Interview with Kinda Ghannoum – Fight For Kindness 2024 Guest
- TypeCampus
- 28 mag
- Tempo di lettura: 6 min
Kinda Ghannoum is a Syrian-Polish graphic designer and co-founder of the Syrian Design Archive. She graduated from Damascus University with a Bachelor’s degree in Architecture before transitioning to a career in graphic design. She later completed a Master’s in Visual Arts at Sint Lucas Antwerpen. Her work primarily focuses on developing brand identities, typography, and conducting research.
Arabic typography and ornaments are a major source of inspiration for her. Throughout her career, Kinda has received recognition and awards for her work, collaborating with prestigious international organisations such as the Obama Foundation, EXPO Dubai 2020, Netflix, Domestika, TEDx, and many others.
Preserving Syrian design history and graphics in the Arab world is a significant undertaking. What motivated you to co-found the Syrian Design Archive, and how do you envision it impacting the recognition of Syrian design within the global canon? Can you share some examples of the unique design histories or artefacts you’ve uncovered that highlight the richness of Syrian design heritage?
As a self-taught designer, I have always struggled with accessing resources and learning about design within the Arab world. I noticed a significant lack of information about designers from our region. To make matters worse, our education often emphasises foreign designers over our own. Thankfully, this seems to be improving.
While pursuing my master’s degree in graphic design in Belgium, I was eager to research Arabic visual identity. However, the scope felt overwhelming, so I decided to focus on something more personal. This led me to a project exploring Syrian history in design. It was during this process that I encountered two major challenges. First, there was an almost complete absence of proper archiving and documentation of Syrian design. Second, and even more devastating, was the loss and destruction of countless materials during the war.
Starting from scratch, I conducted my own investigations and was fortunate to gather a substantial amount of data. With this privilege came a sense of responsibility to uncover these hidden treasures and share them with the world. The Syrian Design Archive was born from this idea. I shared my vision with my friends Hala Al Afsaa and Sally Alassafen, knowing they shared similar interests. Through lengthy discussions, the concept of the archive took shape. We realised the need for a platform to share our discoveries and make them accessible to the public. Leveraging the power of social media as an initial platform, we launched accounts on Instagram and Facebook to test the waters and reach a global audience.
Project serves as a resource for Syrian graphic design and a celebration of Syria’s unique design heritage in an age of rapid technological evolution. The archive documents a variety of printed and non-printed materials, organised into five sections: print, stamps, media, logos, and signage. We envision the Syrian Design Archive as a window to the world, offering a glimpse into unmentioned names and unseen artwork. By providing an accessible platform that showcases our distinctive heritage, we aim to foster a deeper appreciation and understanding of Syrian design on a global scale, highlighting its importance and contributions to the wider design community.
When it comes to sharing my favourite work, it’s nearly impossible to choose because everything has its own beauty. One of the most exciting parts of this project is discovering hidden gems. For instance, we found Layla, the first Syrian women’s magazine, which dates back to 1962. The illustrations, topics, and title design are exquisitely done. I am particularly fond of Abdulkader Arnaout’s work, especially his minimalist posters. His designs for the Palestinian revolution are a standout, using signs and symbols that transcend language barriers. His poster series for the Damascus International Fair is another personal favourite — his unique and modern style continues to inspire!
What has been the most rewarding project you've worked on so far, and why is that so?
It’s difficult to choose just one, as many projects come to mind. However, I would like to highlight two that stand out:
The first was a collaboration with Choose Love and Netflix, launched to celebrate the release of the film The Swimmers. Choose Love designed a limited edition t-shirt featuring the words "Choose Love" in Arabic, raising funds to support refugees. I was honoured to create artwork for this inspiring story of two courageous sisters, Yusra and Sara Mardini. Their journey as Syrian refugees and their incredible bravery deeply moved me, and it was fulfilling to contribute to a project that shed light on their story.
Another rewarding project involved creating visuals to raise awareness about the ongoing struggles in Palestine. It was fulfilling to use my work to draw attention to these critical issues and open conversations about the situation. It felt empowering to have a voice to highlight these struggles and contribute to raising awareness.
Finally, the Syrian Design Archive is a project very close to my heart. Together with Hala Al Afsaa and Sally Alassafen, we are shining a light on a side of Syria that has rarely been spoken about. Having the opportunity to uncover and share hidden masterpieces from Syrian design has been a true pleasure. The project is ongoing; currently, we operate through social media platforms, but our next step is to transition the digital archive to an official website — and perhaps eventually publish a book. This will provide a resource for anyone interested in Syrian design and history, enabling them to explore and discover with ease.
"Now, my philosophy centres on integrating cultural heritage with contemporary design. I strive to create work that bridges the past and the present, preserving cultural legacies while advancing modern aesthetics. I believe design should communicate, connect, and resonate emotionally, fostering appreciation and understanding."
How would you describe your design philosophy, and how has it evolved over the years?
My design philosophy is rooted in the belief that design should be both aesthetically pleasing and meaningful. Initially, my approach was shaped by my background in architecture, which emphasised precision, balance, and functionality. Over time, as I transitioned into graphic design, I began to embrace creativity, cultural expression, and emotional impact.
Now, my philosophy centres on integrating cultural heritage with contemporary design. I strive to create work that bridges the past and the present, preserving cultural legacies while advancing modern aesthetics. I believe design should communicate, connect, and resonate emotionally, fostering appreciation and understanding.
Collaboration and inclusivity are also fundamental to my approach. I value diverse perspectives and seek input from different groups, as I believe the best designs emerge from collective creativity. The Syrian Design Archive is a project that embodies this collaborative spirit.
Together with my colleagues, Hala Al Afsaa and Sally Alassafen, we aim to uncover and share a side of Syria that has rarely been explored, bringing hidden masterpieces to light. My philosophy is also about continuous learning and exploration, ensuring my designs evolve with my journey and remain relevant and impactful.
What methods do you use to stay inspired and keep your work fresh and innovative?
To stay inspired and keep my work fresh, I draw from a variety of sources, including books, articles, travels, conversations, and feedback. Every conversation presents an opportunity to learn and explore new areas, as questions and topics often encourage me to consider different perspectives.
My inspiration is a blend of music, history, architecture, patterns, people, stories, art, cities, travel, and my multicultural background. This mix keeps my creative process dynamic and constantly evolving.
How do you use typography to evoke emotions and convey the essence of a brand or a message?
Typography is more than simply selecting fonts — it’s about creating an emotional connection. By choosing typefaces that reflect a brand’s personality and message, you can establish a strong emotional resonance with the audience. This goes beyond fonts; experimenting with elements such as colours, shapes, arrangement, spacing, and text size plays a significant role in shaping the viewer’s emotions and ensuring the message truly resonates.
This interview is part of the Now More Than Ever 2024 Fight for Kindness Annual book
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The deadline for the Fight For Kindness 2025 Call for entries is already this Friday!
Fight For Kindness is a global initiative that promotes the extended values of kindness through typographic posters. To participate, designers are invited to submit artwork by May 31, 2025 that contains an inspirational headline/message for a more empathic, inclusive and positive world.
Let’s start changing this world together by doing our small part and promoting the values of kindness, respect, community and humanity together.
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A project by Typecampus / Sponsored by Zetafonts
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