Morteza Momayez, an influential designer, illustrator, painter, educator, and art writer, was born in Tehran. Renowned for his innovation, he played a pivotal role in shaping and advancing contemporary Iranian graphic design. During his teenage years, he painted shop signs to fund his education, and in 1956, he was accepted into the Faculty of Fine Arts, where he studied painting. Even as a first-year student, he embarked on his graphic design career at Mohammad Bahrami’s graphic workshop. His work in publications such as Iranabad, Ketab-e-Hafteh, and Keyhan-e-Hafteh provided him with opportunities to refine his talents and develop new creative experiences.

Upon completing his bachelor’s degree in painting, Momayez shifted his focus entirely to graphic design. Together with several young artists, he co-founded Iran Hall (later known as Ghandriz Hall). In 1965, he traveled to France, where he earned an interior design certificate from the École des Arts Décoratifs in Paris. After returning to Iran, he introduced a graphic design course at the Faculty of Fine Arts in 1969, where he taught practical courses and expanded his design activities to include cultural posters, book covers, and signage. He also served as the artistic director for Culture and Life Quarterly and Rudaki Monthly, produced three short films for the Center for the Intellectual Development of Children and Young Adults, and designed sets and costumes for various theater productions and films. As part of the Azad Group—a collective of painters and sculptors—he participated in several avant-garde projects, creating notable installations such as knives embedded in pots and suspended from the ceiling.

Momayez was instrumental in introducing graphic media to wider Iranian society. Under his direction, Ghandriz Hall hosted exhibitions featuring the work of Iranian and international designers, including celebrated Polish poster artists. After the Islamic Revolution, he expanded his teaching and writing, while continuing his artistic endeavors. His graphic sensibility even extended to his paintings, characterized by simplified forms, expressive lines, and rough textures. Momayez often replaced traditional painting tools with unconventional ones such as metal-tipped pens, razors, ink, and paper. By covering glossy cardboard with ink and then scratching the surface to reveal images, his illustrations took on a woodcut-like appearance.

In the realm of graphic design, Momayez produced remarkable work across multiple disciplines, including press layout, typography, movie posters, and signage. He had a unique mastery of abstraction and always prioritized clarity and visual impact. His poster designs were heavily influenced by the Polish school, from which he adopted techniques like photomontage and collage, the use of flat colors, and the emphasis on simplicity and clear composition.