟﻴﺘﻮﮔﺮﺍﻓﻰﻫﺎﻯ‬ ‫ﻛﻢﺗﺠﺮﺑﻪ ﺍﺳﺖ ﻭ ﺑﺨﺶ ﺩﻭﻡ ﺣﺎﺻﻞ ﺣﺮﻛﺖ ﺣﻠﺰﻭﻥﻭﺍﺭ ﻣﺮﺑﻮﻁ ﺑﻪ ﺗﺠﻬﻴﺰ ﺁﻧﻬﺎ‬ ‫ﻣﻰﺑﺎﺷﺪ‪ .‬ﻳﻌﻨﻰ ﺍﻳﻨﻜﻪ ﻣﺮﺍﺣﻞ ﭘﻴﺶ ﺍﺯ ﭼﺎپ ﻭ ﭼﺎپ‪ ،‬ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺗﻜﻨﻮﻟﻮژﻯ ﺭﻭﺯ‬

‫ﻣﺴﻠﺢ ﻛﺮﺩﻩﺍﻧﺪ ﺣﺎﻝ ﺁﻧﻜﻪ ﻣﺮﺍﺣﻞ ﭘﺲ ﺍﺯ ﭼﺎپ ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﺷﻴﻮﻩ ﺳﻨﺘﻰ ﺑﻪ‬ ‫ﻛﺎﺭ ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﻫﻨﺮﺟﻮﻳﺎﻥ ﺑﻌﺪ ﺍﺯ ﮔﺬﺭﺍﻧﺪﻥ ﺍﻳﻦ ﺩﻭﺭﻩ ﺗﺎ ﭼﻪ ﻣﻴﺰﺍﻥ ﺑﻪ ﭘﺮﻭﺳﻪ‬ ‫ﭼﺎپ ﻣﺴﻠﻂ ﻣﻰﺷﻮﻧﺪ؟‬ ‫ﻟﻔﻆ ﭼﺎپ ﻳﻚ ﻛﻞ ﺍﺳﺖ ﺑﺮﺍﻯ ﻫﻤﻪ ﻧﻮﻉ ﭼﺎپ‪ ،‬ﻣﺜ ً‬ ‫ﻼ ﭼﺎپ ﮔﻮﺩ‪ ،‬ﺑﺮﺟﺴﺘﻪ‪،‬‬ ‫ﻣﺴﻄﺢ ﻭ ﺣﺘﻰ ﺩﻳﺠﻴﺘﺎﻝ ﻭ ‪. . .‬‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﺩﻭﺭﻩ ﻓﻮﻕ ﺍﺧﺘﺼﺎﺻ ًﺎ ﺑﻪ ﻣﻘﻮﻟﻪ ﭼﺎپ ﻣﺴﻄﺢ ﻣﻰﭘﺮﺩﺍﺯﺩ‪،‬‬ ‫ﻣﻰﺗﻮﺍﻥ ﺑﺪﻭﻥ ﺍﻏﺮﺍﻕ ﮔﻔﺖ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﭘﺲ ﺍﺯ ﮔﺬﺭﺍﻧﺪﻥ ﺍﻳﻦ ﺩﻭﺭﻩ ﺑﻴﺶ‬ ‫ﺍﺯ ‪ %70‬ﭘﺮﻭﺳﻪ ﻛﺎﺭ ﺭﺍ ﻓﺮﺍ ﺧﻮﺍﻫﻨﺪ ﮔﺮﻓﺖ ﻭ ﻣﺎﺑﻘﻰ ﺁﻥ ﺑﻪ ﻓﻌﺎﻟﻴﺖ‪ ،‬ﺗﺠﺮﺑﻪ ﻭ‬ ‫ﻛﻨﻜﺎﺵ ﺧﻮﺩ ﺩﺍﻧﺸﺠﻮ ﺑﺴﺘﮕﻰ ﺩﺍﺭﺩ‪.‬‬

‫ﭼﻪ ﻫﻤﺎﻫﻨﮕﻰﻫﺎﻳﻰ ﻣﻰﺑﺎﻳﺴﺖ ﺑﻴﻦ ﻳﻚ ﻧﺎﻇﺮ ﭼﺎپ ﻭ ﻃﺮﺍﺡ‬ ‫ﺩﺭ ﺭﻭﻧﺪ ﭼﺎپ ﺍﺛﺮ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﺗﺎ ﺍﺷﻜﺎﻻﺕ ﺑﻪ ﺣﺪﺍﻗﻞ‬ ‫ﺑﺮﺳﺪ؟‬ ‫ﮔﺬﺭﺍﻧﺪﻥ ﺍﻳﻦ ﺩﻭﺭﻩ ﺭﺍ ﺑﻪ ﻛﻠﻴﻪ ﻫﻤﻜﺎﺭﺍﻥ ﻃﺮﺍﺡ ﮔﺮﻓﻴﻚ ﺗﻮﺻﻴﻪ ﻣﻰﻛﻨﻢ‪،‬‬ ‫ﭼﺮﺍ ﻛﻪ ﺗﻌﺎﻣﻞ ﺑﻴﺸﺘﺮ ﺑﻴﻦ ﻃﺮﺍﺡ ﻭ ﻧﺎﻇﺮ ﭼﺎپ ﺩﺭ ﺳﺎﻳﻪ ﺭﺳﻴﺪﻥ ﺑﻪ ﻳﻚ ﺯﺑﺎﻥ‬ ‫ﻣﺸﺘﺮﻙ ﻓﻨﻰ ﺍﺳﺖ‪ .‬ﻃﺮﺍﺡ ﻭ ﻧﺎﻇﺮ ﭼﺎپ ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ ﭘﺮﻭژﻩ ﺟﻬﺖ ﻃﺮﺍﺣﻰ‬ ‫ﻛﻠﻴﺪ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﺑﺎﻳﺪ ﺩﺭ ﻣﻮﺭﺩ ﺗﻤﺎﻣﻰ ﻣﺮﺍﺣﻞ ﺍﺟﺮﺍﻳﻰ ﻛﺎﺭ ﺑﺎ ﻳﻜﺪﻳﮕﺮ ﻣﺸﻮﺭﺕ‬ ‫ﻛﺮﺩ‪.‬‬ ‫ﺑﻬﺘﺮﻳﻦ ﺭﺍﻩ ﺭﺍ ﺑﺮﺍﻯ ﺗﻮﻟﻴﺪ‪ ،‬ﭼﺎپ ﻭ ﺗﻜﺜﻴﺮ ﺁﻥ ﺍﺛﺮ ﺍﻧﺘﺨﺎﺏ ﻛﻨﻨﺪ ﺗﺎ ﻫﻢ ﺍﺯ ﻧﻈﺮ‬ ‫ﺍﻗﺘﺼﺎﺩﻯ ﻣﻘﺮﻭﻥ ﺑﻪ ﺻﺮﻓﻪ ﺑﺎﺷﺪ ﻭ ﻫﻢ ﺩﺭ ﺭﻭﻧﺪ ﻛﺎﺭ ﺑﺎ ﻣﺸﻜﻼﺕ ﭘﻴﺶﺁﻣﺪﻩ‪،‬‬ ‫ﻧﺎﺧﻮﺍﺳﺘﻪ ﻣﺴﻴﺮ ﻛﺎﺭ ﺗﻐﻴﻴﺮ ﻧﻜﻨﺪ ﻭ ﻳﺎ ﻣﻨﺠﺮ ﺑﻪ ﺑﺎﻃﻠﻪ ﺷﺪﻥ ﺁﻥ ﻧﮕﺮﺩﺩ‪.‬‬

‫‪ Adobe InDesign‬؛ ﺗﺤﻮﻟﻰ ﺩﺭ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ‬ ‫ﻣﺪﺭﺱ‪ :‬ﻓﺮﻳﺒﺮﺯ ﺳﻴﺎﻣﻚ ﻧﮋﺍﺩ‬

‫ﺩﻭﺭﻩ ﺁﻣﻮﺯﺷﻰ ﻧﺮﻡ ﺍﻓﺰﺍﺭ ‪InDesign‬‬ ‫ﺭﻭﺯﻫﺎﻯ ﺩﻭﺷﻨﺒﻪ ﺍﺯ ﺳﺎﻋﺖ ‪ 5‬ﺗﺎ ‪7‬‬ ‫ﺑﻌﺪﺍﺯﻇﻬﺮ ﺗﺸﻜﻴﻞ ﻣﻰ ﺷﻮﺩ‪.‬‬

‫ﺍﻫﻤﻴﺖ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ‬ ‫ﻳﻜﻰ ﺍﺯ ﻋﻠﺖﻫﺎﻳﻰ ﻛﻪ ﺗﻮﺟﻪ ﻣﻦ ﺭﺍ ﺑﻪ ﻣﻘﻮﻟﻪ‬ ‫ﺗﺪﺭﻳﺲ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﺑﺎ ﻧﺮﻡ ﺍﻓﺰﺍﺭ ﮔﺮﺍﻓﻴﻜﻰ ﺟﻠﺐ‬ ‫ﻛﺮﺩ‪ ،‬ﻣﺸﺎﻫﺪﻩ ﻛﺎﺭﻫﺎﻯ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﻳﻜﻰ ﺍﺯ‬ ‫ﺩﺍﻧﺸﻜﺪﻩﻫﺎﻯ ﻓﻨﻰ ﺗﺮﺑﻴﺖ ﺩﺑﻴﺮ ﺑﻮﺩ ﻛﻪ ﺟﻬﺖ‬ ‫ﻛﺎﺭﺁﻣﻮﺯﻯ ﺑﻪ ﺩﻓﺘﺮ ﻣﻦ ﻣﻌﺮﻓﻰ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻧﻜﺘﻪ‬ ‫ﻣﺸﺘﺮﻙ ﻫﻤﻪ ﺁﻥ ﻛﺎﺭﻫﺎ‪ ،‬ﻧﺪﺍﺷﺘﻦ ﻟﻰﺁﻭﺕ ﻣﺤﻜﻢ‬ ‫ﻭ ﺻﺤﻴﺢ ﺑﻮﺩ‪ .‬ﺑﻌﺪﻫﺎ ﻛﻪ ﺧﻮﺩﻡ ﻫﻢ ﺑﺮﺍﻯ ﺗﺪﺭﻳﺲ‬ ‫ﻭﺍﺭﺩ ﺁﻥ ﺩﺍﻧﺸﻜﺪﻩ ﺷﺪﻡ ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﻛﻪ ﺣﺘﻲ‬ ‫ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺩﻭﺭﻩ ﻟﻴﺴﺎﻧﺲ ﺁﻧﺠﺎ ﻫﻢ ﺩﺭ ﻫﻤﻴﻦ‬ ‫ﺯﻣﻴﻨﻪ ﺿﻌﻒ ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﻣﻦ ﺗﻤﺎﻡ ﺁﻣﻮﺯﺵﻫﺎ ﺑﺎﻳﺪ ﺑﺎ ﺗﻜﻨﻮﻟﻮژﻯ‬ ‫ﺭﻭﺯ ﭘﻴﺶ ﺑﺮﻭﻧﺪ‪ .‬ﻣﺜﻼ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﻫﻨﻮﺯ ﺩﺭ‬ ‫ﺩﺍﻧﺸﻜﺪﻩﻫﺎ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ ﺩﺳﺘﻰ‬ ‫ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻨﺪ؛ ﻧﺘﻴﺠﻪ ﺍﻳﻦ ﻣﻰﺷﻮﺩ ﻛﻪ ﻭﻗﺘﻰ‬ ‫ﺩﺍﻧﺸﺠﻮﻫﺎ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻞ ﺷﺪﻧﺪ‪ ،‬ﺩﻳﮕﺮ ﺩﺭ ﺑﺎﺯﺍﺭ ﻛﺎﺭ‬ ‫ﺟﺎﻳﮕﺎﻩ ﻣﺤﻜﻤﻰ ﻧﺪﺍﺭﻧﺪ‪ .‬ﺑﺮﺧﻰ ﺍﺯ ﺍﺳﺎﺗﻴﺪ ﻣﺤﺘﺮﻡ‬ ‫ﺟﺬﺍﺑﻴﺖﻫﺎﻯ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎ ﺭﺍ ﻣﺎﻧﻌﻰ ﺑﺮﺍﻯ ﻳﺎﺩﮔﻴﺮﻯ‬ ‫ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﻣﻰﺩﺍﻧﻨﺪ! ﺍﻳﻦ ﺣﺮﻑ ﺧﻴﻠﻰ ﻫﻢ‬ ‫ﻧﺎﻣﺮﺑﻮﻁ ﻧﻴﺴﺖ‪ ،‬ﻭﻟﻰ ﺍﺷﺘﺒﺎﻫﻰ ﻛﻪ ﺍﻳﻨﺠﺎ ﺻﻮﺭﺕ‬ ‫ﻣﻲﮔﻴﺮﺩ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺍﻳﻦ ﻣﻮﺿﻮﻉ ﺗﻮﺟﻪ‬ ‫ﻧﻤﻲﺷﻮﺩ ﻛﻪ »ﻛﺎﻣﭙﻴﻮﺗﺮ« ﻳﻚ ﺍﺑﺰﺍﺭ ﺍﺳﺖ‪ ،‬ﺍﻣﺮﻭﺯ‬ ‫ﺩﻳﮕﺮ ﺩﺭ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﻛﺘﺎﺏﻫﺎﻯ ﺣﺠﻴﻢ‪ ،‬ﺍﮔﺮ ﺑﻪ‬ ‫ﻋﻠﺖ ﺍﺷﻜﺎﻻﺕ ﻣﺠﺒﻮﺭ ﺑﻪ ﺣﺬﻑ ﭼﻨﺪ ﺻﻔﺤﻪ ﺩﺭ‬ ‫ﺍﻭﻝ ﻛﺎﺭ ﺑﺎﺷﻴﻢ‪ ،‬ﺁﻥ ﻭﻗﺖ ﺗﻔﺎﻭﺕ ﻟﻰﺁﻭﺕ ﺩﺳﺘﻰ ﻭ‬ ‫ﻛﺎﻣﭙﻴﻮﺗﺮﻯ ﺭﺍ ﺧﻮﺍﻫﻴﻢ ﺩﺍﻧﺴﺖ‪.‬‬

‫ﻛﺎﺭﺑﺮﺩ ﻛﺎﻣﭙﻴﻮﺗﺮ ﺩﺭ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ‬ ‫ﺩﺭ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ ﻣﺜﻞ‬ ‫‪ Quark ،Pagemaker ،Atelier‬ﻭ‪...‬‬ ‫ﺑﺮﺍﻯ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﻛﻪ ﻫﺮ ﻛﺪﺍﻡ‬ ‫ﻗﺎﺑﻠﻴﺖﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﺩﺍﺭﺍ ﺑﻮﺩﻩﺍﻧﺪ‪ .‬ﺍﻣﺎ ﺩﺭ ﻃﻮﻝ‬ ‫ﺯﻣﺎﻥ‪ ،‬ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎﻯ ﺟﺪﻳﺪﺗﺮ‪ ،‬ﺍﻣﻜﺎﻧﺎﺕ ﺑﻴﺸﺘﺮﻯ‬ ‫ﺑﻪ ﻛﺎﺭﺑﺮ ﺩﺍﺩﻩ ﻛﻪ ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﺑﺎﻳﺪ ﺑﺎ ﺍﻣﻜﺎﻧﺎﺕ‬ ‫ﺭﻭﺯ ﺑﻪ ﭘﻴﺶ ﺑﺮﻭﻳﻢ‪ .‬ﻣﻦ ﺣﺘﻰ ﺍﻓﺮﺍﺩﻯ ﺭﺍ ﺩﻳﺪﻩﺍﻡ‬ ‫ﻛﻪ ﺑﺎ ﻓﺘﻮﺷﺎپ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﻣﻰﻛﺮﺩﻧﺪ! ﺩﺭ‬ ‫ﺻﻮﺭﺗﻰ ﻛﻪ ﺣﺠﻢ ﻳﻚ ﻓﺎﻳﻞ ﻓﺘﻮﺷﺎﭘﻰ ﺩﺭ ﻣﻘﺎﻳﺴﻪ‬ ‫ﺑﺎ ﺣﺠﻢ ﻫﻤﺎﻥ ﻓﺎﻳﻞ ﺩﺭ ﻳﻚ ﻧﺮﻡ ﺍﻓﺰﺍﺭ ِﻭﻛﺘﻮﺭ‬ ‫ﻣﺜﻞ ‪ InDesign‬ﭼﻪ ﻗﺪﺭ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ! ﻣﻦ‬ ‫ﻣﻌﺘﻘﺪﻡ ﻇﻠﻤﻲ ﻛﻪ ﻳﻚ ﺍﺳﺘﺎﺩ ﻣﻤﻜﻦ ﺍﺳﺖ ﺧﺪﺍﻱ‬ ‫ﻧﺎﻛﺮﺩﻩ ﺩﺭ ﻣﻮﺭﺩ ﺩﺍﻧﺸﺠﻮﻳﺎﻧﺶ ﺍﻧﺠﺎﻡ ﺩﻫﺪ ﺍﻳﻦ‬ ‫ﺍﺳﺖ ﻛﻪ ﺁﻧﻬﺎ ﺭﺍ ﺍﺯ ﺗﻜﻨﻮﻟﻮژﻯ ﺭﻭﺯ ﺩﻭﺭ ﻧﮕﻪ ﺩﺍﺭﺩ‪.‬‬ ‫‪ InDesign‬ﺑﺎ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎﻯ ﻗﺪﻳﻤﻰ ﺑﻪ ﻟﺤﺎﻅ‬ ‫ﻛﺎﺭﺑﺮﺩ ﻭ ﺍﻣﻜﺎﻧﺎﺕ ﻭﻳﺮﺍﻳﺶ ﺗﺼﻮﻳﺮﻱ‪ ،‬ﺍﺻ ً‬ ‫ﻼ ﻗﺎﺑﻞ‬ ‫ﻗﻴﺎﺱ ﻧﻴﺴﺖ‪.‬‬ ‫ﻧﻜﺘﻪ ﺣﺎﺋﺰ ﺍﻫﻤﻴﺖ ﺩﺭ ﺗﺪﺭﻳﺲ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎﻯ‬ ‫ﻣﺪﺭﺱ ﺧﻮﺩﺵ ﺑﺎﻳﺪ ﺑﺎ‬ ‫ﮔﺮﺍﻓﻴﻜﻰ ﺍﻳﻦ ﺍﺳﺖ ﻛﻪ ّ‬ ‫ﺍﻳﻦ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎ ﺩﺭﮔﻴﺮ ﻭ ﻣﺸﻐﻮﻝ ﻛﺎﺭ ﺑﺎﺷﺪ ﺗﺎ‬ ‫ﺑﺘﻮﺍﻧﺪ ﺍﺷﻜﺎﻻﺕ ﺍﻳﺠﺎﺩ ﺷﺪﻩ ﺩﺭ ﺑﻴﻦ ﻛﺎﺭ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﻫﻨﺮﺟﻮﻳﺎﻥ ﺣﻞ ﻛﻨﺪ‪.‬‬

‫ﻧﻘﺶ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﺩﺭ ﮔﺮﺍﻓﻴﻚ‬ ‫ﺍﺯ ﻧﻈﺮ ﻣﻦ ﻟﻰﺁﻭﺕ ﻧﻘﺶ ﺑﺴﻴﺎﺭ ﻣﻬﻤﻰ ﺩﺭ ﺭﺷﺘﻪ‬ ‫ﮔﺮﺍﻓﻴﻚ ﺩﺍﺭﺩ‪ .‬ﺑﻪ ﻫﻤﻴﻦ ﻣﻨﻈﻮﺭ ﺁﻣﻮﺯﺵ ﺩﺭ‬ ‫ﻛﻼﺱ ﻣﻦ ﺩﻭ ﺑﺨﺶ ﺩﺍﺭﺩ‪ :‬ﺑﺨﺶ ﺍﻭﻝ ﺷﺎﻣﻞ‬ ‫ﻛﭙﻰ ﻋﻴﻨﻰ ﺍﺯ ﻟﻰﺁﻭﺕ ﻳﻚ ﺻﻔﺤﻪ ﺭﻭﺯﻧﺎﻣﻪ ﺍﺳﺖ‬ ‫ﻛﻪ ﻫﺪﻑ ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ ﻓﻘﻂ‪ ،‬ﻳﺎﺩﮔﻴﺮﻯ ﺍﺑﺰﺍﺭ‬ ‫‪ InDesign‬ﻣﻰﺑﺎﺷﺪ‪ .‬ﺑﺨﺶ ﺩﻭﻡ ﺗﻬﻴﻪ ﺟﺰﻭﺓ‬ ‫ﺩﺭﺳﻰ ﺗﻮﺳﻂ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺍﺳﺖ ﻛﻪ ﺩﻭ ﻫﺪﻑ ﺭﺍ‬ ‫ﺩﻧﺒﺎﻝ ﻣﻰﻛﻨﺪ‪ :‬ﻳﻜﻰ ﺧﻼﻗﻴﺖ ﺩﺭ ﺑﻪ ﻛﺎﺭﮔﻴﺮﻯ‬ ‫ﺍﺑﺰﺍﺭﻫﺎﻯ ‪ InDesign‬ﻭ ﺩﻳﮕﺮﻯ ﺁﻣﻮﺯﺵ‬ ‫ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻛﺎﺭ ﺑﺎﻋﺚ ﻣﻰﺷﻮﺩ ﻫﻢ‬ ‫ﺩﺭﺱ ﭼﻨﺪﻳﻦ ﺑﺎﺭ ﻣﺮﻭﺭ ﺷﻮﺩ ﻭ ﻫﻢ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﺑﺎ‬ ‫ﻛﺎﻣﭙﻴﻮﺗﺮ ﺑﻬﺘﺮ ﺁﻣﻮﺧﺘﻪ ﺷﻮﺩ‪.‬‬ ‫ﺑﻪ ﻧﻈﺮ ﺑﻨﺪﻩ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﺍﺳﺘﺨﻮﺍﻥﺑﻨﺪﻯ ﮔﺮﺍﻓﻴﻚ‬ ‫ﺍﺳﺖ ﻭ ﺍﻫﻤﻴﺖ ﺁﻥ ﺩﺭ ﺗﻤﺎﻡ ﺯﻣﻴﻨﻪﻫﺎﻯ ﮔﺮﺍﻓﻴﻚ‬ ‫ﻣﺜﻞ ﭘﻮﺳﺘﺮ‪ ،‬ﺁﺭﻡ‪ ،‬ﻛﺎﺭﺕ ﻭﻳﺰﻳﺖ ﻭ ‪ ...‬ﻗﺎﺑﻞ ﻟﻤﺲ‬ ‫ﺍﺳﺖ‪ .‬ﺩﺭ ﭘﺮﻭﻧﺪﻩ ﺗﻤﺎﻡ ﮔﺮﺍﻓﻴﺴﺖﻫﺎﻱ ﻣﻄﺮﺡ ﻭ‬ ‫ﺣﺘﻲ ﺍﺳﺎﺗﻴﺪ ﻣﺤﺘﺮﻡ ﻣﺜﻞ ﻣﺮﺣﻮﻡ ﺍﺳﺘﺎﺩ ﻣﻤﻴﺰ‪،‬‬ ‫ﺍﺳﺘﺎﺩ ﻗﺒﺎﺩ ﺷﻴﻮﺍ‪ ،‬ﺍﺳﺘﺎﺩ ﺍﺑﺮﺍﻫﻴﻢ ﺣﻘﻴﻘﻰ ﻭ ‪ ...‬ﻳﻚ‬ ‫ﺩﻭﺭﻩ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﭼﻪ ﭼﻴﺰﻯ ﺑﺎﻋﺚ‬ ‫ﻣﻰﺷﻮﺩ ﻛﻪ ﺷﻤﺎ ﺍﺯ ﻣﻴﺎﻥ ﺍﻧﺒﻮﻩ ﺳﺮﺭﺳﻴﺪﻫﺎﻯ ﺑﺎﺯﺍﺭ‬ ‫ﻳﻜﻰ ﺍﺯ ﺁﻧﻬﺎ ﺭﺍ ﺍﻧﺘﺨﺎﺏ ﻛﻨﻴﺪ؟ ﺣﺘﻤﺎ ﻣﺴﺎﺋﻠﻰ ﻣﺜﻞ‬ ‫ﺳﺎﺩﮔﻰ‪ ،‬ﺭﻳﺘﻢ‪ ،‬ﺍﻧﺘﺨﺎﺏ ﺭﻧﮓ ﻭ ﻟﻰﺁﻭﺕ ﺩﺭ ﺁﻥ‬ ‫ﺭﻋﺎﻳﺖ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻛﺴﻰ ﻛﻪ ﻧﺴﺒﺖ ﺑﻪ ﻣﺒﺎﻧﻰ‬ ‫ﺍﺻﻠﻲ ﻫﻨﺮ‪ ،‬ﺍﻃﻼﻋﺎﺕ ﻭ ﺍﺷﺮﺍﻑ ﻛﺎﻣﻞ ﻧﺪﺍﺷﺘﻪ‬ ‫ﺑﺎﺷﺪ‪ ،‬ﻣﻤﻜﻦ ﺍﺳﺖ ﻓﻜﺮ ﻛﻨﺪ ﻛﻪ ﻭﻗﺘﻰ ﻳﻚ ﻛﺎﺭ‬

‫ﭼﻬﺎﺭﺭﻧﮓ ﺍﺳﺖ ﺣﺘﻤﺎ ﺑﺎﻳﺪ ﺍﺯ ﺗﻤﺎﻡ ﺭﻧﮓﻫﺎ ﺩﺭ ﺁﻥ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﺷﻮﺩ! ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﺍﺻﻼ ﺍﻳﻨﻄﻮﺭ ﻧﻴﺴﺖ‪.‬‬ ‫ﻣﺜﻼ ﻣﻤﻜﻦ ﺍﺳﺖ ﺩﺭ ﻳﻚ ﻛﺎﺭ ‪ 4‬ﺭﻧﮓ‪ ،‬ﺷﻤﺎ ﻓﻘﻂ‬ ‫ﻣﺸﻜﻰ ﻭ ﺯﺭﺩ ﺭﺍ ﺑﺒﻴﻨﻴﺪ‪. ...‬‬ ‫ﺑﻪ ﻫﺮ ﺣﺎﻝ ﺑﻪ ﻧﻈﺮ ﻣﻦ ﻃﺮﺍﺣﻰ ﻛﻪ ﺗﺎ ﺑﻪ ﺣﺎﻝ‬ ‫ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﻧﻜﺮﺩﻩ ﺑﺎﺷﺪ ﻳﻚ ﻧﻘﻄﻪ ﺿﻌﻔﻰ ﺩﺭ‬ ‫ﻛﺎﺭﻫﺎﻳﺶ ﺩﻳﺪﻩ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻣﻦ ﻣﻌﺘﻘﺪﻡ ﺣﺘﻰ ﺩﺭ‬ ‫ﺑﻘﻴﻪ ﻫﻨﺮﻫﺎﻯ ﺗﺠﺴﻤﻲ ﻫﻢ ﺩﺍﻧﺴﺘﻦ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ‬ ‫ﺑﺴﻴﺎﺭ ﻣﻮﺛﺮ ﺍﺳﺖ‪.‬‬ ‫ﺗﺨﺼﺺ‪ ،‬ﺯﻣﻴﻨﻪﺳﺎﺯ ﺟﻠﺐ ﺍﻋﺘﻤﺎﺩ‬ ‫ﺷﻤﺎ ﻭﻗﺘﻰ ﺑﻪ ﺳﻔﺎﺭﺵ ﻳﻚ ﻧﺎﺷﺮ ﻛﺘﺎﺑﻰ ﺭﺍ‬ ‫ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﻣﻰﻛﻨﻴﺪ‪ ،‬ﺑﺎﻳﺪ ﺭﺍﺑﻄﻪﻯ ﻣﻮﺿﻮﻉ ﻭ‬ ‫ﭼﮕﻮﻧﮕﻰ ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﻛﺘﺎﺏ ﺭﺍ ﺑﺪﺍﻧﻴﺪ ﻭ ﺑﺮﺍﻯ‬ ‫ﺍﻳﻦ ﻛﺎﺭ ﺑﺎﻳﺪ ﻣﺒﺎﻧﻰ ﻃﺮﺍﺣﻰﺗﺎﻥ ﻗﻮﻯ ﺑﺎﺷﺪ‪ .‬ﻫﺮ‬ ‫ﻓﺮﺩ ﻣﻮﻓﻖ ﺩﺭ ﻳﻚ ﺭﺷﺘﻪ‪ ،‬ﻣﺒﺎﻧﻰ ﺁﻥ ﺭﺷﺘﻪ ﺭﺍ ﺑﻪ‬ ‫ﺧﻮﺑﻰ ﻣﻰﺩﺍﻧﺪ‪.‬‬ ‫ﮔﺮﺍﻓﻴﻚ ﺭﺷﺘﻪ ﮔﺴﺘﺮﺩﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﻫﻤﻪ ﺍﺻﻨﺎﻑ‬ ‫ﺑﻪ ﺁﻥ ﻧﻴﺎﺯ ﺩﺍﺭﻧﺪ‪ .‬ﻣﻔﻬﻮﻡ ﺍﻳﻦ ﺭﺷﺘﻪ ﻳﻌﻨﻰ ﺍﺭﺗﺒﺎﻁ‬ ‫ﺗﺼﻮﻳﺮﻯ؛ ﺑﻪ ﻫﻤﻴﻦ ﻣﻨﻈﻮﺭ ﻭﻗﺘﻰ ﻣﻰﺧﻮﺍﻫﻢ ﺑﺮﺍﻯ‬ ‫ﺷﻤﺎ ﺁﺭﻡ ﻃﺮﺍﺣﻲ ﻛﻨﻢ ﺑﺎﻳﺪ ﭼﺎﺭﭼﻮﺏ ﺫﻫﻨﻰ ﺷﻤﺎ‬ ‫ﺭﺍ ﺑﺪﺍﻧﻢ‪ ،‬ﻣﺜﻼ ﺩﻓﺘﺮ ﻛﺎﺭ ﺷﻤﺎ ﺭﺍ ﺑﺒﻴﻨﻢ ﻭ ﻧﻮﻉ ﻟﺒﺎﺱ‬ ‫ﭘﻮﺷﻴﺪﻥ ﺷﻤﺎ‪ ،‬ﺩﻛﻮﺭﺍﺳﻴﻮﻥ ﻣﺤﻞ ﻛﺎﺭ ﺷﻤﺎ ﻭ ‪ ...‬ﺭﺍ‬ ‫ﺑﺪﺍﻧﻢ ﺗﺎ ﺑﻔﻬﻤﻢ ﭼﻪ ﻛﺎﺭﺍﻛﺘﺮ ﻭ ﺳﻠﻴﻘﻪﺍﻯ ﺩﺍﺭﻳﺪ ﺗﺎ‬ ‫ﺑﺘﻮﺍﻧﻢ ﻧﻴﺎﺯ ﺗﺼﻮﻳﺮﻯ ﻭ ﮔﺮﺍﻓﻴﻜﻰ ﺷﻤﺎ ﺭﺍ ﺑﺮﺁﻭﺭﺩﻩ‬ ‫ﻛﻨﻢ‪ .‬ﺑﻪ ﻗﻮﻟﻰ‪ ،‬ﻃﺮﺍﺡ ﮔﺮﺍﻓﻴﻚ ﺑﺮﺍﻯ ﺩﻝ ﻣﺮﺩﻡ‬

‫ﻛﺎﺭ ﻣﻰﻛﻨﺪ‪ ،‬ﺑﻨﺎﺑﺮﺍﻳﻦ ﺑﺎﻳﺪ ﻣﻘﺎﻭﻡ ﻭ ﺻﺒﻮﺭ ﺑﺎﺷﺪ‬ ‫ﻭ ﻛﻠﻴﻪ ﻧﻈﺮﺍﺕ ﺳﻔﺎﺭﺵ ﺩﻫﻨﺪﻩ ﺭﺍ ﺑﻪ ﺩﻗﺖ ﮔﻮﺵ‬ ‫ﺩﻫﺪ ﻭ ﺳﭙﺲ ﻭﺍﺭﺩ ﺗﺤﻘﻴﻘﺎﺕ ﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥ ﻋﻤﻞ‬ ‫ﺷﻮﺩ؛ ﺍﻭ ﻧﻤﻰﺗﻮﺍﻧﺪ ﺑﻪ ﺳﻔﺎﺭﺵ ﺩﻫﻨﺪﻩ ﺑﮕﻮﻳﺪ ﺗﻮ‬ ‫ﻃﺮﺍﺣﻢ! ﺳﻔﺎﺭﺵ ﺩﻫﻨﺪﻩ ﭘﻴﺶ‬ ‫ﭼﻴﺰﻯ ﻧﮕﻮ‪ ،‬ﻣﻦ‬ ‫ّ‬ ‫ﻛﺴﻰ ﻣﻰﺭﻭﺩ ﻛﻪ ﺍﺣﺴﺎﺱ ﺍﻣﻨﻴﺖ ﻛﻨﺪ ﻭ ﺍﻃﻤﻴﻨﺎﻥ‬ ‫ﺑﻪ ﺣﻞ ﻣﺸﻜﻞﺍﺵ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﺑﻪ ﺍﺻﻄﻼﺡ‬ ‫ﻛﺎﺭﺵ ﺭﺍﻩ ﺑﻴﻔﺘﺪ‪) .‬ﺍﺩﺍﻣﻪ ﺩﺍﺭﺩ(‬

‫ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻼﻥ‬ ‫ﺩﻭﺭﻩ ﻫﺎﻯ ‪InDesign‬‬ ‫ﻣﺪﺭﺳﻪ ﺍﻳﺪﻩ ﺩﺭ ﻧﻈﺮ ﺩﺍﺭﺩ ﺍﻗﺪﺍﻡ‬ ‫ﺑﻪ ﺑﺮﮔﺰﺍﺭﻯ ﻛﻼﺱﻫﺎﻯ ﺗﺨﺼﺼﻰ‬ ‫‪ InDesign‬ﻧﻤﺎﻳﺪ‪ .‬ﺍﻳﻦ ﻛﻼﺱﻫﺎ‬ ‫ﺩﺭ ‪ 5‬ﺟﻠﺴﻪ ‪ 2‬ﺳﺎﻋﺘﻪ ﺑﺮﮔﺰﺍﺭ ﻣﻰ ﺷﻮﺩ‬ ‫ﻛﻪ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﭘﺲ ﺍﺯ ﺍﻣﺘﺤﺎﻥ ﻭ‬ ‫ﻣﺼﺎﺣﺒﻪ ﺑﻪ ﺍﻳﻦ ﻛﻼﺱﻫﺎ ﺭﺍﻩ ﻳﺎﻓﺘﻪ ﻭ‬ ‫ﻛﻠﻴﻪ ﺟﻠﻮﻩﻫﺎﻯ ﻭﻳﮋﻩ ﺍﻳﻦ ﻧﺮﻡ ﺍﻓﺰﺍﺭ ﺭﺍ ﺩﺭ‬ ‫ﺻﻔﺤﻪﺁﺭﺍﻳﻰ ﺣﺮﻓﻪﺍﻯ ﺧﻮﺍﻫﻨﺪ ﺁﻣﻮﺧﺖ‪.‬‬ ‫‪ .....‬ﻣﻨﺘﻈﺮ ﺍﻃﻼﻋﻴﻪ ﺑﻌﺪﻯ ﺑﺎﺷﻴﺪ‪.‬‬

‫ﻣﺎﺭﻛﺘﻴﻨﮓ )‪(Marketing‬‬ ‫ﻣﺪﺭﺱ‪ :‬ﺩﻛﺘﺮ ﻋﻠﻴﺮﺿﺎ ﺻﺪﺭﻣﺤﻤﺪﻯ‬

‫ﺩﻛﺘﺮ ﻋﻠﻴﺮﺿﺎ ﺻﺪﺭﻣﺤﻤﺪﻯ‬ ‫• ﺩﺍﺭﺍﻯ ﺑﻮﺭﺩ ﺗﺨﺼﺼﻰ ﺩﺭ ﺗﺒﻠﻴﻐﺎﺕ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ ﺍﺯ‬ ‫ﻧﻴﻮﻳﻮﺭﻙ )‪(Int’l Ad Diploma‬‬ ‫• ﻣﺆﺳﺲ ﻭ ﻣﺪﻳﺮ ﻋﺎﻣﻞ ﺷﺮﻛﺖ ﮔﺴﺘﺮﺵ ﺗﺒﻠﻴﻐﺎﺕ‬

‫ﻣﺪﺭﺳﻪ ﺗﺨﺼﺼﻰ ﺍﻳﺪﻩ ﺩﺭ ﺩﻭﺭﻩ ﺟﺪﻳﺪ ﻛﻼﺱ ﻫﺎﻯ ﺧﻮﺩ‪ ،‬ﻓﺮﺻﺘﻰ ﺍﺳﺘﺜﻨﺎﻳﻰ ﺭﺍ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻫﻨﺮﺟﻮﻳﺎﻥ‬ ‫ﻭ ﻋﻼﻗﻤﻨﺪﺍﻥ ﻋﺮﺻﻪ ﺗﺒﻠﻴﻐﺎﺕ ﻗﺮﺍﺭ ﻣﻰ ﺩﻫﺪ‪ .‬ﺩﻛﺘﺮ ﻋﻠﻴﺮﺿﺎ ﺻﺪﺭ ﻣﺤﻤﺪﻯ ﻛﻪ ﻳﻜﻰ ﺍﺯ ﻧﺨﺒﮕﺎﻥ ﺍﻳﻦ‬ ‫ﻋﺮﺻﻪ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰ ﺭﻭﺩ‪ ،‬ﺩﺭ ﺗﺮﻡ ﭘﺎﺋﻴﺰ‪ ،‬ﺩﻭﺭﻩ »ﻣﺎﺭﻛﺘﻴﻨﮓ« ﺭﺍ ﺩﺭ ﻣﺪﺭﺳﻪ ﺍﻳﺪﻩ ﺁﻣﻮﺯﺵ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪.‬‬ ‫ﺑﻰ ﺷﻚ ﻋﻼﻗﻤﻨﺪﺍﻥ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ ﻭ ﻣﺒﺎﺣﺚ ﻣﺮﺗﺒﻂ ﺑﺎ ﺗﺒﻠﻴﻐﺎﺕ‪ ،‬ﺍﻳﻦ ﻓﺮﺻﺖ ﺭﺍ ﻣﻐﺘﻨﻢ ﻣﻰ ﺷﻤﺎﺭﻧﺪ ﻭ ﺍﺯ ﺁﺧﺮﻳﻦ‬ ‫ﺩﺳﺘﺎﻭﺭﺩﻫﺎ ﻭ ﻧﻈﺮﻳﺎﺕ ﺭﻭﺯ ﻣﺎﺭﻛﺘﻴﻨﮓ ﺩﺭ ﺍﻳﻦ ﺗﺮﻡ ﺑﻬﺮﻩ ﻣﻨﺪ ﻣﻰ ﺷﻮﻧﺪ‪.‬‬

‫• ﻋﻀﻮ ﺍﻧﺠﻤﻦ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ )‪(IAA‬‬ ‫• ﺭﺋﻴﺲ ﺩﻓﺘﺮ ﺍﻧﺠﻤﻦ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ ﺗﺒﻠﻴﻐﺎﺕ ﺩﺭ ﺍﻳﺮﺍﻥ‬

‫ﺳﺮﻓﺼﻞ ﻫﺎﻯ ﺩﺭﺳﻰ ﺩﻭﺭﻩ ﻣﺎﺭﻛﺘﻴﻨﮓ ﺷﺎﻣﻞ ﻣﻮﺍﺭﺩ ﺯﻳﺮ ﺍﺳﺖ‪:‬‬

‫• ﻋﻀﻮ ﻫﻴﺌﺖ ﻣﺆﺳﺲ ﻭ ﻫﻴﺌﺖ ﻣﺪﻳﺮﻩ ﺍﻧﺠﻤﻦ ﺻﻨﻔﻰ‬ ‫ﺷﺮﻛﺖ ﻫﺎﻯ ﺗﺒﻠﻴﻐﺎﺗﻰ ﺍﻳﺮﺍﻥ ﺍﺯ ﺳﺎﻝ ‪ 76‬ﺗﺎ ‪83‬‬ ‫• ﻣﺸﺎﻭﺭ ﻣﺪﻳﺮ ﻛﻞ ﻳﻮﻧﻴﺴﻒ ﺩﻓﺘﺮ ﺍﻳﺮﺍﻥ‬ ‫• ﻣﺸﺎﻭﺭ ﻣﺆﺳﺴﻪ ﭘﮋﻭﻫﺸﻰ ﻛﻮﺩﻛﺎﻥ ﺩﻧﻴﺎ‬ ‫• ﻣﺸﺎﻭﺭ ﺳﺎﺯﻣﺎﻥ ﻫﺎﻯ ﻏﻴﺮﺩﻭﻟﺘﻰ )‪(NGO‬‬ ‫• ﻣﺸﺎﻭﺭ ﺳﺎﺯﻣﺎﻥ ﺍﻳﺮﺍﻧﮕﺮﺩﻯ ﻭ ﺟﻬﺎﻧﮕﺮﺩﻯ‬ ‫• ﻋﻀﻮ ﻫﻴﺌﺖ ﺩﺍﻭﺭﺍﻥ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ ﺟﺎﻳﺰﻩ ﺑﺰﺭگ‬ ‫ﺗﺒﻠﻴﻐﺎﺕ )‪(Inter Ad‬‬ ‫• ﻣﺪﺭﺱ ﺩﻭﺭﻩ ﻫﺎﻯ ﺁﻣﻮﺯﺵ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ ﻭ ﺗﺒﻠﻴﻐﺎﺕ‬ ‫• ﻋﻀﻮ ﻫﻴﺌﺖ ﻣﺪﻳﺮﻩ ﻧﺨﺴﺘﻴﻦ‬ ‫‪Social Communication Agency‬‬ ‫• ﻃﺮﺍﺡ ﻭ ﻣﺠﺮﻯ ﻧﺨﺴﺘﻴﻦ ﺑﺮﻧﺎﻣﺔ ﺍﻟﻜﺘﺮﻭﻧﻴﻚ‬ ‫ﻣﺪﻳﺮﻳﺖ ﻣﺸﺘﺮﻳﺎﻥ ﺩﺭ ﺍﻳﺮﺍﻥ‬ ‫• ﻣﺪﺭﺱ ﺩﻭﺭﻩ ﻫﺎﻯ ﻛﻮﺗﺎﻩ ﻣﺪﺕ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ‪ ،‬ﻓﺮﻭﺵ‬

‫ ﺷﻨﺎﺧﺖ ﻋﻮﺍﻣﻞ ﺁﻣﻴﺰﻩ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ‬‫ ﻭﻳﮋﮔﻰ ﻫﺎﻯ ﺍﺻﻠﻰ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ‬‫ ﺗﻘﺴﻴﻢ ﺑﻨﺪﻯ ﺑﺎﺯﺍﺭ‬‫ ﺗﺼﻤﻴﻢ ﮔﻴﺮﻯ ﻣﺼﺮﻑ ﻛﻨﻨﺪﻩ‬‫ ﺍﻃﻼﻋﺎﺕ ﺑﺎﺯﺍﺭ ﻭ ﺑﺎﺯﺍﺭﺳﻨﺠﻰ‬‫ ﻫﺰﻳﻨﻪ ﻫﺎﻯ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ‬‫ ﻫﺪﻑ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ‬‫ ﺗﺪﻭﻳﻦ ﺭﺍﻫﺒﺮﺩ‬‫ ﺷﻨﺎﺧﺖ ﻣﺼﺮﻑ ﻛﻨﻨﺪﻩ‬‫ ﺍﻧﺘﺨﺎﺏ ﺑﺎﺯﺍﺭﻳﺎﺏ‬‫ ﺷﻨﺎﺧﺖ ﻓﻮﺭﻳﺖ ﻫﺎ‬‫ﻣﻔﻬﻮﻡ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ ﺭﺍ ﻣﻰ ﺗﻮﺍﻥ ﺩﺭ ﺗﻤﺮﻛﺰ ﺑﻪ ﺳﻮﻯ ﻣﺸﺘﺮﻳﺎﻥ ﺑﺎ ﺗﻤﺮﻛﺰ ﻛﻠﻴﻪ ﺍﻗﺪﺍﻣﺎﺕ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ ﻭ ﻫﺪﻑ ﻗﺮﺍﺭ‬ ‫ﺩﺍﺩﻥ ﺟﻠﺐ ﺭﺿﺎﻳﺖ ﻣﺸﺘﺮﻯ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﻫﺪﻑ ﺳﺎﺯﻣﺎﻧﻰ ﺧﻼﺻﻪ ﻛﺮﺩ‪.‬‬

‫ﻭ ﺗﺒﻠﻴﻐﺎﺕ‬ ‫• ﻣﺘﺮﺟﻢ ﻭ ﻣﺆﻟﻒ ﻛﺘﺎﺏ ﺗﺒﻠﻴﻐﺎﺕ ﻣﺤﻴﻄﻰ‬ ‫• ﮔﺮﺩﺁﻭﺭﻧﺪﻩ ﻭ ﻣﺆﻟﻒ ﻛﺘﺎﺏ ﺗﺒﻠﻴﻐﺎﺕ ﺑﻪ ﺑﻴﺎﻥ ﺳﺎﺩﻩ‬ ‫• ﮔﺮﺩﺁﻭﺭﻧﺪﻩ ﻭ ﻣﺆﻟﻒ ﻛﺘﺎﺏ ﻣﺎﺭﻛﺘﻴﻨﮓ ﺑﻪ ﺑﻴﺎﻥ ﺳﺎﺩﻩ‬

‫ﺩﻭﺭﻩ ﻣﺎﺭﻛﺘﻴﻨﮓ ﺩﺭ ﺗﺮﻡ ﭘﺎﺋﻴﺰ‪ ،‬ﺭﻭﺯﻫﺎﻯ ﺩﻭﺷﻨﺒﻪ ﺍﺯ ﺳﺎﻋﺖ ‪ 5‬ﺗﺎ ‪ 7‬ﺑﻌﺪﺍﺯﻇﻬﺮ ﻃﻰ ‪10‬‬ ‫ﺟﻠﺴﻪ ﻫﻔﺘﮕﻰ ﺗﺸﻜﻴﻞ ﻣﻰ ﺷﻮﺩ‪.‬‬ ‫ﺑﺪﻟﻴﻞ ﻇﺮﻓﻴﺖ ﻣﺤﺪﻭﺩ‪ ،‬ﺍﻭﻟﻮﻳﺖ ﺑﺎ ﺗﻘﺪﻡ ﺛﺒﺖ ﻧﺎﻡ ﻛﻨﻨﺪﮔﺎﻥ ﺍﺳﺖ‪.‬‬

‫ﻭﻳﮋﮔﻰﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ ﺩﻭﺭﻩ ﻣﺎﺭﻛﺘﻴﻨﮓ‬ ‫ﭼﻴﺴﺖ ﻭ ﭼﻪ ﺳﺮﻓﺼﻞﻫﺎﻳﻰ ﺩﺭ ﺁﻥ‬ ‫ﺁﻣﻮﺯﺵ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ؟‬ ‫ﻳﺎﺩﮔﻴﺮﻯ ﻋﻠﻢ ﻣﺎﺭﻛﺘﻴﻨﮓ ﺑﺮﺍﻯ ﻫﺮ ﻛﺲ ﺩﺭ ﻫﺮ‬ ‫ﺷﻐﻞ ﻳﺎ ﺳﻄﺢ ﺗﺨﺼﺺ ﻻﺯﻡ ﺍﺳﺖ‪ ،‬ﻳﻚ ﻋﻠﺖ‬ ‫ﺍﺻﻠﻰ ﻭ ﻋﻤﺪﻩ ﻫﻢ ﺩﺍﺭﺩ‪ ،‬ﺍﻳﻦ ﻛﻪ ﻫﻤﻴﺸﻪ ﺩﺭ ﺣﺎﻝ‬ ‫ﺍﻳﺠﺎﺩ ﻳﺎ ﺗﻮﺳﻌﻪ ﻳﻚ ﺍﺭﺗﺒﺎﻁ ﺍﺟﺘﻤﺎﻋﻰ ﻭ ﺍﻗﺘﺼﺎﺩﻯ‬ ‫ﻫﺴﺘﻴﻢ ﻭ ﻋﻠﻢ ﻣﺎﺭﻛﺘﻴﻨﮓ ﺍﻳﻦ ﺍﻣﺮ ﺭﺍ ﺗﺴﻬﻴﻞ ﻭ‬ ‫ﻣﺆﺛﺮ ﻣﻰﻛﻨﺪ‪ .‬ﻫﻨﮕﺎﻣﻰ ﻛﻪ ﺩﻭ ﻧﻔﺮ ﺑﻪ ﻫﻢ ﻣﻰﺭﺳﻨﺪ‬ ‫ﻭ ﺳﻼﻡ ﻣﻰﻛﻨﻨﺪ‪ ،‬ﻭﺍﺭﺩ ﻓﻀﺎﻯ ﻣﺎﺭﻛﺘﻴﻨﮓ ﻣﻰﺷﻮﻧﺪ‬ ‫ﻭ ﺍﺯ ﻗﻮﺍﻧﻴﻦ ﺁﻥ ﺗﺒﻌﻴﺖ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺁﻳﺎ ﺍﻳﻦ ﺩﻭﺭﻩ ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮﺍﻯ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ‬ ‫ﻓﺮﺻﺖﻫﺎﻯ ﺷﻐﻠﻰ ﺟﺪﻳﺪﻯ ﺭﺍ ﻫﻤﺮﺍﻩ‬ ‫ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ؟‬ ‫ﻫﻴﭻ ﺭﺷﺘﻪ ﺗﺨﺼﺼﻰ ﺑﻪ ﺗﻨﻬﺎﻳﻰ ﻗﺎﺩﺭ ﺑﻪ ﺍﻳﺠﺎﺩ‬ ‫ﻓﺮﺻﺖ ﺷﻐﻠﻰ ﻧﻴﺴﺖ‪ ،‬ﻣﺎﺭﻛﺘﻴﻨﮓ ﻳﻚ ﺗﺨﺼﺺ‬ ‫ﺭﺍ ﺑﻪ ﺷﻴﻮﻩﻫﺎﻯ ﻋﺮﺿﻪ ﻭ ﻣﻌﺮﻓﻰ ﺧﻮﺩ ﻣﺠﻬﺰ‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺍﻭ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻣﺆﺛﺮ ﻗﺎﺩﺭ ﺑﻪ ﺍﺭﺍﺋﻪ ﺩﺍﻧﺶ‬ ‫ﺧﻮﺩ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺁﻳﺎ ﺑﺮﺍﻯ ﮔﺬﺭﺍﻧﺪﻥ ﺍﻳﻦ ﺩﻭﺭﻩ ﭘﻴﺶﻧﻴﺎﺯﻯ‬ ‫ﻻﺯﻡ ﺍﺳﺖ؟‬ ‫ﺑﺰﺭﮔﺘﺮﻳﻦ ﭘﻴﺶﻧﻴﺎﺯ‪ ،‬ﺍﺷﺘﻴﺎﻕ ﺑﻪ ﻳﺎﺩﮔﻴﺮﻯ‪ ،‬ﺗﺤﻮﻝ‬ ‫ﻭ ﭘﻴﺸﺮﻓﺖ ﺍﺳﺖ‪.‬‬ ‫ﻟﻄﻔﺎً ﺩﺭﺑﺎﺭﻩ ﻣﻘﺎﻳﺴﻪ ﻟﻐﻮﻯ »ﻣﺎﺭﻛﺘﻴﻨﮓ«‬ ‫ﺑﺎ ﺗﺮﺟﻤﻪ ﺗﺤﺖﺍﻟﻔﻈﻰ »ﺑﺎﺯﺍﺭﻳﺎﺑﻰ«‬ ‫ﺗﻮﺿﻴﺢ ﻣﻰﺩﻫﻴﺪ؟‬ ‫»ﻣﺎﺭﻛﺘﻴﻨﮓ« ﺩﺭ ﺯﺑﺎﻥ ﻓﺎﺭﺳﻰ ﻣﻌﺎﺩﻝ ﻧﺪﺍﺭﺩ‪ ،‬ﻭ‬ ‫ﺟﺎﻣﻌﻴﺖ ﺍﻳﻦ ﺣﻮﺯﻩ ﺍﺯ ﻋﻠﻢ ﺩﺭ ﻣﺤﻔﻈﻪ ﻛﻮﭼﻚ‬ ‫ﻛﻠﻤﻪ »ﺑﺎﺯﺍﺭﻳﺎﺑﻰ« ﻧﻤﻰﮔﻨﺠﺪ‪ ،‬ﺷﺎﻳﺪ ﻭﺍژﻩ‬ ‫»ﺑﺎﺯﺍﺭﺳﺎﺯﻯ« ﺑﺘﻮﺍﻧﺪ ﺍﻳﻦ ﺣﻮﺯﻩ ﺭﺍ ﻣﺸﺨﺺﺗﺮ‬ ‫ﻋﻨﻮﺍﻥ ﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﺑﻪ ﻫﻴﭻ ﻭﺟﻪ ﺟﺎﻣﻊ ﻧﻴﺴﺖ‪.‬‬

‫ﺁﻳﺎ ﺑﻴﻦ ﻣﺎﺭﻛﺘﻴﻨﮓ ﻭ ﺗﺒﻠﻴﻐﺎﺕ ﻣﺮﺯ‬ ‫ﻣﺸﺨﺼﻰ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬ ‫ﺗﺒﻠﻴﻐﺎﺕ ﻭ ﺑﻪ ﻃﻮﺭ ﻣﺸﺨﺺﺗﺮ ﺭﻭﺷﻰ ﺍﺯ‬ ‫ﺍﻃﻼﻉﺭﺳﺎﻧﻰ ﻛﻪ ﺑﻪ ﺁﻥ »ﺁﮔﻬﻰ« ﮔﻔﺘﻪ ﻣﻰﺷﻮﺩ‬ ‫ﺍﺯ ﻳﻚ ﺳﻮ ﻭ ﺗﻤﺎﻣﻰ ﻣﺨﺘﺼﺎﺕ ﺩﻳﮕﺮ ﺗﺒﻠﻴﻐﺎﺕ‬ ‫ﺍﺯ ﺟﻤﻠﻪ »ﺍﺭﺗﺒﺎﻃﺎﺕ ﺍﺟﺘﻤﺎﻋﻰ« ‪Public‬‬ ‫‪ Relation‬ﻛﻪ ﺑﻪ ﺍﺷﺘﺒﺎﻩ ﺩﺭ ﺍﻳﺮﺍﻥ »ﺭﻭﺍﺑﻂ‬ ‫ﻋﻤﻮﻣﻰ« ﮔﻔﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﺭﺗﺒﺎﻁ ﻧﮕﺎﺭﺷﻰ‬ ‫‪ Publicity‬ﻭ ‪ ...‬ﺗﻤﺎﻣ ًﺎ ﺯﻳﺮ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ‬ ‫ﺑﺨﺸﻰ ﺍﺯ ﻣﺎﺭﻛﺘﻴﻨﮓ ﺍﺳﺖ‪ ،‬ﺩﺭ ﺻﻮﺭﺗﻰ ﻛﻪ‬ ‫ﭼﺘﺮ ﻣﺎﺭﻛﺘﻴﻨﮓ ﺭﻭﻯ ﻳﻚ ﻧﺎﻡ ﺗﺠﺎﺭﻯ ﭘﻬﻦ‬ ‫ﺷﻮﺩ‪ ،‬ﺍﻳﻦ ﻗﺎﺑﻠﻴﺖﻫﺎ ﻗﺎﺑﻞ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﻌﺮﻭﻑ ﺍﺳﺖ ﻛﻪ »ﺗﺒﻠﻴﻐﺎﺕ« ﻧﻤﻰﻓﺮﻭﺷﺪ ﺍﻣﺎ‬ ‫»ﻣﺎﺭﻛﺘﻴﻨﮓ« ﻣﻰﻓﺮﻭﺷﺪ‪ ،‬ﻳﻌﻨﻰ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﺍﺯ ﺗﻤﺎﻣﻰ ﻣﺨﺘﺼﺎﺕ ﺁﻥ ﻗﺎﺩﺭ ﺑﻪ ﻓﺮﻭﺵ ﻛﺎﻻ‬ ‫ﻫﺴﺘﻴﻢ‪.‬‬ ‫ﺩﺭ ﻛﺸﻮﺭ ﻣﺎ‪ ،‬ﻣﺎﺭﻛﺘﻴﻨﮓ ﺧﻴﻠﻰ ﺷﻨﺎﺧﺘﻪ‬ ‫ﺷﺪﻩ ﻧﻴﺴﺖ ﻭ ﻣﻌﻤﻮﻻً ﺷﺮﻛﺖﻫﺎ‬ ‫ﻭ ﺳﺎﺯﻣﺎﻥﻫﺎ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺗﻜﺎﻣﻞ‬ ‫ﻧﻴﺎﻓﺘﻪﺍﻧﺪ ﻭ ﻏﻴﺮﺗﺨﺼﺼﻰ ﻛﺎﺭ ﻣﻰﻛﻨﻨﺪ‪،‬‬ ‫ﻧﻘﺶ ﻣﺎﺭﻛﺘﻴﻨﮓ ﺩﺭ ﭘﻴﺸﺒﺮﺩ ﺍﻫﺪﺍﻑ ﻳﻚ‬ ‫ﺳﺎﺯﻣﺎﻥ ﭼﮕﻮﻧﻪ ﺍﺳﺖ؟‬

‫ﻋﻠﺖ ﻋﺪﻡ ﺷﻨﺎﺧﺖ ﺍﻳﻦ ﺗﺨﺼﺺ ﺩﺭ ﺍﻳﺮﺍﻥ‪،‬‬ ‫ﻓﻘﺪﺍﻥ ﻣﺮﺍﻛﺰ ﻋﻠﻤﻰ‪ -‬ﺗﺨﺼﺼﻰ ﺍﻳﻦ ﺭﺷﺘﻪ ﺑﻄﻮﺭ‬ ‫ﺧﺎﺹ ﻭ ﻣﺸﺨﺺ ﺍﺳﺖ‪ .‬ﺳﺎﺯﻣﺎﻥﻫﺎﻯ ﺗﺠﺎﺭﻯ‬ ‫ﻭ ﺣﺘﻰ ﻣﺆﺳﺴﺎﺕ ﻏﻴﺮﺗﺠﺎﺭﻯ ﺑﺪﻭﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬ ‫ﻋﻠﻢ ﻣﺎﺭﻛﺘﻴﻨﮓ ﻭ ﻗﻮﺍﻋﺪ ﺣﺎﻛﻢ ﺑﺮ ﺁﻥ ﻳﺎ ﻗﺎﺩﺭ‬ ‫ﺑﻪ ﺣﺼﻮﻝ ﻧﺘﻴﺠﻪ ﻧﺨﻮﺍﻫﻨﺪ ﺑﻮﺩ ﻳﺎ ﻧﺘﺎﻳﺞ ﺑﺴﻴﺎﺭ‬ ‫ﺿﻌﻴﻒ ﻭ ﻛﻢﺍﺛﺮ ﺧﻮﺍﻫﻨﺪ ﺩﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺍﻣﺮ ﺩﺭ ﺗﻤﺎﻡ‬ ‫ﺣﻮﺯﻩﻫﺎﻯ ﺍﻗﺘﺼﺎﺩﻯ‪ -‬ﺍﺟﺘﻤﺎﻋﻰ ﺍﻳﺮﺍﻥ ﻣﺸﺎﻫﺪﻩ‬ ‫ﻣﻰﺷﻮﺩ‪.‬‬ ‫ﺁﻳﺎ ﻧﻜﺘﻪ ﺩﻳﮕﺮﻯ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻦ ﺩﻭﺭﻩ‬ ‫ﻫﺴﺖ ﻛﻪ ﺑﻔﺮﻣﺎﺋﻴﺪ؟‬ ‫ﺩﺭ ﺻﻮﺭﺕ ﺁﮔﺎﻫﻰ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺻﺤﻴﺢ ﺍﺯ ﻋﻠﻢ‬ ‫»ﻣﺎﺭﻛﺘﻴﻨﮓ« ﻣﺎ ﻧﻪ ﺗﻨﻬﺎ ﺑﻬﺘﺮ ﻭ ﺭﺍﺣﺖﺗﺮ ﻛﺎﻻ‬ ‫ﻭ ﺧﺪﻣﺎﺕ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺩﺍﺧﻞ ﻭ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ‬ ‫ﺧﻮﺍﻫﻴﻢ ﻓﺮﻭﺧﺖ‪ ،‬ﺑﻠﻜﻪ ﺍﻓﺰﺍﻳﺶ ﺳﻄﺢ ﺁﮔﺎﻫﻰ‬ ‫ﻋﻤﻮﻣﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ ﺟﺎﻣﻌﻪ ﺑﺮﺍﻯ ﺭﻓﺘﺎﺭﻫﺎﻯ‬ ‫ﺻﺤﻴﺢ ﺗﺮﺍﻓﻴﻜﻰ‪ -‬ﺷﻬﺮﻧﺸﻴﻨﻰ‪ -‬ﺁﭘﺎﺭﺗﻤﺎﻥﻧﺸﻴﻨﻰ‪-‬‬ ‫ﺑﻬﺪﺍﺷﺘﻰ ﻭ ‪ ...‬ﺑﻪ ﺳﺮﻋﺖ ﻣﻘﺪﻭﺭ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﻣﺪﺭﺱ‪ :‬ﻛﻴﻮﺍﻥ ﻧﻈﺎﻡ ﺁﺑﺎﺩﻯ‬

‫ﺍﻧﻴﻤﻴﺸﻦ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺩﻭﺭﻩ ﻫﺎﻯ ﺟﺪﻳﺪ ﺩﺭ ﻣﺪﺭﺳﻪ ﺗﺨﺼﺼﻰ ﺍﻳﺪﻩ ﺍﺳﺖ ﻛﻪ ﺗﻮﺳﻂ ﻳﻜﻰ ﺍﺯ ﻣﺘﺨﺼﺼﻴﻦ‬ ‫ﻛﻴﻮﺍﻥ ﻧﻈﺎﻡ ﺁﺑﺎﺩﻯ‬ ‫• ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻞ ﺭﺷﺘﻪ ﮔﺮﺍﻓﻴﻚ ﺍﺯ ﺩﺍﻧﺸﮕﺎﻩ‬ ‫ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﻯ‬ ‫• ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻞ ﺭﺷﺘﻪ ﻛﺎﺭﮔﺮﺩﺍﻧﻰ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﺩﺭ ﻣﻘﻄﻊ ﻛﺎﺭﺷﻨﺎﺳﻰ ﺍﺭﺷﺪ ﺍﺯ ﺩﺍﻧﺸﻜﺪﻩ ﺗﺮﺑﻴﺖ‬ ‫ﻣﺪﺭﺱ‬ ‫• ﺗﺪﺭﻳﺲ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﻋﻠﻢ ﻭ ﻓﺮﻫﻨﮓ ﻭ ﺗﺮﺑﻴﺖ‬ ‫ﻣﺪﺭﺱ‬ ‫• ﻋﻀﻮ ﻫﻴﺎﺕ ﻣﺪﻳﺮﻩ ﻣﺮﻛﺰ ﻓﻴﻠﻢ ﻧﻤﺎ ﭘﻮﻳﺎ‬ ‫• ﺷﺮﻛﺖ ﺩﺭ ﺗﻮﻟﻴﺪ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ‬ ‫ﺷﺮﻛﺖ ﺯﻳﻤﻨﺲ‬ ‫• ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﻫﺎﻯ ﺍﻧﻴﻤﻴﺸﻦ ﺑﺎ ﻋﻨﻮﺍﻥ ﻫﺎﻯ‬ ‫»ﻣﻦ ﺑﺪﻯ ﻣﻴﻔﺮﻭﺷﻢ«‪» ،‬ﺗﻀﺎﺩ ﺷﺪﻳﺪ«‪،‬‬ ‫»ﺭﻗﺺ ﻣﺮگ«‪» ،‬ﺧﺎﻧﻪ ﺩﺭ ﺁﺗﺶ«‬ ‫• ﺳﺎﺧﺖ ﺻﺪﻫﺎ ﻣﻴﺎﻥ ﺑﺮﻧﺎﻣﻪ‪ ،‬ﺗﻴﺘﺮﺍژ ﻭ ﻭﻳﺪﺋﻮ‬ ‫ﮔﺮﺍﻓﻴﻚ‬ ‫• ﺷﺮﻛﺖ ﺩﺭ ﺗﻮﻟﻴﺪ ﭼﻨﺪﻳﻦ ﻓﻴﻠﻢ ﺍﻧﻴﻤﻴﺸﻦ ﺑﺮﺍﻯ‬ ‫ﻛﺎﻧﻮﻥ ﭘﺮﻭﺭﺵ ﻓﻜﺮﻯ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ‬

‫ﺟﻮﺍﻥ‪ ،‬ﭘﺮﺍﻧﺮژﻯ ﻭ ﺧﻼﻕ ﺗﺪﺭﻳﺲ ﻣﻰ ﺷﻮﺩ‪ .‬ﺑﺎ ﺍﻳﺪﻩ ﻫﺎﻯ ﻧﻮ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺍﺭﺍﺋﻪ ﻣﻰ ﺷﻮﺩ‪ .‬ﺍﻳﻦ ﻭﺍﺣﺪ ﻳﻜﻰ ﺍﺯ‬ ‫ﺩﻭﺭﻩ ﻫﺎﻯ ﭘﺮﻃﺮﻓﺪﺍﺭ ﺩﺭ ﺑﻴﻦ ﺟﻮﺍﻧﺎﻥ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﻯ ﮔﺬﺭﺍﻧﺪﻥ ﺁﻥ ﻧﻴﺎﺯ ﺑﻪ ﻣﻬﺎﺭﺕ ﻫﺎﻯ ﻃﺮﺍﺣﻰ ﻭ ﻫﻤﭽﻨﻴﻦ‬ ‫ﻓﺮﺍﮔﻴﺮﻯ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎﻯ ﻣﺮﺗﺒﻂ ﺍﺳﺖ‪.‬‬ ‫ﺳﺮﻓﺼﻞ ﻫﺎﻯ ﺩﺭﺳﻰ ﺩﻭﺭﻩ ﺍﻧﻴﻤﻴﺸﻦ ﺷﺎﻣﻞ ﻣﻮﺍﺭﺩ ﺯﻳﺮ ﺍﺳﺖ‪:‬‬ ‫ﻫﻨﺮﺟﻮﻳﺎﻥ ﻣﻰ ﺑﺎﻳﺴﺖ ﭘﻴﺶ ﻧﻴﺎﺯﻫﺎﻳﻰ ﻣﺜﻞ ﻃﺮﺍﺣﻰ‪ ،‬ﺧﻼﻗﻴﺖ ﻫﻨﺮﻯ ﻭ ﻛﺎﺭ ﺑﺎ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎﻯ ﭘﺎﻳﻪ ﺭﺍ‬ ‫ﮔﺬﺭﺍﻧﺪﻩ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﺧﻼﻗﻴﺖ ﺗﻮﻟﻴﺪ‪ :‬ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﻓﻴﻠﻤﻬﺎﻯ ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻥ ﻭ ﺟﻬﺎﻥ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ ﻫﺎ‪ ،‬ﺳﺒﻚ ﻫﺎ ﻭ ﺗﻜﻨﻴﻚ ﻫﺎ‪ .‬ﺍﻳﻦ‬ ‫ﺑﺨﺶ ﺑﺎ ﭘﺨﺶ ﻓﻴﻠﻢ ﻭ ﺗﺤﻠﻴﻞ ﺳﺎﺧﺘﺎﺭﻯ ﺁﻧﻬﺎ ﻫﻤﺮﺍﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﺪﻳﺮﻳﺖ ﺗﻮﻟﻴﺪ‪ :‬ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺳﻴﺴﺘﻢ ﻫﺎﻯ ﺗﻮﻟﻴﺪ ﻭ ﻣﺪﻳﺮﻳﺖ ﺧﻂ ﺗﻮﻟﻴﺪ ﺍﻧﻴﻤﻴﺸﻦ‪ ،‬ﺁﻣﻮﺯﺵ ﭼﺎﺭﺕ ﻫﺎﻯ‬ ‫ﺗﻮﻟﻴﺪﻯ ﻭ ﻃﺮﺍﺣﻰ ﺁﻥ‪.‬‬ ‫ﺍﺟﺮﺍ‪ :‬ﺁﺷﻨﺎﻳﻰ ﺑﺎ ﺳﻴﺴﺘﻢ ﻫﺎﻯ ﺍﺟﺮﺍﻳﻰ ﻫﻤﭽﻮﻥ ﻛﺎﺭ ﺑﺎ ﺩﻭﺭﺑﻴﻦ ﻫﺎ‪ ،‬ﻃﺮﺍﺣﻰ ﺣﺮﻛﺖ ﻭ ﺳﻴﺴﺘﻢ ﺗﻮﻟﻴﺪ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ﻋﺮﻭﺳﻜﻰ‪.‬‬ ‫ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎ‪ :‬ﺑﺮﺭﺳﻰ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎﻯ ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﺑﺮﺍﻯ ﺗﻮﻟﻴﺪ ﺍﻧﻤﻴﺸﻦ ﻫﺎﻯ ﻛﺎﻣﭙﻴﻮﺗﺮﻯ‬ ‫ﺩﻭﺭﻩ ﺍﻧﻴﻤﻴﺸﻦ ﺩﺭ ﺗﺮﻡ ﭘﺎﺋﻴﺰ‪ ،‬ﺭﻭﺯﻫﺎﻯ ﺷﻨﺒﻪ ﺍﺯ ﺳﺎﻋﺖ ‪ 5‬ﺗﺎ ‪ 7‬ﺑﻌﺪﺍﺯﻇﻬﺮ ﻃﻰ ‪10‬‬ ‫ﺟﻠﺴﻪ ﻫﻔﺘﮕﻰ ﺗﺸﻜﻴﻞ ﻣﻰ ﺷﻮﺩ‪.‬‬

‫ﻛﺎﺭﮔﺎﻩ ﻃﺮﺍﺣﻰ ﺧﻼﻗﻪ ﺫﻫﻨﻰ‬ ‫ﻣﺪﺭﺱ‪ :‬ﭘﻴﺎﻡ ﻳﺎﺳﻴﻨﻰ‬

‫ﭘﻴﺎﻡ ﻳﺎﺳﻴﻨﻰ ﻳﻜﻰ ﺍﺯ ﺍﺳﺘﺎﺩﺍﻥ ﺟﻮﺍﻥ ﻭ ﭘﻮﻳﺎ ﺩﺭ ﺯﻣﻴﻨﻪ ﺗﺪﺭﻳﺲ ﻃﺮﺍﺣﻰ ﺍﺳﺖ‪ .‬ﻭﻯ ﻧﺰﺩ ﺍﺳﺘﺎﺩﺍﻥ ﺑﺰﺭﮔﻰ‬ ‫ﻫﻤﭽﻮﻥ ﺁﻳﺪﻳﻦ ﺁﻏﺪﺍﺷﻠﻮ‪ ،‬ﺍﺳﺘﺎﺩ ﺍﺷﺮﺍﻗﻰ ﻭ ﻧﺼﺮﺕ ﺍﷲ ﻣﺴﻠﻤﻴﺎﻥ ﭘﺮﻭﺭﺵ ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻧﻜﺘﻪ ﺍﻯ ﻛﻪ ﺍﻳﻦ‬ ‫ﻛﻼﺱ ﺭﺍ ﺍﺯ ﺩﻳﮕﺮ ﺩﻭﺭﻩ ﻫﺎﻯ ﻣﺸﺎﺑﻪ ﻣﺘﻤﺎﻳﺰ ﻣﻰ ﻛﻨﺪ‪ ،‬ﺗﺎﻛﻴﺪ ﺑﺮ ﻗﺪﺭﺕ ﺗﺠﺴﻢ ﻭ ﺧﻼﻗﻴﺖ ﺩﺭ ﻃﺮﺍﺣﻰ ﺍﺳﺖ‪،‬‬ ‫ﺑﺪﻳﻦ ﺻﻮﺭﺕ ﻛﻪ ﺍﺳﺘﺎﺩ ﮔﺬﺷﺘﻪ ﺍﺯ ﺷﻴﻮﻩ ﻫﺎﻯ ﺭﺍﻳﺞ ﻃﺮﺍﺣﻰ ﺍﺯ ﺭﻭﻯ ﻣﺪﻝ ﺯﻧﺪﻩ ﻭ ﻃﺒﻴﻌﺖ ﺑﻰ ﺟﺎﻥ‪ ،‬ﺑﻪ‬ ‫ﻫﻨﺮﺟﻮﻳﺎﻥ ﺁﻣﻮﺯﺵ ﻣﻰ ﺩﻫﺪ ﻛﻪ ﭼﮕﻮﻧﻪ ﺑﺮ ﺍﺳﺎﺱ ﺧﻼﻗﻴﺖ ﺫﻫﻨﻰ ﺧﻮﺩ ﻃﺮﺍﺣﻰ ﺭﺍ ﭘﻴﺶ ﺑﺒﺮﻧﺪ‪.‬‬ ‫ﺳﺮﻓﺼﻞ ﻫﺎﻯ ﺩﺭﺳﻰ ﺩﻭﺭﻩ ﻃﺮﺍﺣﻰ ﺧﻼﻗﻪ ﺷﺎﻣﻞ ﻣﻮﺍﺭﺩ ﺯﻳﺮ ﺍﺳﺖ‪:‬‬ ‫ ﻃﺮﺍﺣﻰ ﻃﺒﻴﻌﺖ ﺑﻰ ﺟﺎﻥ ﺍﺯ ﺟﻤﻠﻪ ﺍﺣﺠﺎﻣﻰ ﻣﺜﻞ ﺍﺳﺘﻮﺍﻧﻪ‪ ،‬ﻣﻜﻌﺐ‪ ،‬ﻣﺨﺮﻭﻁ ﻭ ﻛﺮﻩ ﺍﺯ ﺭﻭﻯ ﻣﺪﻝ ﺯﻧﺪﻩ‬‫ ﻃﺮﺍﺣﻰ ﺗﺮﻛﻴﺐ ﺣﺠﻤﻰ ﻣﺘﻨﻮﻉ ﺑﺎﻻ ﺑﺪﻭﻥ ﺭﺅﻳﺖ ﺁﻥ‬‫ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﻳﻚ ﻋﺎﻣﻞ ﺫﻫﻨﻰ ﺩﺭ ﺗﺮﻛﻴﺐﺑﻨﺪﻯ ﺗﻮﺳﻂ ﻫﻨﺮﺟﻮ‬‫ ﻛﺎﻫﺶ ﺗﺪﺭﻳﺠﻰ ﺍﺷﻴﺎ ﺩﺭ ﺗﺮﻛﻴﺐﺑﻨﺪﻯ ﻭ ﺍﻓﺰﺍﻳﺶ ﻋﻮﺍﻣﻞ ﺫﻫﻨﻰ‬‫ ﻣﺮﺣﻠﻪ ﻃﺮﺍﺣﻰ ﺑﺪﻭﻥ ﺣﻀﻮﺭ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻯ ﺍﻭﻟﻴﻪ ﻭ ﺗﻨﻬﺎ ﺑﺮ ﻣﺒﻨﺎﻯ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻯ ﺫﻫﻨﻰ‬‫ ﺍﻧﺘﺨﺎﺏ ﻛﻠﻤﺎﺕ ﺗﺼﻮﻳﺮﻯ ﻭ ﻃﺮﺍﺣﻰ ﺁﻧﻬﺎ ﺩﺭ ﻳﻚ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻯ‬‫ ﻃﺮﺍﺣﻰ ﺫﻫﻨﻰ ﻭ ﺧﻼﻗﺎﻧﻪ‬‫ﻛﺎﺭﮔﺎﻩ ﻃﺮﺍﺣﻰ ﺧﻼﻗﻪ ﺫﻫﻨﻰ ﺩﺭ ﺗﺮﻡ ﭘﺎﺋﻴﺰ‪ ،‬ﺭﻭﺯﻫﺎﻯ ﭘﻨﺠﺸﻨﺒﻪ ﺍﺯ ﺳﺎﻋﺖ ‪ 10‬ﺗﺎ ‪12‬‬ ‫ﺻﺒﺢ ﻃﻰ ‪ 10‬ﺟﻠﺴﻪ ﻫﻔﺘﮕﻰ ﺗﺸﻜﻴﻞ ﻣﻰ ﺷﻮﺩ‪.‬‬

‫ﭘﻴﺎﻡ ﻳﺎﺳﻴﻨﻰ‬ ‫• ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻞ ﺭﺷﺘﻪ ﻧﻘﺎﺷﻰ ﺍﺯ ﺩﺍﻧﺸﮕﺎﻩ‬ ‫ﺁﺯﺍﺩ ﺗﺎ ﻣﻘﻄﻊ ﻛﺎﺭﺷﻨﺎﺳﻰ ﺍﺭﺷﺪ ﻭ ﻫﻤﭽﻨﻴﻦ‬ ‫ﺑﻬﺮﻩ ﮔﻴﺮﻯ ﺍﺯ ﻣﺤﻀﺮ ﺍﺳﺎﺗﻴﺪﻯ ﭼﻮﻥ ﺁﻳﺪﻳﻦ‬ ‫ﺁﻏﺪﺍﺷﻠﻮ‪ ،‬ﺍﺷﺮﺍﻗﻰ‪ ،‬ﻧﺼﺮﺕ ﺍﷲ ﻣﺴﻠﻤﻴﺎﻥ‬ ‫• ﺗﺪﺭﻳﺲ ﺩﺭ ﻣﺪﺭﺳﻪ ﻫﻨﺮ ﻭ ﺍﺩﺑﻴﺎﺕ ﺻﺪﺍ ﻭ‬ ‫ﺳﻴﻤﺎ‪ ،‬ﺩﺍﻧﺸﻜﺪﻩ ﻫﻨﺮ ﺭﻭﻳﺎﻥ ﻧﻮﺷﻬﺮ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ‬ ‫ﺁﺯﺍﺩ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﺟﺎﻣﻊ ﻋﻠﻤﻰ‪ -‬ﻛﺎﺭﺑﺮﺩﻯ‬ ‫• ﺑﺮﮔﺰﺍﺭﻯ ﻧﻤﺎﻳﺸﮕﺎﻩﻫﺎﻯ ﮔﺮﻭﻫﻰ ﻭ ﺍﻧﻔﺮﺍﺩﻯ ﻣﺘﻌﺪﺩ‬ ‫• ﻛﺴﺐ ﺗﻘﺪﻳﺮﻧﺎﻣﻪ ﻫﺎﻯ ﻣﺘﻌﺪﺩ‬

‫ﻋﻜﺎﺳﻰ ﺗﺒﻠﻴﻐﺎﺗﻰ‬ ‫ﻣﺪﺭﺱ‪ :‬ﭘﺮﻫﺎﻡ ﺗﻘﻰ ﺍُﻑ‬

‫ﭘﺮﻫﺎﻡ ﺗﻘﻰ ﺍُﻑ‬ ‫• ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻞ ﺭﺷﺘﻪ ﻋﻜﺎﺳﻰ ﺍﺯ ﻣﻮﺳﺴﻪ‬ ‫ﻋﻜﺎﺳﻰ ﻧﻴﻮﻳﻮﺭﻙ‬ ‫• ﻋﻀﻮ ﺍﻧﺠﻤﻦ ﺑﻴﻦﺍﻟﻤﻠﻠﻰ ﻋﻜﺎﺳﺎﻥ ﺗﺒﻠﻴﻐﺎﺗﻰ‬ ‫ﻭ ﺍﻧﺠﻤﻦ ﻣﻠﻰ ﻋﻜﺎﺳﺎﻥ ﺗﺒﻠﻴﻐﺎﺕ ﺍﻳﺎﻻﺕ‬ ‫ﻣﺘﺤﺪﻩ ﺁﻣﺮﻳﻜﺎ‬ ‫• ﻣﺪﻳﺮ ﻣﺮﻛﺰ ﻋﻜﺎﺳﻰ ﭘﺮﺷﻴﺎ‬ ‫• ﻋﻀﻮ ﺍﻧﺠﻤﻦ ﻋﻜﺎﺳﺎﻥ ﺗﺒﻠﻴﻐﺎﺗﻰ ﻭ ﺻﻨﻌﺘﻰ‬ ‫ﺍﻳﺮﺍﻥ‬

‫ﺩﻭﺭﻩ ﻋﻜﺎﺳﻰ ﺗﺒﻠﻴﻐﺎﺗﻰ ﺑﺎ ﺣﻀﻮﺭ ﭘﺮﻫﺎﻡ ﺗﻘﻰ ﺍُﻑ ﻳﻜﻰ ﺩﻳﮕﺮ ﺍﺯ ﻓﺮﺻﺖ ﻫﺎﻯ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﻭ ﺍﺳﺘﺜﻨﺎﻳﻰ‬ ‫ﻣﺪﺭﺳﻪ ﺍﻳﺪﻩ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻋﻼﻗﻤﻨﺪﺍﻥ ﺍﻳﻦ ﺣﺮﻓﻪ ﮔﺬﺍﺷﺘﻪ ﻣﻰ ﺷﻮﺩ‪ .‬ﭘﺮﻫﺎﻡ ﺗﻘﻰ ﺍُﻑ ﺑﺎ ﺳﺎﻝ ﻫﺎ‬ ‫ﺗﺠﺮﺑﻪ ﺩﺭ ﺯﻣﻴﻨﻪ ﻋﻜﺎﺳﻰ ﺗﺒﻠﻴﻐﺎﺕ ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﻩ ﺁﻣﻮﺯﺷﻰ‪ ،‬ﺑﺮ ﻣﻮﺍﺭﺩﻯ ﻫﻤﭽﻮﻥ ﺷﻨﺎﺧﺖ ﻧﻮﺭ‪،‬‬ ‫ﺭﻭﺵ ﻫﺎﻯ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﻭ ﻫﻤﭽﻨﻴﻦ ﺍﺭﺗﺒﺎﻁ ﻋﻜﺎﺳﻰ ﻭ ﺗﺒﻠﻴﻐﺎﺕ ﺑﻪ ﺗﻔﺼﻴﻞ ﻣﺘﻤﺮﻛﺰ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬ ‫ﺳﺮﻓﺼﻞ ﻫﺎﻯ ﺩﺭﺳﻰ ﻋﻜﺎﺳﻰ ﺗﺒﻠﻴﻐﺎﺗﻰ ﺧﻼﻗﻪ ﺷﺎﻣﻞ ﻣﻮﺍﺭﺩ ﺯﻳﺮ ﺍﺳﺖ‪:‬‬ ‫ﻣﻘﺪﻣﻪ ﺍﻯ ﺑﺮ ﺷﻨﺎﺧﺖ ﻧﻮﺭ ﻭ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﺩﺭ ﻋﻜﺎﺳﻰ‬ ‫ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ ﺑﺎ ﻓﻴﺰﻳﻚ ﻭ ﻣﺎﻫﻴﺖ ﻧﻮﺭ ﺁﺷﻨﺎ ﻣﻰ ﺷﻮﻳﻢ ﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﺑﻪ ﺑﺮﺭﺳﻰ ﺍﻧﻮﺍﻉ ﻣﻨﺎﺑﻊ ﻧﻮﺭ ﻫﻤﭽﻮﻥ ﻧﻮﺭ‬ ‫ﻃﺒﻴﻌﻰ‪ ،‬ﻧﻮﺭ ﺩﺭ ﺩﺳﺘﺮﺱ ﻭ ﻧﻮﺭ ﻣﺼﻨﻮﻋﻰ ﻭ ﺧﻮﺍﺹ ﻭ ﻛﺎﺭﺑﺮﺩﻫﺎﻳﺸﺎﻥ ﺩﺭ ﻋﻜﺎﺳﻰ ﻣﻰ ﭘﺮﺩﺍﺯﻳﻢ‪.‬‬ ‫ﺷﻨﺎﺧﺖ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﻭ ﻛﺎﺭﺑﺮﺩ ﺍﺑﺰﺍﺭﻫﺎ ﺩﺭ ﻋﻜﺎﺳﻰ ﺗﺒﻠﻴﻐﺎﺗﻰ‬ ‫ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﺑﺎ ﺭﻭﺷﻬﺎﻯ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﺍﺟﺴﺎﻡ ﻭ ﺗﻌﺎﺭﻳﻔﻰ ﻛﻪ ﻧﻮﺭ ﻣﻰ ﺗﻮﺍﻧﺪ ﺑﺮ ﺍﺳﺎﺱ ﺯﺍﻭﻳﻪ ﺗﺎﺑﺶ‪ ،‬ﺭﻧﮓ‬ ‫ﻭ ﭼﮕﺎﻟﻰ ﺑﺮﺍﻯ ﺍﺟﺴﺎﻡ ﺑﻮﺟﻮﺩ ﺁﻭﺭﺩ ﺁﺷﻨﺎ ﻣﻰ ﺷﻮﻳﻢ ﻛﻪ ﻃﺒﻌﺎ ﺩﺭ ﺍﻳﻦ ﻣﺴﻴﺮ ﺑﺎﻳﺪ ﺑﺎ ﺍﺑﺰﺍﺭﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ ﻭ‬ ‫ﻣﻮﺭﺩ ﻧﻴﺎﺯ ﺑﺮﺍﻯ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﺩﺭ ﻋﻜﺎﺳﻰ ﺗﺒﻠﻴﻐﺎﺗﻰ ﻧﻴﺰ ﺁﺷﻨﺎﻳﻰ ﺷﻮﻳﻢ ﻭ ﺭﻭﺷﻬﺎﻯ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﻧﻬﺎ ﺭﺍ ﻣﻮﺭﺩ‬ ‫ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﺩﻫﻴﻢ‪.‬‬ ‫ﺑﺮﺭﺳﻰ ﺭﻭﺷﻬﺎﻯ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﺍﺟﺴﺎﻡ ﺧﺎﺹ‬ ‫ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﺍﺟﺴﺎﻡ ﺷﻔﺎﻑ ﻭ ﺑﺮﺍﻕ ﻭ ﻋﻜﺎﺳﻰ ﺍﺯ ﺁﻧﻬﺎ ﻫﻤﻴﺸﻪ ﭼﺎﻟﺶ ﺑﺮﺍﻧﮕﻴﺰ ﺍﺳﺖ‪ .‬ﻣﺎ ﺩﺭ ﺍﻳﻦ ﺑﺨﺶ ﺑﻪ‬ ‫ﺑﺮﺭﺳﻰ ﻭ ﺷﻨﺎﺧﺖ ﻣﺎﻫﻴﺖ ﺍﺟﺴﺎﻡ ﻭ ﻋﻜﺲ ﺍﻟﻌﻤﻞ ﺁﻧﻬﺎ ﻧﺴﺒﺖ ﺑﻪ ﻧﻮﺭ ﻭ ﺗﻜﻨﻴﻜﻬﺎﻯ ﻧﻮﺭﭘﺮﺩﺍﺯﻯ ﺍﺟﺴﺎﻡ‬ ‫ﺷﻔﺎﻑ ﻭ ﺑﺮﺍﻕ ﻣﻰ ﭘﺮﺩﺍﺯﻳﻢ‪.‬‬ ‫ﭼﮕﻮﻧﮕﻰ ﺗﺎﺳﻴﺲ ﻳﻚ ﺍﺳﺘﻮﺩﻳﻮﻯ ﻋﻜﺎﺳﻰ ﺗﺒﻠﻴﻐﺎﺗﻰ‬ ‫ﺑﺮﺍﻯ ﺗﺎﺳﻴﺲ ﻭ ﺗﺠﻬﻴﺰ ﻳﻚ ﺍﺳﺘﻮﺩﻳﻮﻯ ﻋﻜﺎﺳﻰ ﺗﺒﻠﻴﻐﺎﺗﻰ ﺑﻪ ﭼﻪ ﻧﺮﻡ ﺍﻓﺰﺍﺭﻫﺎ ﻭ ﺳﺨﺖ ﺍﻓﺰﺍﺭﻫﺎﻳﻰ ﺍﺣﺘﻴﺎﺝ‬ ‫ﺩﺍﺭﻳﻢ؟ ﭘﺎﺳﺦ ﺑﻪ ﺍﻳﻦ ﭘﺮﺳﺶ ﻭ ﺑﺮﺭﺳﻰ ﻋﻤﻠﻜﺮﺩ ﻳﻚ ﺍﺳﺘﺪﻳﻮﻯ ﺗﺒﻠﻴﻐﺎﺗﻰ ﺩﺭ ﺍﻳﻦ ﻗﺴﻤﺖ ﻣﻮﺭﺩ ﺗﻮﺟﻪ‬ ‫ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺭﺳﻰ ﺍﺭﺗﺒﺎﻁ ﻋﻜﺎﺳﻰ ﻭ ﺗﺒﻠﻴﻐﺎﺕ‬ ‫ﺷﻨﺎﺧﺖ ﺟﺎﻳﮕﺎﻩ ﻋﻜﺎﺳﻰ ﺩﺭ ﻓﺮﺍﻳﻨﺪ ﺗﺒﻠﻴﻐﺎﺕ ﻭ ﭼﮕﻮﻧﮕﻰ ﺍﺭﺗﺒﺎﻁ ﻋﻜﺎﺳﺎﻥ ﺑﺎ ﺁژﺍﻧﺲ ﻫﺎﻯ ﺗﺒﻠﻴﻐﺎﺗﻰ ﻭ‬ ‫ﻣﺪﻳﺮﺍﻥ ﻫﻨﺮﻯ ﺩﺭ ﻳﻚ ﻋﻤﻠﻴﺎﺕ ﻳﺎ ﻓﺮﺍﻳﻨﺪ ﺗﺒﻠﻴﻐﺎﺗﻰ‪.‬‬ ‫ﺩﻭﺭﻩ ﻋﻜﺎﺳﻰ ﺗﺒﻠﻴﻐﺎﺗﻰ ﺩﺭ ﺗﺮﻡ ﭘﺎﺋﻴﺰ‪ ،‬ﺭﻭﺯﻫﺎﻯ ﺳﻪ ﺷﻨﺒﻪ ﺍﺯ ﺳﺎﻋﺖ ‪ 5‬ﺗﺎ ‪ 7‬ﺑﻌﺪﺍﺯﻇﻬﺮ‬ ‫ﻃﻰ ‪ 10‬ﺟﻠﺴﻪ ﻫﻔﺘﮕﻰ ﺗﺸﻜﻴﻞ ﻣﻰ ﺷﻮﺩ‪.‬‬

‫ﻣﻌﺮﻓﻰ ﻫﻨﺮﺟﻮﻳﺎﻥ ﻣﺪﺭﺳﻪ ﺍﻳﺪﻩ‬ ‫ﺯﻫﺮﺍ ﺷﺮﻳﻔﻰ‬ ‫ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻞ ﺭﺷﺘﻪ ﺍﺭﺗﺒﺎﻁ ﺗﺼﻮﻳﺮﻯ ﻣﻘﻄﻊ‬ ‫ﻛﺎﺭﺷﻨﺎﺳﻰ ﺍﺯ ﺩﺍﻧﺸﻜﺪﻩ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﻯ‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺁﺯﺍﺩ ﺳﺎﻝ ‪1386‬‬ ‫ﻫﻨﺮﺁﻣﻮﺧﺘﻪ ﺩﻭﺭﻩ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﻣﺪﺭﺳﻪ ﺍﻳﺪﻩ‬

‫ﺯﻫﺮﺍ ﺷﺮﻳﻔﻰ ﻣﺘﻮﻟﺪ ‪ 1362‬ﺩﺭ ﺳﺎﻝ ‪ 86‬ﺩﺭ ﺭﺷﺘﻪ ﮔﺮﺍﻓﻴﻚ ﻣﻘﻄﻊ ﻛﺎﺭﺷﻨﺎﺳﻰ ﺍﺯ ﺩﺍﻧﺸﻜﺪﻩ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﻯ‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺁﺯﺍﺩ ﺍﺳﻼﻣﻰ ﻓﺎﺭﻍ ﺍﻟﺘﺤﺼﻴﻞ ﺷﺪ‪ .‬ﻋﻼﻗﻪ ﺑﻪ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﻛﺘﺎﺏ ﻛﻮﺩﻙ ﻫﻤﻮﺍﺭﻩ ﺩﺭ ﻃﻮﻝ ﺗﺤﺼﻴﻞ‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺩﺭ ﻭﺟﻮﺩ ﻭﻯ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﺍﮔﺮ ﭼﻪ ﺩﺭ ﻃﻮﻝ ﺩﻭﺭﺍﻥ ﺗﺤﺼﻴﻞ ﺩﺍﻧﺸﮕﺎﻩ‪ ،‬ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩﺵ‪ ،‬ﺍﻃﻼﻋﺎﺕ‬ ‫ﺗﺌﻮﺭﻳﻚ ﻭ ﻋﻤﻠﻰ ﭼﻨﺪﺍﻧﻰ ﻧﺘﻮﺍﻧﺴﺖ ﻛﺴﺐ ﻛﻨﺪ‪ .‬ﺷﺮﻳﻔﻰ ﻋﻼﻗﻪ ﺧﻮﺩ ﺑﻪ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﻛﻮﺩﻙ ﺭﺍ ﺍﺯ ﻃﺮﻳﻖ‬ ‫ﺩﻭﺭﻩ ﻫﺎﻯ ﺁﻣﻮﺯﺷﻰ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﻣﺪﺭﺳﻪ ﺍﻳﺪﻩ ﺩﻧﺒﺎﻝ ﻛﺮﺩ‪ ،‬ﻛﻪ ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ ﺩﻭﺭﻩ ﻫﺎ ﺑﺎ ﺭﺍﻫﻨﻤﺎﻳﻰ ﻫﺎ ﻭ‬ ‫ﺁﻣﻮﺯﺵ ﻫﺎﻯ ﻋﻤﻠﻰ ﻭ ﺗﺌﻮﺭﻯ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﻋﻠﻴﺮﺿﺎ ﮔﻠﺪﻭﺯﻳﺎﻥ‪ ،‬ﻣﺪﺭﺱ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﺩﺍﺳﺘﺎﻧﻰ ﺩﺭ ﻣﺪﺭﺳﻪ‬ ‫ﺍﻳﺪﻩ‪ ،‬ﺑﺎ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﺣﺮﻓﻪ ﺍﻯ ﺁﺷﻨﺎ ﺷﺪ ﻭ ﺑﻪ ﺗﺠﺮﺑﻪ ﻫﺎﻯ ﺗﺎﺯﻩ ﺍﻯ ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﺮﺩ‪.‬‬

‫ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻣﻮﺭﺩ ﻛﻮﺩﻛﻰ ﺍﺳﺖ ﻛﻪ‬ ‫ﻋﻼﻗﻤﻨﺪ ﺑﻪ ﺯﺭﺍﻓﻪ ﺍﺳﺖ ﻭ ﻭﺳﺎﻳﻞ‬ ‫ﺍﺗﺎﻗﺶ ﻧﻴﺰ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﻃﺮﺡ ﺯﺭﺍﻓﻪ‬ ‫ﺍﺳﺖ‪ ،‬ﻳﻚ ﺭﻭﺯ ﺍﻳﻦ ﺯﺭﺍﻓﻪ ﻫﺎ ﺟﺎﻥ‬ ‫ﮔﺮﻓﺘﻪ ﻭ ﻭﺍﻗﻌﻰ ﻣﻰ ﺷﻮﻧﺪ ﻭ ﺑﺎ ﻛﻮﺩﻙ‬ ‫ﺑﺎﺯﻯ ﻣﻰ ﻛﻨﻨﺪ‪ ،‬ﺩﺍﺧﻞ ﺷﻬﺮ ﻣﻰ ﺭﻭﻧﺪ‬ ‫ﻭ ﻭﻗﺘﻰ ﺩﻭﺑﺎﺭﻩ ﺑﻪ ﺧﺎﻧﻪ ﺑﺮ ﻣﻴﮕﺮﺩﻧﺪ‬ ‫ﺑﻪ ﻗﺪﺭﻯ ﺑﺰﺭگ ﺷﺪﻩ ﺍﻧﺪ ﻛﻪ ﺑﻴﺸﺘﺮ‬ ‫ﻓﻀﺎﻯ ﺍﺗﺎﻕ ﺭﻭ ﺍﺷﻐﺎﻝ ﻣﻰ ﻛﻨﻨﺪ ﻭ ﺍﻟﺒﺘﻪ‬ ‫ﻛﻮﺩﻙ ﻋﺎﺷﻖ ﺯﺭﺍﻓﻪ ﻫﺎﻳﺶ ﺍﺳﺖ‪.‬‬

‫ﺍﻳﻦ ﻫﻨﺮﺟﻮ ﻧﻜﺎﺕ ﻛﻠﻴﺪﻯ ﻭ ﺍﻭﻟﻴﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻪ ﺩﺭ ﻣﺒﺤﺚ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﻛﺘﺎﺏ ﻛﻮﺩﻙ ﺭﺍ ﺩﺭ ﺧﻠﻖ ﻛﺎﺭﺍﻛﺘﺮﻫﺎ‬ ‫ﻣﻰ ﺩﺍﻧﺪ ﻛﻪ ﺍﻟﺒﺘﻪ ﻣﻰ ﺑﺎﻳﺴﺖ ﺑﺎ ﺍﻧﺘﺨﺎﺏ ﺩﺭﺳﺖ ﺗﻜﻨﻴﻚ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺭﺩﻩ ﺳﻨﻰ ﻛﻮﺩﻛﺎﻥ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﻮﺩ‪.‬‬ ‫ﺯﻫﺮﺍ ﺷﺮﻳﻔﻰ ﺩﺭ ﺧﻠﻖ ﺗﺼﺎﻭﻳﺮ ﺧﻮﺩ ﺍﺯ ﺭﻭﺵ ﺩﺳﺘﻰ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰ ﻛﻨﺪ‪ ،‬ﺭﻭﺷﻰ ﻛﻪ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﻭﻯ ﺧﻼﻗﻴﺖ‬ ‫ﺗﺼﻮﻳﺮﮔﺮ ﺭﺍ ﺑﺎﻻﺗﺮ ﻣﻰ ﺑﺮﺩ ﻭ ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺑﺮﺍﻯ ﻛﻮﺩﻛﺎﻥ‪ ،‬ﻭ ﺑﺨﺼﻮﺹ ﮔﺮﻭﻩ ﺳﻨﻰ ﺧﺮﺩﺳﺎﻻﻥ‪ ،‬ﺟﺬﺍﺑﺘﺮ‬ ‫ﻭ ﺟﺎﻟﺒﺘﺮ ﺑﻪ ﻧﻈﺮ ﻣﻰ ﺭﺳﺪ‪ .‬ﺍﻳﻦ ﺗﺼﻮﻳﺮﺳﺎﺯ ﺟﻮﺍﻥ ﺭﻭﻧﺪ ﺩﺍﺳﺘﺎﻥ ﺭﺍ ﺩﺭ ﺧﻠﻖ ﺗﺼﺎﻭﻳﺮ ﻣﻬﻢ ﻣﻰ ﺩﺍﻧﺪ ﺍﻣﺎ ﺑﺎ‬ ‫ﺍﻳﻦ ﺣﺎﻝ ﺍﺿﺎﻓﻪ ﻛﺮﺩﻥ ﻓﺮﻳﻢ ﻫﺎﻳﻰ ﺧﺎﺭﺝ ﺍﺯ ﺧﻂ ﺩﺍﺳﺘﺎﻧﻰ ﺭﺍ ﻧﺎﮔﺰﻳﺮ ﻣﻰ ﭘﻨﺪﺍﺭﺩ‪ ،‬ﻓﺮﻳﻢ ﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﺧﻼﻕ‬ ‫ﻛﺮﺩﻥ ﺫﻫﻦ ﻛﻮﺩﻛﺎﻥ ﻧﻴﺰ ﻛﻤﻚ ﺯﻳﺎﺩﻯ ﻣﻰ ﻛﻨﺪ‪ .‬ﺑﻪ ﻃﻮﺭ ﻛﻠﻰ ﺑﻪ ﺍﻋﺘﻘﺎﺩ ﺷﺮﻳﻔﻰ ﻳﻜﻰ ﺍﺯ ﻣﻬﻤﺘﺮﻳﻦ ﻧﻜﺎﺕ‬ ‫ﺑﺮﺍﻯ ﺗﺼﻮﻳﺮﺳﺎﺯﻯ ﻛﺘﺎﺏ ﻛﻮﺩﻙ‪ ،‬ﺷﻨﺎﺧﺖ ﺧﺼﻮﺻﻴﺎﺕ ﻭ ﻋﻼﻳﻖ ﻛﻮﺩﻛﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺩﺍﺳﺘﺎﻥ ﺑﺮﺍﻯ ﮔﺮﻭﻩ‬ ‫ﺳﻨﻰ ﺁﻧﻬﺎ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﻣﻮﺳﺴﻪ ﻓﺮﻫﻨﮕﻲ ﻫﻨﺮﻱ ﻣﺎﻩ ﻣﻬﺮ‬

‫ﻣﻮﺳﺴﻪ ﻓﺮﻫﻨﮕﻲ ﻫﻨﺮﻱ ﻣﺎﻩ ﻣﻬﺮ ﺩﺭ ﺳﺎﻝ ‪84‬‬ ‫ﺗﻮﺳﻂ ﻣﺪﻳﺮﺍﻥ ﻧﮕﺎﺭﺧﺎﻧﻪ ﻫﺎﻯ ﺁﺭﻳﺎ‪ ،‬ﺍﻟﻬﻪ ﻭ ﻭﺍﻟﻰ‬ ‫ﺗﺎﺳﻴﺲ ﺷﺪ‪ .‬ﻫﺪﻑ ﺍﺑﺘﺪﺍﻳﻲ ﺍﻳﻦ ﻣﻮﺳﺴﻪ ﺩﺭ‬ ‫ﺑﺪﻭ ﺗﺎﺳﻴﺲ‪ ،‬ﻋﻼﻭﻩ ﺑﺮ ﻧﻘﺶ ﻓﻌﺎﻝ ﺩﺭ ﺍﺭﺍﺋﻪ ﺁﺛﺎﺭ‬ ‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﺷﺎﺧﺺ ﻛﺸﻮﺭ ﺍﻫﺘﻤﺎﻡ ﻭﺳﻴﻊ ﺗﺮ ﺩﺭ ﺍﻣﺮ‬ ‫ﺁﻣﻮﺯﺵ ﺗﺨﺼﺼﻰ ﻭ ﭘﻴﺸﺮﻓﺘﻪ ﻫﻨﺮ ﻋﻨﻮﺍﻥ ﺷﺪﻩ‬ ‫ﺑﻮﺩ ﺗﺎ ﭼﺮﺧﻪ ﺗﻜﺎﻣﻠﻰ ﺗﺮﺑﻴﺖ ﻫﻨﺮﻣﻨﺪ‪ ،‬ﺧﻠﻖ ﺍﺛﺮ‬ ‫ﻫﻨﺮﻯ ﻭ ﺍﺭﺍﺋﻪ ﺷﺎﻳﺴﺘﻪ ﺁﻥ ﺍﺯ ﭘﻮﻳﺎﻳﻰ ﻭ ﻧﻴﺮﻭﻯ‬ ‫ﻣﻀﺎﻋﻒ ﺑﺮﺧﻮﺭﺩﺍﺭ ﮔﺮﺩﺩ‪.‬‬ ‫ﻫﻴﺎﺕ ﻣﺪﻳﺮﻩ ﻣﻮﺳﺴﻪ ﻣﺎﻩ ﻣﻬﺮ ﻣﺘﺸﻜﻞ ﺍﺯ ﺧﺎﻧﻢ ﻫﺎ‬ ‫ﺁﺭﻳﺎ ﺷﻜﻮﻫﻲ ﺍﻗﺒﺎﻝ‪ ،‬ﻣﮋﮔﺎﻥ ﻭﺍﻟﻲ ﭘﻮﺭ ﻭ ﺍﻟﻬﻪ ﺟﻮﺍﻫﺮﻱ‬ ‫ﺍﺳﺖ ﻛﻪ ﭘﻴﺶ ﺍﺯ ﺗﺎﺳﻴﺲ ﻣﺎﻩ ﻣﻬﺮ‪ ،‬ﻭ ﺑﻄﻮﺭ ﻫﻤﺰﻣﺎﻥ‬ ‫ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ‪ ،‬ﻣﺪﻳﺮﻳﺖ ﻧﮕﺎﺭﺧﺎﻧﻪ ﻫﺎﻱ ﺁﺭﻳﺎ‪ ،‬ﻭﺍﻟﻲ‬ ‫ﻭ ﺍﻟﻬﻪ ﺭﺍ ﺑﺮﻋﻬﺪﻩ ﺩﺍﺷﺘﻪ ﺍﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﻣﻮﺳﺴﻪ ﺩﺭ ﺑﺨﺶ ﺁﻣﻮﺯﺷﻲ ﺧﻮﺩ ﺑﻪ ﺑﺮﭘﺎﻳﻲ‬ ‫ﻛﻼﺱ ﻫﺎﻱ ﺗﺌﻮﺭﻱ ﻭ ﻋﻤﻠﻲ ﺩﺭ ﺣﻮﺯﻩ ﻫﻨﺮ‬ ‫ﺗﻮﺳﻂ ﺍﺳﺘﺎﺩﺍﻥ ﺻﺎﺣﺐ ﻧﺎﻡ ﺍﻳﻦ ﺣﻮﺯﻩ ﺍﺯ ﻗﺒﻴﻞ‬ ‫ﺗﺎﺭﻳﺦ ﻫﻨﺮ )ﺁﻳﺪﻳﻦ ﺁﻏﺪﺍﺷﻠﻮ(‪ ،‬ﺗﺎﺭﻳﺦ ﻫﻨﺮ ﻣﻌﺎﺻﺮ‬ ‫ﺟﻬﺎﻥ )ﻋﻠﻴﺮﺿﺎ ﺳﻤﻴﻊ ﺁﺫﺭ(‪ ،‬ﻣﺠﺴﻤﻪ ﺳﺎﺯﻯ‬ ‫)ﭘﺮﻭﻳﺰ ﺗﻨﺎﻭﻟﻰ(‪ ،‬ﺍﺻﻮﻝ ﻧﻘﺪ ﻫﻨﺮﻯ ﻣﺪﺭﻥ )ﺣﻤﻴﺪ‬ ‫ﻛﺸﻤﻴﺮﺷﻜﻦ(‪ ،‬ﺁﺷﻨﺎﻳﻲ ﺑﺎ ﻋﻜﺎﺳﻲ ﻣﻌﺎﺻﺮ )ﺣﻤﻴﺪ‬ ‫ﺳﻮﺭﻱ(‪ ،‬ﺗﺎﺭﻳﺦ ﺗﺤﻠﻴﻠﻰ ﻫﻨﺮ ﻣﻌﺎﺻﺮ ﺍﻳﺮﺍﻥ )ﺣﻤﻴﺪ‬

‫ﻛﺸﻤﻴﺮ ﺷﻜﻦ(‪ ،‬ﻋﻜﺎﺳﻰ ﭘﺎﻳﻪ )ﭼﮕﻮﻧﻪ ﻋﻜﺲ‬ ‫ﺑﻬﺘﺮﻯ ﺑﮕﻴﺮﻳﻢ( )ﺑﻬﻤﻦ ﺟﻼﻟﻰ(‪ ،‬ﺗﺠﺰﻳﻪ ﻭ ﺗﺤﻠﻴﻞ‬ ‫ﺁﺛﺎﺭ ﻫﻨﺮﻯ )ﻣﻬﺮﺍﻥ ﻣﻬﺎﺟﺮ(‪ ،‬ﺗﺼﻮﻳﺮﺳﺎﺯﻯ )ﻛﺮﻳﻢ‬ ‫ﻧﺼﺮ(‪ ،‬ﺭﻭﻧﺪ ﺗﺒﺪﻳﻞ ﺍﻧﺪﻳﺸﻪ ﺑﻪ ﻓﺮﻡ )ﻣﺤﻤﺪﺑﺎﻗﺮ‬ ‫ﺿﻴﺎﻳﻰ(‪ ،‬ﺗﺮﻡ ﭘﻴﺸﺮﻓﺘﻪ ﭘﺮﺗﺮﻩ )ﻋﻠﻰ ﻧﺪﺍﻳﻰ(‪ ،‬ﺩﻭﺭﻩ‬ ‫ﺟﺎﻣﻊ ﻃﺮﺍﺣﻰ ﻭ ﻧﻘﺎﺷﻰ ﺁﺯﺍﺩ )ﻋﻠﻰ ﻧﺼﻴﺮ(‪ ،‬ﻃﺮﺍﺣﻰ‬ ‫ﭘﺎﺭﭼﻪ )ﭘﺮﻯ ﻳﻮﺵ ﮔﻨﺠﻰ(‪ ،‬ﻋﻜﺎﺳﻰ ﺍﻳﺪﻩ )ﺣﻤﻴﺪ‬ ‫ﺳﻮﺭﻯ(‪ ،‬ﻛﺎﺭﮔﺎﻩ ﻧﻘﺎﺷﻰ )ﻋﻤﻠﻰ( )ﻧﺼﺮﺕ ﺍﻟﻪ‬ ‫ﻣﺴﻠﻤﻴﺎﻥ(‪ ،‬ﻛﺎﺭﻳﻜﺎﺗﻮﺭ )ﻛﺎﻣﺒﻴﺰ ﺩﺭﻣﺒﺨﺶ( ﻭ‬ ‫ﺑﺴﻴﺎﺭﻱ ﺍﺯ ﺩﺭﻭﺱ ﻋﻤﻠﻲ ﻭ ﺗﺌﻮﺭﻱ ﺩﻳﮕﺮ ﭘﺮﺩﺍﺧﺘﻪ‬ ‫ﺍﺳﺖ ﻭ ﺳﻌﻲ ﺩﺍﺭﺩ ﺧﻼ ﻓﻀﺎﻱ ﺁﻣﻮﺯﺷﻲ ﺭﺳﻤﻲ‬ ‫ﻫﻨﺮ ﺭﺍ ﺗﺎ ﺣﺪﻭﺩﻱ ﭘﺮ ﻛﻨﺪ‪.‬‬ ‫ﻧﮕﺎﺭﺧﺎﻧﻪ ﻣﺎﻩ ﻣﻬﺮ ﻧﻴﺰ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﺎﻱ ﻣﺨﺘﻠﻔﻲ ﺍﺯ‬ ‫ﺁﺛﺎﺭ ﭘﻴﺸﻜﺴﻮﺗﺎﻥ ﺩﺭ ﻛﻨﺎﺭ ﺁﺛﺎﺭ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺟﻮﺍﻥ‬ ‫ﻭ ﺗﺠﺮﺑﻪ ﻫﺎﻱ ﻧﻮﻳﻦ ﺩﺭ ﻋﺮﺻﻪ ﻫﻨﺮ ﺑﺮ ﭘﺎ ﻛﺮﺩﻩ‬ ‫ﺍﺳﺖ ﺩﺭ ﺍﻳﻦ ﻣﺴﻴﺮ ﺑﺎ ﻫﺪﻑ ﭘﺸﺘﻴﺒﺎﻧﻲ ﻣﻌﻨﻮﻱ‬ ‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﺟﻮﺍﻥ ﮔﺎﻡ ﺑﺮﻣﻲ ﺩﺍﺭﺩ‪ .‬ﺍﻳﻦ ﻧﮕﺎﺭﺧﺎﻧﻪ ﺩﺭ‬ ‫ﺑﺮﻧﺎﻣﻪ ﺍﻱ ﺗﺎﺯﻩ ﺍﻗﺪﺍﻡ ﺑﻪ ﺑﺮﮔﺰﺍﺭﻱ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﺎﻱ‬ ‫ﻓﺮﻭﺵ ﻓﺼﻠﻲ ﻧﻤﻮﺩﻩ ﻛﻪ ﺑﺎ ﺍﺳﺘﻘﺒﺎﻝ ﺯﻳﺎﺩﻱ ﻣﻮﺍﺟﻪ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺁﺩﺭﺱ ﻣﻮﺳﺴﻪ ﻓﺮﻫﻨﮕﻲ ﻫﻨﺮﻱ ﻣﺎﻩ ﻣﻬﺮ ﺑﻠﻮﺍﺭ‬ ‫ﺍﻓﺮﻳﻘﺎ‪ ،‬ﺧﻴﺎﺑﺎﻥ ﻧﻴﻠﻮﻓﺮ‪ ،‬ﭘﻼﻙ ‪ 9‬ﻭ ﺷﻤﺎﺭﻩ ﺗﻠﻔﻦ ﻫﺎﻱ‬ ‫ﺁﻥ ‪ 22058630‬ﻭ ‪ 22050639‬ﻣﻰ ﺑﺎﺷﺪ‪.‬‬

‫ﺗﺒﻠﻴﻐﺎﺗﻰ ﻛﻪ ﻣﺎ ﻣﻰ ﺷﻨﺎﺳﻴﻢ‬ ‫ﺑﻪ ﺁﺧﺮ ﺧﻂ ﺭﺳﻴﺪﻩ ﺍﺳﺖ‬ ‫ﺩﺭﺱ ﻫﺎﻳﻰ ﺍﺯ ﻣﺪﻳﺮ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ ﻛﻮﻛﺎ ﻛﻮﻻ‬ ‫"ﻫﺪﻑ ﺍﺯ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ‪ ،‬ﻓﺮﻭﺵ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻳﻚ ﻫﻨﺮ‬ ‫ﻧﻴﺴﺖ؛ ﻋﻠﻢ ﺍﺳﺖ‪ ".‬ﺍﻳﻦ ﺟﻤﻠﻪ ﺍﻯ ﺍﺯ ﭘﻴﺸﮕﻔﺘﺎﺭ‬ ‫ﻧﻮﻳﺴﻨﺪﻩ ﻛﺘﺎﺏ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺍﺛﺮﻯ ﺍﺳﺖ ﺗﺎﺯﻩ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ ﻛﻪ ﺩﺭ ﺁﻥ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﺟﺴﻮﺭﺍﻧﻪ‬ ‫ﻣﻰ ﻛﻮﺷﺪ ﺑﺎ ﺭﺩ ﺗﻤﺎﻣﻰ ﺍﻧﺪﻳﺸﻪ ﻫﺎ ﻭ ﺷﻴﻮﻩ ﻫﺎﻯ‬ ‫ﻣﺮﺳﻮﻡ ﻭ ﻣﺘﺪﺍﻭﻝ ﺩﺭ ﮔﺬﺷﺘﻪ ﻭ ﺣﺎﻝ‪ ،‬ﻧﻈﺮﻳﻪ ﻫﺎ‬ ‫ﻭ ﺍﺻﻮﻝ ﻧﻮﻳﻨﻰ ﺑﺮﺍﻯ ﺁﻥ ﭘﻰ ﺭﻳﺰﻯ ﻛﻨﺪ‪ .‬ﻛﺘﺎﺏ‬ ‫"ﺩﺭﺱ ﻫﺎﻳﻰ ﺍﺯ ﻣﺪﻳﺮ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ ﻛﻮﻛﺎ ﻛﻮﻻ" ﻧﻮﺷﺘﻪ‬ ‫"ﺳﺮﺟﻴﻮ ﺯﻳﻤﻦ"‪ ،‬ﺑﺎﺯﺍﺭﻳﺎﺏ ﺑﺎ ﺗﺠﺮﺑﻪ ﺍﻯ ﻛﻪ ﻛﺎﺭ‬ ‫ﺧﻮﺩ ﺭﺍ ﺍﺯ ﻳﻜﻰ ﺍﺯ ﺷﺮﻛﺖ ﻫﺎﻯ ﻣﻌﺘﺒﺮ ﺗﺒﻠﻴﻐﺎﺗﻰ‬ ‫ﺁﻣﺮﻳﻜﺎ ﺁﻏﺎﺯ ﻛﺮﺩ‪ ،‬ﺩﺭ ‪ 10‬ﺑﺨﺶ ﻛﻠﻰ ﺑﻪ ﺗﺸﺮﻳﺢ‬ ‫ﻧﻜﺎﺗﻰ ﺩﺭ ﻣﻮﺭﺩ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ ﭘﺮﺩﺍﺧﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﺍﻳﻦ‬ ‫ﻛﺘﺎﺏ ﻣﺒﺎﺣﺚ ﻣﺨﺘﻠﻔﻰ ﺩﺭ ﺑﺨﺶ ﻫﺎﻯ ﻛﻠﻰ ﺍﺯ‬ ‫ﺟﻤﻠﻪ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ ﺭﺍﺯ ﻭ ﺭﻣﺰ ﻧﺪﺍﺭﺩ‪ ،‬ﭼﮕﻮﻧﻪ ﺑﻴﺸﺘﺮﻳﻦ‬ ‫ﺍﺟﻨﺎﺱ ﺭﺍ ﺑﻔﺮﻭﺷﻴﺪ ﻭ ﺑﻴﺸﺘﺮﻳﻦ ﭘﻮﻝ ﺭﺍ ﺑﺴﺎﺯﻳﺪ‪،‬‬ ‫ﺑﺎ ﻛﺪﺍﻡ ﻧﻴﺮﻭﻯ ﺍﻧﺴﺎﻧﻰ ﻣﻄﺮﺡ ﻣﻰ ﺷﻮﺩ‪ .‬ﺳﺮﺟﻴﻮ‬

‫ﻧﺎﻡﻫﺎﻯ ﺗﺠﺎﺭﻯ‬ ‫ﺳﻼﻃﻴﻦ ﻧﺎﻡﻫﺎﻯ‬

‫ﺯﻳﻤﻦ‪ ،‬ﺩﺭ ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﺎ ﺍﺭﺯﺵ‪ ،‬ﺑﻪ ﻣﻮﺿﻮﻋﺎﺕ‬ ‫ﻣﺘﻨﻮﻋﻰ ﭼﻮﻥ ﺍﻳﺠﺎﺩ ﺗﻘﺎﺿﺎ ﺍﺯ ﻃﺮﻳﻖ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ‪،‬‬ ‫ﺗﺪﻭﻳﻦ ﺭﺍﻫﺒﺮﺩ‪ ،‬ﺗﻐﻴﻴﺮ ﺷﺮﺍﻳﻂ ﺭﻗﺎﺑﺖ‪ ،‬ﺍﻃﻤﻴﻨﺎﻥ‬ ‫ﺑﻪ ﺩﺍﺩﻩ ﻫﺎﻯ ﺗﺤﻘﻴﻘﺎﺕ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ‪ ،‬ﺑﺮﺭﺳﻰ ﻋﻠﻞ‬ ‫ﻣﻮﻓﻘﻴﺖ ﻭ ﺷﻜﺴﺖ ﻫﺎ‪ ،‬ﻫﻮﻳﺖ ﺁﻓﺮﻳﻨﻰ ﺍﺯ ﻃﺮﻳﻖ‬ ‫ﻧﺎﻡ ﮔﺬﺍﺭﻯ ﺗﺠﺎﺭﻯ‪ ،‬ﺗﺼﻮﻳﺮ ﻧﺎﻡ ﺗﺠﺎﺭﻯ ﻭ ﺍﻫﻤﻴﺖ‬ ‫ﺁﻥ‪ ،‬ﻃﻠﻮﻉ ﻣﺮﺩﻡ ﺳﺎﻻﺭﻯ ﻣﺼﺮﻑ ﻛﻨﻨﺪﻩ ﻭ ﺩﻩ ﻫﺎ‬ ‫ﻣﻮﺿﻮﻉ ﭘﺮﺍﻫﻤﻴﺖ ﺩﻳﮕﺮ ﺩﺭ ﺣﻮﺯﻩ ﺑﺎﺯﺍﺭﻳﺎﺑﻰ‬ ‫ﻣﻰ ﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﺗﻮﺳﻂ ﺍﻧﺘﺸﺎﺭﺍﺕ "ﺳﻴﺘﻪ" ﻭ ﺗﺮﺟﻤﻪ‬ ‫ﻣﻨﻴﮋﻩ ﺷﻴﺦ ﺟﻮﺍﺩﻯ ﺩﺭ ‪ 2200‬ﻧﺴﺨﻪ ﻭ ﺑﺎ ﻗﻴﻤﺖ‬ ‫‪ 2800‬ﺗﻮﻣﺎﻥ ﺑﻪ ﺑﺎﺯﺍﺭ ﻧﺸﺮ ﺁﻣﺪﻩ ﺍﺳﺖ ﻭ ﻧﺎﺷﺮ ﺩﺭ‬ ‫ﻣﻘﺪﻣﻪ ﻛﺘﺎﺏ ﺁﻭﺭﺩﻩ ﺍﺳﺖ‪" :‬ﺍﻳﻦ ﻛﺘﺎﺏ ﺑﻰ ﺷﻚ‬ ‫ﺩﺭ ﺗﺠﺎﺭﺕ ﻛﺴﺎﻧﻰ ﻛﻪ ﻣﻔﺎﺩ ﺁﻥ ﺭﺍ ﺑﻪ ﺩﻗﺖ ﺑﻪ ﻣﻮﺭﺩ‬ ‫ﺍﺟﺮﺍ ﺩﺭﺁﻭﺭﻧﺪ ﺗﺤﻮﻟﻰ ﺑﻮﺟﻮﺩ ﺧﻮﺍﻫﺪ ﺁﻭﺭﺩ‪".‬‬

‫‪Coca Cola, Nivea, Google, Apple,‬‬ ‫‪Volks Wagen, adidas, BMW,‬‬ ‫‪ Nokia, SONY‬ﻭ ‪ ...‬ﻭ ﺑﺮﻧﺪﻫﺎﻯ ﻣﻌﺘﺒﺮ ﺩﻳﮕﺮ‬ ‫ﻛﻪ ﺭﻭﻯ ﺟﻠﺪ ﻛﺘﺎﺏ "ﺳﻼﻃﻴﻦ ﻧﺎﻡﻫﺎﻯ ﺗﺠﺎﺭﻯ"‬ ‫ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮﺭﺩ‪ ،‬ﻛﻨﺠﻜﺎﻭﻯ ﻣﺨﺎﻃﺒﺎﻥ ﺍﻳﻦ ﻛﺘﺎﺏ‬ ‫ﺭﺍ ﺩﻭ ﭼﻨﺪﺍﻥ ﻣﻰﻛﻨﺪ‪ .‬ﺍﻳﻦ ﻛﺘﺎﺏ ﻛﻪ ﻧﻮﺷﺘﻪ "ﻣﺖ‬ ‫ﻫﻴﮓ" ﺍﺳﺖ ﻗﺮﺍﺭ ﺍﺳﺖ ﺭﺍﺯﻫﺎﻯ ‪ 100‬ﻧﺎﻡ ﺗﺠﺎﺭﻯ‬ ‫ﺑﺮﺗﺮ ﺭﺍ ﻓﺎﺵ ﻛﻨﺪ‪" .‬ﻧﺎﻡﻫﺎﻯ ﺗﺠﺎﺭﻯ ﺑﺰﺭگ ﺑﺮﺍﻯ‬ ‫ﻣﻮﻓﻘﻴﺖ ﺧﻮﺩ ﭼﻪ ﺍﺳﺮﺍﺭﻯ ﺩﺍﺭﻧﺪ ﻛﻪ ﺑﺪﻭﻥ ﺗﻮﺟﻪ ﺑﻪ‬ ‫ﻣﺮﺯﻫﺎ‪ ،‬ﺳﻨﺖ ﻭ ﻓﺮﻫﻨﮓﻫﺎ ﺍﻳﻨﭽﻨﻴﻦ ﻣﺎﻧﺪﮔﺎﺭ ﻫﺴﺘﻨﺪ؟"‬ ‫ﺍﻳﻦ ﺟﻤﻠﻪﺍﻯ ﺍﺳﺖ ﻛﻪ ﻧﺎﺷﺮ ﺩﺭ ﻣﻘﺪﻣﻪ ﺧﻮﺩ ﺁﻭﺭﺩﻩ‬ ‫ﺍﺳﺖ ﻭ ﺩﺭ ﺍﺩﺍﻣﻪ ﻛﺘﺎﺏ "ﺳﻼﻃﻴﻦ ﻧﺎﻡﻫﺎﻯ ﺗﺠﺎﺭﻯ"‬ ‫ﺭﺍ ﻛﺘﺎﺑﻰ ﻣﻌﺮﻓﻰ ﻛﺮﺩﻩ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﭼﮕﻮﻧﮕﻰ ﺭﻣﺰ ﻭ‬ ‫ﺭﺍﺯ ﺳﺎﺧﺖ ﺻﺪ ﻧﺎﻡ ﺗﺠﺎﺭﻯ ﺑﺮﺗﺮ ﭘﺮﺩﺍﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪،‬‬ ‫ﺁﻥ ﺩﺳﺘﻪ ﺍﺯ ﻧﺎﻡﻫﺎﻯ ﺗﺠﺎﺭﻯ ﻛﻪ ﺑﻪ ﺑﻬﺘﺮﻳﻦ ﺷﻜﻞ‬ ‫ﻧﻪ ﺗﻨﻬﺎ ﻣﺎﻫﻴﺖ ﮔﺴﺘﺮﺩﻩ ﺑﺮﻧﺪ )‪ (Branding‬ﺑﻠﻜﻪ‬ ‫ﻣﻮﻓﻘﻴﺖ ﺁﻥ ﺭﺍ ﻫﻢ ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪﺍﻧﺪ‪.‬‬ ‫ﺍﻳﻦ ﻛﺘﺎﺏ ﻛﻪ ﺗﻮﺳﻂ ﻧﺸﺮ ﺳﻴﺘﻪ ﻭ ﺗﺮﺟﻤﻪ "ﺳﻨﺒﻞ‬ ‫ﺑﻬﻤﻨﻴﺎﺭ" ﺩﺭ ‪ 2000‬ﻧﺴﺨﻪ ﺑﻪ ﺑﺎﺯﺍﺭ ﻧﺸﺮ ﺁﻣﺪﻩ ﺍﺳﺖ‪،‬‬ ‫ﺩﺭ ‪ 17‬ﻓﺼﻞ ﺑﻪ ﺗﻔﻜﻴﻚ‪ ،‬ﻧﺎﻡﻫﺎﻯ ﺗﺠﺎﺭﻯ ﻣﻌﺮﻭﻑ‬ ‫ﺩﺭ ﺑﺨﺶﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺭﺍ ﺗﺸﺮﻳﺢ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﻪ ﻃﻮﺭ ﻣﺜﺎﻝ ﺩﺭ ﺑﺨﺶ ﻧﺎﻡﻫﺎﻯ ﺗﺠﺎﺭﻯ ﻧﻮﺁﻭﺭ‪،‬‬ ‫ﺑﺮﻧﺪﻫﺎﻳﻰ ﭼﻮﻥ ‪Mercedes Benz, O'real,‬‬ ‫‪ ,Nescafe, TOYOTA‬ﺩﺭ ﺑﺨﺶ ﻧﺎﻡﻫﺎﻯ‬ ‫ﺗﺠﺎﺭﻯ ﺳﺮﮔﺮﻣﻰﺳﺎﺯ ﺑﺮﻧﺪﻫﺎﻳﻰ ﭼﻮﻥ ‪MTV،‬‬ ‫‪ Harry Poter، Barbie‬ﻭ ‪ ،Disney‬ﺩﺭ‬ ‫ﺑﺨﺶ ﻧﺎﻡﻫﺎﻯ ﺗﺠﺎﺭﻯ ﺗﻮﺍﻥﻣﻨﺪ ﺑﺮﻧﺪﻫﺎﻳﻰ ﻣﺎﻧﻨﺪ‬ ‫‪ Mac Donalds، Nike، Starbucks‬ﻭ‬ ‫‪ Microsoft‬ﻭ ‪ ...‬ﻣﻌﺮﻓﻰ ﻭ ﺩﺭ ﻣﻮﺭﺩ ﺭﻣﻮﺯ ﻣﻮﻓﻘﻴﺖ‬ ‫ﺁﻧﻬﺎ ﺑﻪ ﺗﻔﺼﻴﻞ ﺻﺤﺒﺖ ﻣﻰﺷﻮﺩ‪ .‬ﻧﻜﺘﻪ ﺟﺎﻟﺐ ﺗﻮﺟﻪ‬ ‫ﺍﺳﺘﻔﺎﺩﻩ ﻧﻮﻳﺴﻨﺪﻩ ﺍﺯ ﺟﻤﻠﻪ ﻣﺸﻬﻮﺭ "ﺍﻧﺪﻯ ﻭﺍﺭﻫﻮﻝ"‬ ‫ﻫﻨﺮﻣﻨﺪ ﻣﻌﺮﻭﻑ ﭘﺎپ ﺁﺭﺕ ﺩﺭ ﭘﻴﺸﮕﻔﺘﺎﺭ ﻛﺘﺎﺏ ﺍﺳﺖ‬ ‫ﻛﻪ ‪" :‬ﻣﻬﺎﺭﺕ ﺩﺭ ﺗﺠﺎﺭﺕ‪ ،‬ﺟﺬﺍﺏﺗﺮﻳﻦ ﮔﻮﻧﻪ ﻫﻨﺮ‬ ‫ﺍﺳﺖ‪".‬‬

‫»ﻣﺤﻤـﺪ ﺟﻤﺸﻴـﺪﻱ« ﺟﺎﻳـﺰﻩ ﺩﻭﻡ‬

‫ﺍﺯ ‪ 14‬ژﻭﺋﻦ ﺗﺎ ‪ 27‬ﺳﭙﺘﺎﻣﺒﺮ ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮ ﻻﻫﺘﻲ‬

‫ﺗﺌﺎﺗﺮ ﻋﺮﻭﺳﻜﻰ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﺍﻭﻝ ﺗﺎ ﻫﺸﺘﻢ ﺁﺫﺭ‬

‫ﺩﻭﺳﺎﻻﻧﻪ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﭘﻮﺳﺘﺮ ﻻﻫﺘﻲ ﺭﺍ‬

‫ﻓﻨﻼﻧﺪ ﺑﺮﭘﺎ ﺧﻮﺍﻫﺪ ﺑﻮﺩ‪.‬‬

‫ﺩﺭ ﺗﻬﺮﺍﻥ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ ﻭ ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ ﻭ‬

‫ﮔﺮﻓـﺖ‬

‫ﺑﻪ ﮔﺰﺍﺭﺵ ﺍﻳﺴﻨﺎ‪ ،‬ﺟﻤﺸﻴﺪﻱ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺑﺮﺍﻱ‬

‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﭘﻮﺳﺘﺮ ﻭ ﻋﻜﺲ ﻧﻴﺰ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﻩ‬

‫»ﻣﺤﻤﺪ ﺟﻤﺸﻴﺪﻱ« ﺑﺮﻧﺪﻩ ﺟﺎﻳﺰﻩ ﺩﻭﻡ ﻫﻔﺪﻫﻤﻴﻦ‬

‫ﻫﻤﻴﻦ ﭘﻮﺳﺘﺮ ﺑﻪﻋﻨﻮﺍﻥ ﻳﻜﻲ ﺍﺯ ﺑﺮﮔﺰﻳﺪﮔﺎﻥ‬

‫ﺑﺮﭘﺎ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻋﻼﻗﻪﻣﻨﺪﺍﻥ ﺗﺎ ﭘﺎﻧﺰﺩﻫﻢ ﺁﺑﺎﻥ‬

‫ﺩﻭﺳﺎﻻﻧﻪ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ﭘﻮﺳﺘﺮ ﻻﻫﺘﻲ ‪ -‬ﻓﻨﻼﻧﺪ ﺩﺭ‬

‫ﺑﺨﺶ ﭘﻮﺳﺘﺮ ﻫﺸﺘﻤﻴﻦ ﺩﻭﺳﺎﻻﻧﻪ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ‬

‫ﻓﺮﺻﺖ ﺩﺍﺭﻧﺪ ﺁﺛﺎﺭ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﺑﻴﺮﺧﺎﻧﻪ ﺟﺸﻨﻮﺍﺭﻩ‬

‫ﺑﺨﺶ ﭘﻮﺳﺘﺮﻫﺎﻱ ﻓﺮﻫﻨﮕﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﺩﺭ ﺳﺎﻝ‬

‫ﺯﻧﺒﻮﺭ ﻃﻼﻳﻲ ﻣﺴﻜﻮ ﺍﻧﺘﺨﺎﺏ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬

‫ﺍﺭﺳﺎﻝ ﻛﻨﻨﺪ‪.‬‬ ‫ﺩﺑﻴﺮﺧﺎﻧﻪ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺩﺭ ﭼﻬﺎﺭ ﺭﺍﻩ ﻭﻟﻴﻌﺼﺮ‪،‬‬

‫‪ 2009‬ﺷﺪ‪ .‬ﺍﻳﻦ ﺭﻗﺎﺑﺖ ﺩﺭ ﺩﻭ ﺑﺨﺶ ﭘﻮﺳﺘﺮﻫﺎﻱ‬ ‫ﻓﺮﻫﻨﮕﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ ﻭ ﺑﺨﺶ ﭘﻮﺳﺘﺮﻫﺎﻱ ﻣﺤﻴﻂ‬

‫ﺟﺎﻳﺰﻩ ‪ 2500‬ﻳﻮﺭﻭﻳﻰ‬

‫ﻛﻮﭼﻪ ﺷﻬﻴﺪ ﺑﺎﻻﻭﺭ‪ ،‬ﺳﺎﺧﺘﻤﺎﻥ ﺟﻬﺎﺩ ﺩﺍﻧﺸﮕﺎﻫﻰ‪،‬‬

‫ﺯﻳﺴﺖ ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪.‬‬

‫ﻳﻚ ﺩﺍﻧﺸﺠﻮﻯ ﺍﻳﺮﺍﻧﻰ ﻧﻔﺮ ﻧﺨﺴﺖ ﻃﺮﺍﺣﻰ‬

‫ﻃﺒﻘﻪ ﺍﻭﻝ ﻭﺍﻗﻊ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺩﺭ ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ ﺑﻴﻦﺍﻟﻤﻠﻠﻲ ‪ 2‬ﻫﺰﺍﺭ ﻭ ‪ 600‬ﺍﺛﺮ ﺍﺯ‬

‫ﭘﻮﺳﺘﺮ ﻓﺪﺭﺍﺳﻴﻮﻥ ﺟﻬﺎﻧﻰ ﻭﺭﺯﺵﻫﺎﻯ ﺩﺍﻧﺸﮕﺎﻫﻰ‬

‫ﻃﺮﺍﺣﺎﻥ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺑﻪ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺍﺭﺳﺎﻝ ﺷﺪ‬

‫)ﻓﻴﺰﻭ( ﺷﺪ‪.‬‬

‫ﻫﻴﺎﺕ ﺩﺍﻭﺭﺍﻥ ﭘﻨﺠﻤﻴﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ‬

‫ﻭ ﺩﺭ ﻧﻬﺎﻳﺖ ﻫﻴﺄﺕ ﺍﻧﺘﺨﺎﺏ ‪ 252‬ﺍﺛﺮ ﺍﺯ ‪ 35‬ﻛﺸﻮﺭ‬

‫ﺑﺮﺍﺳﺎﺱ ﺧﺒﺮ ﺍﺭﺳﺎﻟﻰ‪ ،‬ﻣﺠﺘﺒﻰ ﻋﻠﻴﺰﺍﺩﻩ‪ ،‬ﺩﺍﻧﺸﺠﻮﻯ‬

‫ﺗﺎﻳﭙﻮﮔﺮﺍﻓﻰ ﺍﺳﻤﺎءﺍﻟﺤﺴﻨﻰ‬

‫ﺭﺍ ﺟﻬﺖ ﻧﻤﺎﻳﺶ ﺩﺭ ﺍﻳﻦ ﺩﻭﺭﻩ ﺍﺯ ﺟﺸﻨﻮﺍﺭﻩ ﺍﻧﺘﺨﺎﺏ‬

‫ﻣﻘﻄﻊ ﻛﺎﺭﺩﺍﻧﻰ ﺭﺷﺘﻪ ﮔﺮﺍﻓﻴﻚ ﺩﺍﻧﺸﮕﺎﻩ ﺟﺎﻣﻊ‬

‫ﻗﺒﺎﺩ ﺷﻴﻮﺍ‪ ،‬ﺻﺪﺍﻗﺖ ﺟﺒﺎﺭﻯ‪ ،‬ﻓﺮﺯﺍﺩ ﺍﺩﻳﺒﻰ‪ ،‬ﻛﻮﺭﺵ‬

‫ﻛﺮﺩ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﺁﻥ ﻧﺎﻡ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﻳﺮﺍﻧﻲ ﻫﻤﭽﻮﻥ‬

‫ﻋﻠﻤﻰ ﻛﺎﺭﺑﺮﺩﻯ ﺍﺳﺖ ﻛﻪ ﺑﺮﮔﺰﻳﺪﻩ ﻣﺴﺎﺑﻘﻪ‬

‫ﭘﺎﺭﺳﺎﻧﮋﺍﺩ ﻭ ﺑﻴﮋﻥ ﺻﻴﻔﻮﺭﻯ ﺍﺯ ﺳﻮﻯ ﻋﻠﻰ‬

‫ﺣﺴﻴﻦ ﻋﺒﺪﺍﻟﻤﺤﻤﺪﺯﺍﺩﻩ‪ ،‬ﻛﺴﺮﻱ ﻋﺎﺑﺪﻳﻨﻲ‪ ،‬ﻣﺤﻤﺪ‬

‫ﻓﺪﺭﺍﺳﻴﻮﻥ ﺟﻬﺎﻧﻰ ﻭﺭﺯﺵﻫﺎﻯ ﺩﺍﻧﺸﮕﺎﻫﻰ‬

‫ﻭﺯﻳﺮﻳﺎﻥ ﺭﺋﻴﺲ ﭘﻨﺠﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺗﺎﻳﭙﻮﮔﺮﺍﻓﻰ‬

‫ﺣﺎﺝﻫﺎﺷﻤﻲ‪ ،‬ﻣﺤﻤﺪ ﺟﻤﺸﻴﺪﻱ‪ ،‬ﻣﺼﻄﻔﻲ‬

‫ﺷﺪ‪ .‬ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪ ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﭘﻨﺠﺎﻫﻤﻴﻦ ﺳﺎﻝ‬

‫ﭘﻮﺳﺘﺮ ﺍﺳﻤﺎءﺍﻟﺤﺴﻨﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻋﻀﺎﻯ ﻫﻴﺎﺕ‬

‫ﻛﻼﻧﺘﺮﻱ‪ ،‬ﻣﻬﺪﻱ ﻓﺎﺗﺤﻲ‪ ،‬ﻣﻬﺪﻱ ﻣﻬﺪﻳﺎﻥ‪ ،‬ﭘﻴﻤﺎﻥ‬

‫ﺑﺮﮔﺰﺍﺭﻯ ﻳﻮﻧﻴﻮﺭﺳﻴﺎﺩ ﺟﻬﺎﻧﻰ ﻭ ﺷﺼﺘﻤﻴﻦ ﺳﺎﻟﮕﺮﺩ‬

‫ﺍﻧﺘﺨﺎﺏ ﺁﺛﺎﺭ ﻣﻌﺮﻓﻰ ﺷﺪﻧﺪ‪ .‬ﺟﺒﺎﺭﻯ ﻭ ﺷﻴﻮﺍ ﻋﻀﻮ‬

‫ﭘﻮﺭﺣﺴﻴﻦ‪ ،‬ﺍﻣﻴﺮ ﺭﺿﺎﻳﻲ‪ ،‬ﺑﻬﺪﺍﺩ ﺳﻌﻴﺪ‪ ،‬ﻣﻬﺪﻱ‬

‫ﺗﺎﺳﻴﺲ ﺁﻥ‪ ،‬ﺑﺮﮔﺰﺍﺭ ﺷﺪ ﻛﻪ ﺩﺭ ﻣﻴﺎﻥ ﻃﺮﺡﻫﺎﻯ‬

‫ﻣﺸﺘﺮﻙ ﻫﻴﺎﺕﻫﺎﻯ ﺩﺍﻭﺭﻯ ﻭ ﺍﻧﺘﺨﺎﺏ ﺁﺛﺎﺭ‬

‫ﺳﻌﻴﺪﻱ ﻭ ﻫﻨﺰﺍﻟﻪ ﺯﻧﮕﻨﻪ ﺩﻳﺪﻩ ﻣﻲﺷﺪ‪.‬‬

‫ﻓﺮﺍﻭﺍﻥ ﺍﺭﺳﺎﻟﻰ ﺍﺯ ﻛﺸﻮﺭﻫﺎﻯ ﻣﺨﺘﻠﻒ‪ ،‬ﻃﺮﺡ‬

‫ﻫﺴﺘﻨﺪ‪ .‬ﭘﻨﺠﻤﻴﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺳﺎﻟﻴﺎﻧﻪ ﺗﺎﻳﭙﻮﮔﺮﺍﻓﻰ‬

‫ﺳﺎﻳﺖ ﺟﺸﻨﻮﺍﺭﻩ ﺩﻭﺳﺎﻻﻧﻪ ﭘﻮﺳﺘﺮ ﻻﻫﺘﻲ ﻓﻨﻼﻧﺪ‬

‫ﭘﻴﺸﻨﻬﺎﺩﻯ ﻋﻠﻴﺰﺍﺩﻩ ﻣﻘﺎﻡ ﻧﺨﺴﺖ ﺭﺍ ﺑﻪ ﺧﻮﺩ‬

‫ﭘﻮﺳﺘﺮ ﺍﺳﻤﺎء ﺍﻟﺤﺴﻨﻰ ﺍﺯ ‪ 31‬ﻣﺮﺩﺍﺩ ﺗﺎ ‪ 28‬ﺷﻬﺮﻳﻮﺭ‬

‫ﺍﺳﺎﻣﻲ ﺑﺮﻧﺪﮔﺎﻥ ﺭﺍ ﺑﺮ ﺍﺳﺎﺱ ﺑﻴﺎﻧﻴﻪ ﻫﻴﺄﺕ ﺩﺍﻭﺭﺍﻥ‬

‫ﺍﺧﺘﺼﺎﺹ ﺩﺍﺩ‪ .‬ﺩﺭ ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪ‪ ،‬ﺩﺍﻧﺸﺠﻮﻳﺎﻧﻰ ﺍﺯ‬

‫ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ‪.‬‬

‫ﺑﻪ ﺗﺮﺗﻴﺐ ﺯﻳﺮ ﺍﻋﻼﻡ ﻛﺮﺩ‪.‬‬

‫ﻛﺸﻮﺭﻫﺎﻯ ﭘﺮﺗﻐﺎﻝ ﻭ ﭼﻴﻦ ﺑﻪ ﺗﺮﺗﻴﺐ ﻣﻘﺎﻡﻫﺎﻯ‬

‫ﺩﺭ ﺑﺨﺶ ﭘﻮﺳﺘﺮﻫﺎﻱ ﻓﺮﻫﻨﮕﻲ ﻭ ﺍﺟﺘﻤﺎﻋﻲ؛‬

‫ﺩﻭﻡ ﻭ ﺳﻮﻡ ﺭﺍ ﺑﺪﺳﺖ ﺁﻭﺭﻧﺪ‪ .‬ﻣﺠﺘﺒﻰ ﻋﻠﻴﺰﺍﺩﻩ ﺑﺎ‬

‫ﺗﺼﻮﻳﺮﮔﺮﻯ ﻫﺎﻯ ﺩﻫﻪ ‪ 40‬ﺷﻴﻮﺍ‬

‫ﺟﺎﻳﺰﻩ ﮔﺮﻧﺪ ﭘﺮﻳﻜﺲ ﺑﻪ ﺍﻟﻜﺴﺎﻧﺪﺭ ﻓﺎﻟﺪﻳﻨﺎ‬

‫ﻃﺮﺡ ﺧﻮﺩ ﺑﺮﻧﺪﻩ ﺟﺎﻳﺰﻩ ﻧﻘﺪﻯ ‪ 2500‬ﻳﻮﺭﻭﻳﻰ‪،‬‬

‫ﻗﺒﺎﺩ ﺷﻴﻮﺍ‪ ،‬ﻃﺮﺍﺡ ﮔﺮﺍﻓﻴﻚ ﻭ ﺗﺼﻮﻳﺮﮔﺮ‬

‫)ﺭﻭﺳﻴﻪ(‪ ،‬ﺟﺎﻳﺰﻩ ﮔﺮﺍﻓﻴﺎ ﭘﺮﻳﻜﺲ ﺑﻪ ﺁﻟﻦ ﻟﻮﻛﺮﻧﻚ‬

‫ﺣﻀﻮﺭ ﻛﺎﻣﻞ ﺩﺭ ﻳﻮﻧﻴﻮﺭﺳﻴﺎﺩ ﺻﺮﺑﺴﺘﺎﻥ ﺑﺎ ﻫﺰﻳﻨﻪ‬

‫ﻣﺠﻤﻮﻋﻪ ﺍﻯ ﺍﺯ ﺗﺼﻮﻳﺮﮔﺮﻯ ﻫﺎﻯ ﺩﻫﻪ ‪ 40‬ﻭ ‪50‬‬

‫)ﻓﺮﺍﻧﺴﻪ(‪ ،‬ﺟﺎﻳﺰﻩ ﺩﻭﻡ ﺑﻪ ﻣﺤﻤﺪ ﺟﻤﺸﻴﺪﻱ‬

‫ﻓﺪﺭﺍﺳﻴﻮﻥ ﺟﻬﺎﻧﻰ ﻭﺭﺯﺵﻫﺎﻯ ﺩﺍﻧﺸﮕﺎﻫﻰ ﻭ‬

‫ﺧﻮﺩ ﺭﺍ ﺩﺭ ﮔﺎﻟﺮﻯ ﺧﺎﻙ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﺁﻭﺭﺩ‪ .‬ﺍﻳﻦ‬

‫)ﺍﻳﺮﺍﻥ( ﺍﻫﺪﺍ ﺷﺪ‪.‬‬

‫ﻫﻤﭽﻨﻴﻦ ﻟﻮﺡ ﻳﺎﺩﺑﻮﺩ ﻭﻳﮋﻩ ﻓﻴﺰﻭ ﺷﺪ‪.‬‬

‫ﻣﺠﻤﻮﻋﻪ ﺷﺎﻣﻞ ﺁﺛﺎﺭ ﺳﻴﺎﻩ ﻭ ﺳﻔﻴﺪ ﺑﻪ ﺻﻮﺭﺕ‬ ‫ﭼﺎپ ﻭ ﺗﺼﻮﻳﺮﮔﺮﻯ ﻫﺎﻯ ﺭﻧﮕﻰ ﺍﻭ ﺑﻮﺩ ﻛﻪ ﺁﺛﺎﺭ‬

‫ﺩﺭ ﺑﺨﺶ ﭘﻮﺳﺘﺮﻫﺎﻱ ﻣﺤﻴﻂ ﺯﻳﺴﺖ ﻧﻴﺰ ﺟﺎﻳﺰﻩ‬ ‫ﻟﻮﺭﻱ ﺗﺎﺭﺍﺳﺘﻲ ﺑﻪ ﺍﻭﻭﻩ ﻟﻮﺵ )ﺁﻟﻤﺎﻥ(‪ ،‬ﺟﺎﻳﺰﻩ‬

‫ﻓﺮﺍﺧﻮﺍﻥ ﭘﻮﺳﺘـﺮ ﺟﺸﻨـﻮﺍﺭﻩ ﺗﺌﺎﺗـﺮ‬

‫ﺳﻴﺎﻩ ﻭ ﺳﻔﻴﺪ ﺩﺭ ‪ 5‬ﻧﺴﺨﻪ ﻭ ﺭﻧﮕﻰ ﻫﺎ ﺑﻪ ﺻﻮﺭﺕ‬

‫ﺩﻭﻡ ﺑﻪ ﻫﺎﺭﻛﻮﻭﺍ ﺳﻮﮔﻴﺘﺎ )ژﺍﭘﻦ(‪ ،‬ﺩﻳﭙﻠﻢ ﺍﻓﺘﺨﺎﺭ‬

‫ﻋﺮﻭﺳــﻜﻰ‬

‫ﺗﻚ ﻧﺴﺨﻪ ﺍﻯ ﺑﻪ ﻓﺮﻭﺵ ﺭﺳﻴﺪ‪ .‬ﻣﺠﻤﻮﻋﻪ "ﺍﺯ‬

‫ﺟﺸﻨﻮﺍﺭﻩ ﺑﻪ ﭼﺪﻭﻣﻴﺮ ﻛﺎﺳﺘﻮﻳﭻ )ﺭﻭﺳﻴﻪ( ﺑﻪ‬

‫ﻓﺮﺍﺧﻮﺍﻥ ﻳﺎﺯﺩﻫﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺗﺌﺎﺗﺮ ﻋﺮﻭﺳﻜﻰ‬

‫ﺳﺎﻟﻬﺎ ﭘﻴﺶ ﺗﺎ ﻫﻨﻮﺯ ﻫﻢ" ﻛﻪ ﺍﺯ ‪ 22‬ﺧﺮﺩﺍﺩ ﺗﺎ‬

‫ﻫﻤﺮﺍﻩ ﻣﻴﺸﻞ ﻣﻴﻜﺴﺎ )ﻟﻬﺴﺘﺎﻥ( ﺍﻫﺪﺍ ﺷﺪ‪ .‬ﮔﻔﺘﻨﻲ‬

‫ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﺑﺮﺍﺳﺎﺱ ﺍﻋﻼﻡ‬

‫‪ 3‬ﺗﻴﺮ ﺩﺭ ﻣﻌﺮﺽ ﺩﻳﺪ ﻋﻤﻮﻡ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ ،‬ﺑﻴﺴﺖ‬

‫ﺍﺳﺖ‪ :‬ﻧﻤﺎﻳﺸﮕﺎﻩ ﻫﻔﺪﻫﻤﻴﻦ ﺩﻭﺭﻩ ﺍﻳﻦ ﺩﻭﺳﺎﻻﻧﻪ‬

‫ﺳﺎﻳﺖ ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ‪ ،‬ﻳﺎﺯﺩﻫﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ‬

‫ﺍﺛﺮ ﺗﺼﻮﻳﺮﮔﺮﻯ ﺍﻳﻦ ﮔﺮﺍﻓﻴﺴﺖ ﺭﺍ ﺑﺎ ﻗﻴﻤﺖ ﻫﺎﻯ‬

‫‪ 600‬ﻫﺰﺍﺭ ﺗﻮﻣﺎﻥ ﺑﺮﺍﻯ ﭘﺮﻳﻨﺖ ﻫﺎﻯ ﺳﻴﺎﻩ ﻭ ﺳﻔﻴﺪ‬

‫ﺑﻠﮋﻳﻚ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﺩ ﻭ ﺷﺮﻛﺖ ﻛﻨﻨﺪﮔﺎﻥ‬

‫ﺍﮔﺮﭼﻪ ﺍﺩﻳﺒﻰ ﺩﻟﻴﻞ ﺍﺳﺘﻌﻔﺎﻯ ﺧﻮﺩ ﺭﺍ ﻣﻄﺮﺡ ﻧﻜﺮﺩ‬

‫ﻭ ﻳﻚ ﻣﻴﻠﻴﻮﻥ ﻭ ﺳﻴﺼﺪ ﻫﺰﺍﺭ ﺗﻮﻣﺎﻥ ﺑﺮﺍﻯ ﺁﺛﺎﺭ‬

‫ﻣﺠﺎﺯﻧﺪ ﭘﻮﺳﺘﺮﻫﺎﻯ ﺧﻮﺩ ﺭﺍ ﻣﻨﻮﻁ ﺑﻪ ﺍﻳﻨﻜﻪ ﺍﺯ ﺑﻌﺪ‬

‫ﺍﻣﺎ ﺷﻨﻴﺪﻩ ﻫﺎ ﺣﺎﻛﻰ ﺍﺯ ﺗﺤﺮﻳﻢ ﺩﻭﺳﺎﻻﻧﻪ ﺑﻮﺩ‪.‬‬

‫ﺭﻧﮕﻰ ﺩﺭ ﺑﺮﮔﺮﻓﺖ‪ .‬ﻗﺒﺎﺩ ﺷﻴﻮﺍ ﻛﻪ ﺟﻮﺍﻳﺰ ﻣﻌﺘﺒﺮ‬

‫ﺍﺯ ﻳﻜﻢ ﺍﻛﺘﺒﺮ ‪ 2007‬ﻃﺮﺍﺣﻰ ﺷﺪﻩ ﺑﺎﺷﺪ ﺩﺭ ﻫﺮ‬

‫ﺁﻏﺪﺍﺷﻠﻮ ﻭ ﺳﭙﻬﺮ ﻧﻴﺰ ﻛﻪ ﺩﺭ ﺻﺤﺒﺖ ﻫﺎﻯ ﺧﻮﺩ‬

‫ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﺍﺯ ﺳﺎﻝ ‪ 45‬ﺗﺎﻛﻨﻮﻥ ﺩﺭ ﻛﺎﺭﻧﺎﻣﻪ ﺧﻮﺩ‬

‫ﺗﻌﺪﺍﺩﻯ ﻛﻪ ﻣﻰ ﺧﻮﺍﻫﻨﺪ ﺑﻪ ﺍﻳﻦ ﺳﻪ ﺳﺎﻻﻧﻪ ﺍﺭﺳﺎﻝ‬

‫ﺍﺯ ﻋﺪﻡ ﺣﻀﻮﺭ ﺍﻧﺠﻤﻦ ﺻﻨﻔﻰ ﻃﺮﺍﺣﺎﻥ ﮔﺮﺍﻓﻴﻚ‬

‫ﺩﺍﺭﺩ ﺑﻪ ﺗﺎﺯﮔﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﺭﺋﻴﺲ ﺩﻫﻤﻴﻦ ﺩﻭﺳﺎﻻﻧﻪ‬

‫ﻛﻨﻨﺪ‪ .‬ﻃﺒﻖ ﺍﻋﻼﻡ ﺍﻳﻦ ﻓﺮﺍﺧﻮﺍﻥ‪ ،‬ﭘﻮﺳﺘﺮﻫﺎﻳﻰ ﻛﻪ‬

‫ﮔﻠﻪ ﻣﻨﺪﻯ ﺧﻮﺩ ﺭﺍ ﺍﺑﺮﺍﺯ ﺩﺍﺷﺘﻨﺪ ﺩﻟﻴﻞ ﺍﺳﺘﻌﻔﺎﻯ‬

‫ﭘﻮﺳﺘﺮ ﺍﻳﺮﺍﻥ ﻣﻨﺼﻮﺏ ﺷﺪ‪.‬‬

‫ﻧﺸﺎﻧﮕﺮ ﻭﻗﺎﻳﻊ ﺳﻴﺎﺳﻰ‪ ،‬ﻣﻨﺎﺯﻋﺎﺕ ﺍﺟﺘﻤﺎﻋﻰ ﻳﺎ‬

‫ﺧﻮﺩ ﺭﺍ ﻫﻤﻴﻦ ﻣﺴﺎﻟﻪ ﻋﻨﻮﺍﻥ ﻛﺮﺩﻧﺪ‪ .‬ﺑﻪ ﺩﻧﺒﺎﻝ‬

‫ﻫﺮ ﻭﺍﻗﻌﻪ ﺍﺟﺘﻤﺎﻋﻰ ﺍﺳﺖ ﻳﺎ ﭘﻮﺳﺘﺮﻫﺎﻳﻰ ﻛﻪ‬

‫ﺁﻥ ﻗﺒﺎﺩ ﺷﻴﻮﺍ‪ ،‬ﺭﺋﻴﺲ ﺩﻭﺳﺎﻻﻧﻪ ﺩﺭ ﮔﻔﺖ ﻭ ﮔﻮ‬

‫ﻣﺴﺎﺑﻘﻪ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ ﭘﻮﺳﺘﺮ ﺗﺎﻳﻮﺍﻥ‬

‫ﺍﺣﺘﻤﺎﻻ ﺩﺭ ﺳﻪ ﺳﺎﻻﻧﻪ ﺩﻫﻢ ﺷﺮﻛﺖ ﺩﺍﺷﺘﻪﺍﻧﺪ‬

‫ﺑﺎ ﺧﺒﺮﮔﺰﺍﺭﻯ ﺍﻳﺮﻧﺎ ﮔﻔﺖ‪ » :‬ﺍﺳﺘﻌﻔﺎﻯ ﺍﻋﻀﺎﻯ‬

‫ﻓﺮﺍﺧﻮﺍﻥ ﻣﺴﺎﺑﻘﻪ ﭘﻮﺳﺘﺮ ﺗﺎﻳﻮﺍﻥ ‪ 2009‬ﺍﻋﻼﻡ ﺷﺪ‪.‬‬

‫ﻭ ﭘﻮﺳﺘﺮﻫﺎﻳﻰ ﻛﻪ ﻣﺮﺑﻮﻁ ﺑﻪ ﺗﺼﺎﻭﻳﺮ ﺳﻴﺎﺳﻰ ﻳﺎ‬

‫ﺷﻮﺭﺍﻯ ﺳﻴﺎﺳﺘﮕﺬﺍﺭﻯ ﺍﺗﻔﺎﻕ ﺧﺎﺻﻰ ﻧﻴﺴﺖ ﻭ‬

‫ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪ ﺑﻴﻦ ﺍﻟﻤﻠﻠﻰ ﺍﻫﺪﺍﻑ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺭﺍﺳﺘﺎﻯ‬

‫ﺗﺌﺎﺗﺮ ﻫﺴﺘﻨﺪ‪ ،‬ﻫﻤﻪ ﻗﺎﺑﻞ ﻗﺒﻮﻝ ﺍﻧﺪ‪ .‬ﭘﻮﺳﺘﺮﻫﺎﻯ‬

‫ﺍﻓﺮﺍﺩ ﺟﺎﻧﺸﻴﻦ ﺑﺮﺍﻯ ﺁﻧﺎﻥ ﻣﺸﺨﺺ ﻣﻰﺷﻮﺩ «‪.‬‬

‫ﺗﻮﺳﻌﻪ ﻃﺮﺍﺣﻰ ﺗﺠﺎﺭﻯ ﻋﻨﻮﺍﻥ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﺭﺳﺎﻟﻰ ﻣﻰ ﺑﺎﻳﺴﺖ ﺑﺎ ﺑﻴﻮﮔﺮﺍﻓﻰ ﻛﻮﺗﺎﻩ ﻃﺮﺍﺡ ﻭ‬

‫ﺍﮔﺮﭼﻪ ﺍﻭ ﺍﺳﺎﻣﻰ ﺍﻓﺮﺍﺩ ﺟﺎﻳﮕﺰﻳﻦ ﺭﺍ ﺍﻋﻼﻡ ﻧﻜﺮﺩ‬

‫ﻣﻮﺿﻮﻉ ﻭﻳﮋﻩ ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪ‪ ،‬ﻫﺎﺭﻣﻮﻧﻰ ﻭ ﻭﺍﺑﺴﺘﮕﻰ‬

‫ﻫﻤﭽﻨﻴﻦ ﺷﺮﺡ ﻛﻮﺗﺎﻫﻰ ﺍﺯ ﻣﻔﻬﻮﻡ ﺁﻥ ﻫﻤﺮﺍﻩ‬

‫ﻭ ﮔﻔﺖ‪ » :‬ﺍﻳﻦ ﺍﺳﺎﻣﻰ ﺭﺍ ﺍﻋﻼﻡ ﻧﻤﻰﻛﻨﻴﻢ‪ ،‬ﺯﻳﺮﺍ‬

‫ﺍﻧﺴﺎﻥ ﻭ ﻃﺒﻴﻌﺖ ﺍﺳﺖ ﻭﻟﻰ ﻃﺮﺍﺣﺎﻥ ﻣﻰ ﺗﻮﺍﻧﻨﺪ‬

‫ﺑﺎﺷﺪ‪ .‬ﺁﺧﺮﻳﻦ ﻣﻬﻠﺖ ﺍﺭﺳﺎﻝ ﺁﺛﺎﺭ ﺍﻭﻝ ﺩﺳﺎﻣﺒﺮ‬

‫ﺍﻋﻀﺎﻯ ﺍﻧﺠﻤﻦ ﺑﺎ ﺁﻧﻬﺎ ﺭﺍﻳﺰﻧﻰ ﻭ ﻻﺑﻰ ﻣﻰﻛﻨﻨﺪ‬

‫ﺑﺎ ﻣﻮﺿﻮﻋﺎﺕ ﺗﺒﻠﻴﻐﺎﺗﻰ‪ ،‬ﺗﺠﺎﺭﻯ ﻭ ﺁﺯﺍﺩ ﻧﻴﺰ ﺩﺭ‬

‫‪ 2009‬ﺍﻋﻼﻡ ﺷﺪﻩ ﺍﺳﺖ ﻭ ﻫﺮ ﺷﺮﻛﺖﻛﻨﻨﺪﻩ ﺑﺎﻳﺪ‬

‫ﺗﺎ ﺍﺯ ﻫﻤﻜﺎﺭﻯ ﺁﻧﺎﻥ ﺑﺎ ﺩﻫﻤﻴﻦ ﺩﻭﺳﺎﻻﻧﻪ ﭘﻮﺳﺘﺮ‬

‫ﺍﻳﻦ ﻣﺴﺎﺑﻘﻪ ﺷﺮﻛﺖ ﻛﻨﻨﺪ‪ .‬ﺁﺛﺎﺭ ﺷﺮﻛﺖ ﺩﺍﺩﻩ ﺷﺪﻩ‬

‫ﻓﺮﻡ ﺷﺮﻛﺖ ﺩﺭ ﺳﻪ ﺳﺎﻻﻧﻪ ﺭﺍ ﻛﻪ ﺷﺎﻣﻞ ﻧﺎﻡ‪،‬‬

‫ﺧﻮﺩﺩﺍﺭﻯ ﻛﻨﻨﺪ «‪.‬‬

‫ﺑﺮ ﺍﺳﺎﺱ ﺧﻼﻗﻴﺖ‪ ،‬ﻳﻜﭙﺎﺭﭼﮕﻰ ﺗﺮﻛﻴﺐ ﺑﻨﺪﻯ ﻭ‬

‫ﻧﺎﻡ ﺧﺎﻧﻮﺍﺩﮔﻰ‪ ،‬ﺁﺩﺭﺱ‪ ،‬ﻛﺪﭘﺴﺘﻰ‪ ،‬ﺷﻬﺮ‪ ،‬ﻛﺸﻮﺭ‬

‫ﺍﺯ ﻃﺮﻑ ﺩﻳﮕﺮ ﺑﻴﺶ ﺍﺯ ﺩﻭﻳﺴﺖ ﻃﺮﺍﺡ ﮔﺮﺍﻓﻴﻚ‬

‫ﺩﻗﺖ ﺗﻜﻨﻴﻜﻰ ﺩﺍﻭﺭﻯ ﻭ ﺑﺮﺍﻯ ﻫﺮ ﺑﺨﺶ‪ ،‬ﻫﻔﺖ‬

‫ﻭ ﺗﺮﺟﻤﻪ ﻣﺘﻦ ﭘﻮﺳﺘﺮ ﺑﻪ ﻳﻜﻰ ﺍﺯ ﺯﺑﺎﻥﻫﺎﻯ‬

‫ﺩﺭ ﻧﺎﻣﻪ ﺍﻯ ﺷﺮﻛﺖ ﺩﺭ ﺩﻫﻤﻴﻦ ﺩﻭﺳﺎﻻﻧﻪ ﭘﻮﺳﺘﺮ‬

‫ﺑﺮﮔﺰﻳﺪﻩ ﺍﻧﺘﺨﺎﺏ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺭﻗﺎﺑﺖ ﺩﺭ ﺍﻳﻦ‬

‫ﺍﻧﮕﻠﻴﺴﻰ‪ ،‬ﺁﻟﻤﺎﻧﻰ ﻳﺎ ﻓﺮﺍﻧﺴﻪ ﺍﺳﺖ ﺭﺍ ﭘﺮ ﻛﺮﺩﻩ‬

‫ﺗﻬﺮﺍﻥ ﺭﺍ ﺗﺤﺮﻳﻢ ﻛﺮﺩﻧﺪ‪.‬‬

‫ﻣﺴﺎﺑﻘﻪ ﺑﺮﺍﻯ ﺗﻤﺎﻣﻰ ﻃﺮﺍﺣﺎﻥ ﺍﺯ ﻫﺮ ﻛﺸﻮﺭ ﺁﺯﺍﺩ‬

‫ﻭ ﻫﻤﺮﺍﻩ ﭘﻮﺳﺘﺮﻫﺎﻯ ﺧﻮﺩ ﺍﺭﺳﺎﻝ ﻧﻤﺎﻳﺪ‪ .‬ﺗﻮﺻﻴﻪ‬

‫ﻣﻀﺎﻣﻴﻦ ﺍﻳﻦ ﺩﻭﺳﺎﻻﻧﻪ ﻫﻨﻮﺯ ﻣﺸﺨﺺ ﻧﻴﺴﺖ‪،‬‬

‫ﺍﺳﺖ ﻭ ﺷﺮﻛﺖ ﻛﻨﻨﺪﮔﺎﻥ ﻣﻰ ﺑﺎﻳﺴﺖ ﺁﺛﺎﺭ ﺧﻮﺩ ﺭﺍ‬

‫ﻣﻰﺷﻮﺩ ﭼﻴﺰﻯ ﭘﺸﺖ ﭘﻮﺳﺘﺮﻫﺎ ﻧﭽﺴﺒﺎﻧﻴﺪ‪ ،‬ﺍﻣﺎ‬

‫ﺯﻳﺮﺍ ﻫﻨﻮﺯ ﻣﻜﺎﻧﺶ ﻣﺸﺨﺺ ﻧﺸﺪﻩ‪ ،‬ﺗﺎﺭﻳﺦ ﺍﻋﻼﻡ‬

‫ﺑﻌﺪ ﺍﺯ ﺗﺎﺭﻳﺦ ژﻭﺋﻦ ‪ 2007‬ﻃﺮﺍﺣﻰ ﻛﺮﺩﻩ ﺑﺎﺷﻨﺪ‬

‫ﺷﻤﺎﺭﻩ ﭘﻮﺳﺘﺮﻫﺎ ﺭﺍ ﻃﺒﻖ ﻓﺮﻡ ﺩﺭﺧﻮﺍﺳﺖ ﺑﺎ ﻳﻚ‬

‫ﺷﺪﻩ ﺯﻣﺎﻥ ﻛﻤﻰ ﺭﺍ ﺑﺮﺍﻯ ﺍﺭﺍﻳﻪ ﺍﺛﺎﺭ ﺩﺭ ﺍﺧﺘﻴﺎﺭ‬

‫ﻭ ﺣﺪﺍﻛﺜﺮ ﺗﺎ ﺗﺎﺭﻳﺦ ‪ 31‬ﺁﮔﻮﺳﺖ ‪ 2009‬ﺍﺭﺳﺎﻝ‬

‫ﻣﺪﺍﺩ ﺩﺭ ﭘﺸﺖ ﭘﻮﺳﺘﺮﻫﺎ ﻳﺎﺩﺩﺍﺷﺖ ﻛﻨﻴﺪ‪ .‬ﺟﺎﻳﺰﻩ‬

‫ﻫﻨﺮﻣﻨﺪ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ ﻭ ﻋﻼﻭﻩ ﺑﺮ ﺍﻳﻦ ﻫﻴﺎﺕ‬

‫ﻛﻨﻨﺪ‪ .‬ﺍﻃﻼﻋﺎﺕ ﺑﻴﺸﺘﺮ ﺩﺭ ﺳﺎﻳﺖ ﻣﺴﺎﺑﻘﻪ ﺑﻪ‬

‫ﻧﻔﺮ ﺍﻭﻝ‪ ،‬ﻣﺒﻠﻎ ‪ 3720‬ﻳﻮﺭﻭ ﺧﻮﺍﻫﺪ ﺑﻮﺩ ﻛﻪ ﺩﺭ‬

‫ﺍﻧﺘﺨﺎﺏ ﻧﻴﺰ ﻣﺸﺨﺺ ﻧﻴﺴﺖ‪ .‬ﺍﻳﻦ ﺩﺭ ﺣﺎﻟﻰ‬

‫ﺁﺩﺭﺱ ‪ www.cpc.tw‬ﻣﻮﺟﻮﺩ ﺍﺳﺖ‪.‬‬

‫ﻣﺮﺍﺳﻢ ﺑﺎﺯﮔﺸﺎﻳﻰ ﺳﻪ ﺳﺎﻻﻧﻪ ﺍﻫﺪﺍ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﺍﺳﺖ ﻛﻪ ﻫﻴﺎﺕ ﺩﺍﻭﺭﺍﻥ ﺍﻳﻦ ﺩﻭﺳﺎﻻﻧﻪ ﻧﻴﺰ ﻫﻨﻮﺯ‬

‫ﺑﺮﺍﻯ ﺍﻃﻼﻋﺎﺕ ﺑﻴﺸﺘﺮ ﻣﻰ ﺗﻮﺍﻧﻴﺪ ﺑﻪ ﺳﺎﻳﺖ‬

‫ﻣﺸﺨﺺ ﻧﺸﺪﻩ ﺍﺳﺖ ﻭ ﺑﺮﺧﻰ ﺍﺯ ﺍﻋﻀﺎﻯ ﺷﻮﺭﺍﻯ‬

‫ﻓﺮﺍﺧـﻮﺍﻥ ﭘﻮﺳﺘـﺮ ﺳﻴﺎﺳﻰ ﺑﻠﮋﻳـﻚ‬

‫‪www.affichepolitique-mons.‬‬

‫ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯ ﻧﻴﺰ ﺍﺳﺘﻌﻔﺎ ﻛﺮﺩﻧﺪ‪.‬‬

‫ﻣﻨﺘﺸـﺮ ﺷـﺪ‬

‫‪ com‬ﻣﺮﺍﺟﻌﻪ ﻛﻨﻴﺪ‪.‬‬

‫ﺑﺮﺍﺳﺎﺱ ﺧﺒﺮ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺧﺒﺮﮔﺰﺍﺭﻯ ﺍﻳﺮﻧﺎ‪،‬‬ ‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﺩﻳﮕﺮﻯ ﻫﻤﭽﻮﻥ ﺟﻼﻝ ﺷﺒﺎﻫﻨﮕﻰ‬

‫ﻓﺮﺍﺧﻮﺍﻥ ﻳﺎﺯﺩﻫﻤﻴﻦ ﺳﻪ ﺳﺎﻻﻧﻪ ﭘﻮﺳﺘﺮ ﺳﻴﺎﺳﻰ‬ ‫ﻣﺎﻧﺘﺰ ﺑﻠﮋﻳﻚ ‪ 2010‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ .‬ﻫﺪﻑ ﺍﻳﻦ ﺳﻪ‬

‫ﺩﻭﺳﺎﻻﻧﻪ ﭘﻮﺳﺘﺮ ﺩﺭ ﺍﺑﻬﺎﻡ‬

‫ﻭ ﺑﺮﺧﻰ ﺩﻳﮕﺮ ﺍﺯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﺯ ﻫﻤﻜﺎﺭﻯ ﺩﺭ‬

‫ﺳﺎﻻﻧﻪ ﺳﻨﺠﺶ ﺑﻬﺘﺮﻳﻦ ﻃﺮﺍﺣﺎﻥ ﭘﻮﺳﺘﺮ ﺳﻴﺎﺳﻰ‬

‫ﺑﻌﺪ ﺍﺯ ﺍﺳﺘﻌﻔﺎﻯ ﻓﺮﺯﺍﺩ ﺍﺩﻳﺒﻰ ﺍﺯ ﻋﻀﻮﻳﺖ ﺩﺭ‬

‫ﺑﺨﺶﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺍﻳﻦ ﺩﻭﺳﺎﻻﻧﻪ ﺍﺳﺘﻌﻔﺎ‬

‫ﺗﻤﺎﻡ ﻛﺸﻮﺭﻫﺎﻯ ﺩﻧﻴﺎ ﺑﻪ ﻣﻨﻈﻮﺭ ﺗﺮﻏﻴﺐ ﺍﻳﻦ ﻧﻮﻉ‬

‫ﻫﻴﺎﺕ ﺍﻧﺘﺨﺎﺏ ﺩﻭﺳﺎﻻﻧﻪ‪ ،‬ﺁﻳﺪﻳﻦ ﺁﻏﺪﺍﺷﻠﻮ ﻭ‬

‫ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﻋﻠﻴﺮﻏﻢ ﻓﺮﺻﺖ ﻣﺤﺪﻭﺩ ﺑﺎﻗﻰ ﻣﺎﻧﺪﻩ‬

‫ﻭﺳﻴﻠﻪ ﺑﻴﺎﻧﻰ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺳﻪ ﺳﺎﻻﻧﻪ ﺍﺯ ﺩﺳﺎﻣﺒﺮ‬

‫ﻣﺴﻌﻮﺩ ﺳﭙﻬﺮ ﻧﻴﺰ ﻃﻰ ﺻﺤﺒﺖ ﻫﺎﻯ ﺟﺪﺍﮔﺎﻧﻪ‬

‫ﻫﻨﻮﺯ ﻭﺿﻌﻴﺖ ﺩﻭﺳﺎﻻﻧﻪ ﺩﻫﻢ ﭘﻮﺳﺘﺮ ﺩﺭ ﺍﺑﻬﺎﻡ‬

‫‪) 2010‬ﺁﺫﺭ ﻣﺎﻩ ‪ (89‬ﺗﺎ ﺁﻭﺭﻳﻞ ‪ 2011‬ﺩﺭ ﻣﺎﻧﺘﺰ‬

‫ﺍﺯ ﺣﻀﻮﺭ ﺩﺭ ﺩﻭﺳﺎﻻﻧﻪ ﭘﻮﺳﺘﺮ ﺍﺳﺘﻌﻔﺎ ﺩﺍﺩﻧﺪ‪.‬‬

‫ﺑﻪ ﺳﺮ ﻣﻰ ﺑﺮﺩ‪.‬‬

Â«Tw¼ÃQ » ÍÃμ\U o§Î ¾M Âv¨ ¾a nIM Ï»H ½I«Twj ¦Ä ¾@M ½I@«Twjk@¹apH k@Ã²¼@UnHq@MH jHqÄo¶ Swj j¼M ¾¨oÀ Â²» , kºHj Hki jITÎH ·A k¶IÃQ » jo¨ jI\ÄH Í@¤¼U Á»n o¿M ,jnHj k@eH» ¸@Äk@¹a ·k@{ ³IüjH ÏIw k¹a pH k÷M . kÄjo¬keH» ¦Ä nj kÃ²¼U ÁHq@\¶ I@¿²I@w pH ¾@¨ k@{ W@øI@M ¡IÿUH ¸ÄH ¸wId¶ ¾¨ S@ÿ¬ ·H¼@U Â¶ » ´Ã¹¨ ¸Ã¹a qÃºI¶ y@ÃQ . ´Äj¼M ·Ho@@@@@ÄH nj S@¨o@e ¸@ÄH ·I¶I«zÃQ pH ¾@M I@¿²I@w ·A ¾@¨ Â@μ¿¶ ®Ä¯j nH o«Äj Â§Ä WøIM ÂQIa ÁIÀkeH» Â@«Tw¼@ÃQ ³k@ø S@¿] S@{Hj ³I@º Áq@Äo@¬I@õi , j¼M ý°@TiH» ÂºHo«º » ½k@{nI@§@M S@wjq@Ãº ·A pH Áo@@@Ã¬¼±]ÁHo@M ¾ø¼μ\¶ ¦Änj Hn Â@ÎIdÅ , NI@a , Â@ÎHo@¬¼TÃ² . ´Äjn»A jo¬ S@øo@wnI¹¨nj , j¼]¼¶ ÁI¿ÀI«Twj ¦¹ÄH .kºnHjqÃº ½jI÷²H ¡¼Î ÂTÃÿÃ¨ ½jI@÷²H ¡¼@Î .j¼M ´ÃÀH¼i j¼¹zi nI¨ ³I\ºHow pH ¾μÀ uQ

Trendsetter Quantum

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ShU » N¼² Ï¼Tÿ¶ Â@@ÎIdÅ ¦@ÃUI@¶¼UH ³I@μU ´@TvÃw ( SøIw nj k±] 5000 ) ½jI÷²H ¡¼Î Søow ¾@£Ã¤j 10 ô£Î Ï»H ¾@º¼μº ÁpI@w ½jI@¶A rHo@ÃU ´@¨ » rHo@ÃU o@Q ÁIÀnI¨ ÁHo@M KwI¹¶

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S² k¹a ÁIÀn¼{»oM ( ·jo¨ IU ) ÁHoM ÂÅI~TiH ¸Ã{I¶ SøIw nj ©oM 30000 ½jI÷²H ¡¼Î Søow oT¶ ÂTºIw 35 x 65 IU 9 x12pH müI¨ cõw k@ÃGIμº ª@¹ÀIμÀ Â@eHo@ö pH ®@L¤ I@ÿ@õ²

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