Kashki, Ahmad, Master’s Graduate, Ferdows Institute of Higher Education, Mashhad, Iran.
 
Problem Statement:
Human life is fundamentally shaped by communication, and various forms of illustration have been displayed since the beginning of human civilization on walls, objects, and handmade artifacts. With the advent of books, illustration was employed to beautify texts and convey concepts more effectively. From the very beginning of illustrated posters, born from the fusion of painting and printmaking, illustration has played a significant role in graphic works.
Today, poster design, like other branches of graphic design, has been greatly influenced by the advancement of technology, especially digital technologies. This development has enabled the production of graphic works, particularly posters, to be faster and in greater volume. However, despite the advantages offered by digital tools, the genuine and human impact of poster design has diminished. Due to technological progress and the increasing use of computers and photography, the role of manual illustration has been marginalized. Consequently, many poster designers have become captivated by the convenience and speed of computer techniques and tend not to use manual illustration in poster design.
On the other hand, Farshid Mesghali and Ghobad Shiva lived during the peak of the Polish School of Graphic Design—a movement heavily rooted in illustration. As such, they were notably influenced by this school. Artists such as Morteza Momayez, Kambiz Derambakhsh, and Farshid Mesghali even migrated to Eastern Europe to pursue specialized illustration training. Therefore, the influence of Eastern European and, particularly, Polish graphic traditions is evident in their work. Their strong design skills are among the key reasons behind the powerful illustrative qualities in their posters, this strength being rooted in their mastery of manual techniques and their creative minds.
Research Objective:
The main aim of this study is to identify the characteristics of manual illustration and assess the process of creating tangible graphic works.
Research Questions:
The main research questions are as follows:
 What methods and manual illustration techniques has Ghobad Shiva used in his poster designs?
 What methods and manual illustration techniques has Farshid Mesghali used in his poster designs?
Methodology:
This study is conducted through a combination of descriptive and analytical approaches. The research population includes hand-drawn posters by Farshid Mesghali and Ghobad Shiva. The sampling method is descriptive-analytical, and the collected data were analyzed qualitatively. The study examines 4 posters from Ghobad Shiva and 4 posters from Farshid Mesghali.
Following a review of the subject matter, the initial sketching phase began. Based on the collective visual language of handmade posters, forms, and preexisting concepts were used in the design process. In order to establish a deep connection with the audience, a poster must effectively convey its concept, atmosphere, tone, qualities, and emotions. Therefore, beginning with abstract elements that construct the meaning, the study proceeds through the layers of the poster, linking texture, color, and execution techniques with the subject, imagery, and ideas to the foundational elements.
Conclusion:
In the past, despite limited tools and materials, illustrators managed to create unique visual expressions through diverse painting techniques. However, what is important here is the role of illustration in posters. Regardless of its form or definition, illustration is an essential component in poster design.
The analysis of the posters by Ghobad Shiva and Farshid Mesghali yields the following results:
In examining Ghobad Shiva's works, it becomes evident that they are recognized for their beautiful lines, artistic forms, effective use of color, and attention to detail.
 Use of aesthetic lines and shapes: Shiva uses fine and beautiful lines and forms in his poster designs, which enhance their artistic appeal.
 Attractive color compositions: Like Mesghali, he employs pleasant and appealing color schemes to capture attention and create diverse visual effects.
 Focus on detail: Shiva places great emphasis on detail in his posters, which contributes to their depth and visual richness.
 Use of contemporary symbols and signs: He incorporates modern symbols and signs into his poster designs, which creates a stronger and more engaging message.
In Farshid Mesghali's works, the use of traditional Iranian motifs and symbols, attractive color combinations, and the integration of text and imagery are of particular significance.
 Incorporation of traditional motifs and symbols: Mesghali employs traditional Iranian motifs in his poster designs, such as carpet patterns, traditional architecture, and artistic ornamentation, thereby establishing a cultural connection with the viewer.
 Use of appealing and diverse colors: He applies attractive and diverse color compositions to attract attention and add cultural context to his visuals.
 Careful integration of text and image: Mesghali carefully blends text and imagery in his poster designs to convey messages clearly and compellingly.
Overall, the works of Farshid Mesghali and Ghobad Shiva combine traditional and modern elements to reflect their messages and contribute to the promotion of national culture and identity. Technological advancement has significantly affected the use of illustration in contemporary posters. The presence of computers and digital techniques in today's world has given rise to emerging designers who often lack specialized training. Increasing reliance on computers has led to a decline in posters that are the result of the artist’s manual work, thereby threatening the survival of hand-drawn techniques. These new tools, with their multifaceted capabilities, have often become substitutes for the artist’s creative mind. As a result, fewer graphic designers today engage in manual illustration within poster design.
 
Keywords: Illustration, Creative Poster, Graphic Design, Handcrafted Posters.