Mohammad Sharaf's journey is a compelling example of design's power to shape national identity. His reimagining of the State of Kuwait's emblem, evolving from a student project to an official state initiative, demonstrates a remarkable ability to blend heritage with modern aesthetics.
Armed with a Bachelor's and Master's in Graphic Design, as well as an MFA from the School of Visual Arts in New York, and years of professional experience as the director of Sharaf Studio, Mohammad navigated the complex task of updating a national symbol for the digital age. This was no simple aesthetic update; it required a delicate balance between preserving Kuwait's rich heritage and ensuring its visual representation remained relevant for future generations.
In this interview, Mohammad shares the intricate process behind his redesign, the challenges he faced, and the creative decisions that shaped the final emblem. He also discusses the profound responsibility of redesigning a national symbol, and offers his insights on how young designers can understand and contribute to the impact of design on national identity.
Alanood Al-Sharhan (A.A.): You took a beloved national symbol and gave it an updated look, while preserving its legacy. What was the first thing you noticed about the original design and realized that it needed to be changed or developed?
Mohammad Sharaf (M.S.): In 2004, during my first visit to Doha to attend a design conference at VCUarts Qatar, I was influenced by a lecture by a Danish designer who developed an integrated visual identity for government ministries in his country. This experience later inspired me to work on the identity of Kuwait.
During my second bachelor's degree in graphic design at the American University of Kuwait between 2009 and 2011, I decided to focus on a project that addressed the visual identity of the public sector, an area that was not receiving enough attention at the time. During my research, I noticed the absence of a unified state logo, as most entities were using different versions of the official logo.
The project turned into a graduation project, where I started with extensive interviews and research, and concluded that the logo needed to be developed and standardized rather than completely redesigned. My goal was to make it more suitable for modern use, while preserving its original essence that was designed in the sixties.
Over the years, I continued to work on the project personally, until I presented its results in a lecture at Dar Al-Athar Al-Islamiyyah in Kuwait in 2022. After that, I officially started working on the project with the Ministry of Information, which gave me the opportunity to benefit from official resources and achieve an integrated vision for the logo that suits the requirements of the digital age, without compromising its original identity.
(A.A): Designing a national identity is a very big responsibility! What guided your approach to improving the existing logo rather than completely redesigning it? And why was it important to keep it in its original form?
(M.S.): The original logo was comprehensive and visually balanced, and over the years it became necessary to improve it to suit modern uses. It was painted and published in the early sixties, but due to the repetition of manual copies some details were lost. Today, considering digital advancements, its colors and details have had to be standardized to keep pace with modern standards. During the modernization process, experts in Kuwaiti heritage were consulted to ensure the accuracy of details, especially in the design of owls and falcons, so that they reflect the Kuwaiti identity in its smallest details. We created an official user manual that outlines how to use the logo digitally and in print, to ensure that it is consistent and properly represented on various platforms.
The idea was not to change the logo, but rather to consolidate and develop it to become more suitable for use in the modern era, taking into account different digital requirements, various sizes, digital printing, and other modern applications.
(A.A.): In your opinion, how does a unified visual identity contribute to enhancing a nation's sense of itself and improving its image on the world stage? What impact do you hope this project will have on Kuwait?
(M.S.): A country's visual identity, such as the flag and emblem, reflects its image and representation at both local and international levels. The lack of a unified identity may lead to an inconsistent image, making it necessary to standardize the logo to ensure the harmony of official representation. The aim was to create a clear guide that identifies the correct uses of the logo and its symbolic significance, making it easier to handle and protecting it from distortion or inappropriate use.
At the local level, this step reinforces a sense of unity among government institutions, giving the impression that all government entities are operating within one integrated entity. At the international level, a unified and strong visual identity reflects a coherent professional image of the country.
The dream is to establish an official entity responsible for managing the visual identity of the state, ensuring its continuity and development according to modern standards, with the possibility of gradually updating it according to new needs.
(A.A.): This initiative started as a student project. How did your experience as a teacher help you turn the project into reality and develop its final form?
(M.S.): Honestly, I have limited teaching experience, but I've spent most of my career in the creative field, which has given me a different vision from traditional academic education. I've always wanted to teach, but I only recently had the opportunity.
When I studied in New York, I had the opportunity to learn from professional professors in the field, which made the experience more inspiring and challenging, and opened up new avenues for me to understand design from a practical perspective.
My vision as a teacher is to bridge the gap between academic education and work experience, preparing students to gain real professional experience. I believe that the educational system needs to promote the integration of theoretical knowledge and practical application to ensure the graduation of more prepared students. At VCUarts Qatar, I focus on sharing my expertise in bilingual design, typography, and visual identity to help students acquire concrete applied skills.
(A.A.): At VCUarts Qatar, you guide students towards meaningful design work. How do you encourage them to deal with projects that carry social and cultural significance, such as this one?
(M.S.): Honestly, as a former student and as a current teacher, I realize that national or public-sector projects may not seem attractive to students compared to designing brands, products, or advertising campaigns.
I don't have many tools to make these projects more engaging, but what I do is provide practical examples that demonstrate their value, and position myself and others as role models, working in the public sector and dealing with its challenges. I believe that facing unfamiliar challenges is an opportunity to grow and learn. By working in unexpected areas, we gain new experiences and learn different ways of approaching projects.
I always try to enrich my students by sharing my personal stories and the experiences of others who have had similar experiences, and connecting them with real examples of successful alumni. For example, I was fortunate to meet members of the official Qatar visual identity team, most of whom are graduates of VCUarts Qatar who have done amazing work at a world-class professional level.
I aim to present these projects as challenges that allow students to explore new possibilities, while emphasizing that working in the public or private sector, as well as entrepreneurial projects and self-initiatives, is just as important or creative. Rather, each sector offers different rewards and opportunities to make an impact on a large scale in different ways.
(A.A.): Looking to the future, what do you hope your students will bring with them from their experience at VCUarts Qatar to their roles as designers, especially in shaping narratives of identity and culture?
(M.S.): When we talk about shaping narratives of identity and culture, I see design as not just a job, but a way of life. It is a continuous thought process that influences all my daily decisions, from my professional work to the simplest details of my life such as clothing, food, and daily routine. Design is not just a profession, it is an extended practice that becomes an integral part of a person.
Design, at its core, combines methodology and creativity, seriousness and play. Even in the most complex and serious projects, I believe having fun and being creative adds value to the work and makes the experience richer. This philosophy is reflected in my career, where I was able to combine hard work with pleasure, which made me more engaged and connected to the design of official identities.
I believe that design is a craft that is learned by practice and continuous experimentation. The designer begins with simple experiences that evolve over time, and with constant focus and specialization he or she becomes more mature, professional, and specialized. Learning doesn't stop beyond the classroom, it extends to life experiences and projects that may start as small ideas and later develop into big achievements.
Today, as I look back on my journey from my first visit to VCUarts Qatar 20 years ago to where I am now, I realize how past decisions and experiences have shaped my future. Design is not just a profession for me, it is part of my identity, which I advise anyone who wants to enter this field – to make design a part of their life, just as the artists I love do, where their art becomes part of their story and identity.
To know more about Mohammad Sharaf, visit www.sharafstudio.com
