In the later 1960s Charles Hossein Zenderoudi's focus turned towards the Persian letterform as the sole motif on his canvases. The other iconography from his Saqqa-khaneh phase fell away -some to be later revisited- and the compositions consisted solely of indecipherable Persian words, superimposed on each other or in variety of scales, deliberately distorted and subverting the rules of calligraphy.