Iranian art has been renowned worldwide for centuries for various reasons, including representing national identity, creativity, technology, and innovation. Even though Copying works of art for purposes such as education, reproduction, and conservation has existed in Iranian art since ancient times, it can be divided into two categories based on the artist's intention - justified and unethical. Today, one of the prominent and important issues in graphic design art in Iran is the phenomenon of imitation and copying from Western works. Based on the importance of the subject, the authors decided to focus on the produced works in this field and eventually, through future planning, mitigate the undesirable effects of this phenomenon on graphic design in Iran and its impact on the cultural and artistic realm. Therefore, a deep and comprehensive study of this phenomenon and its reasons in contemporary graphic design in Iran seems necessary. The main objective of this research is to explain the reasons for imitation in Iranian graphic design.  Regarding previous studies, it should be noted that so far, no independent research has been conducted on this topic using the approach utilized in this article. The theoretical framework of this research is the “Layered Analysis of Causes” which was founded in the 90s by an Australian, Sohail Enayatullah. He is a futurist and researcher who examines the problems from four levels 1) Litani, 2) social, economic, and cultural causes 3)Worldview and discourse 4)Myth, metaphor, ancient patterns, and proverbs. The research methodology is qualitative and descriptive-analytical. Considering the significance of this topic, it becomes necessary to conduct a deep and comprehensive study on the reasons behind imitation in Iranian graphic design. it should be noted that None of the previous similar studies have approached this topic using the methodology employed in this research. The content is gathered through field research, library resources, and online sources. Interviews were also conducted to gather opinions from graphic art experts. The data collection tools used in this research include articles, books, and interviews. The geographical scope of the research is Iran. In terms of time, it covers the contemporary era (After the establishment of the graphic design field at Tehran University and the production of works by artists). The exemplary community for this research is some imitative and copied works in different subfields of  Iranian graphic design. the factors introduced in the first layer are unlimited access to internet image resources, lack of creative power, innovation, and idea generation in designers, lack of executive guarantee to prevent the act of artistic forgery, and the growth of non-professional digital design centers compared to specialized design centers. In the second layer, in the economic section, cases such as accepting the order of copy due to financial needs by designers, copy due to fast production, use of inexperienced and cheap labor, following the taste of the market or the customer, the use of successful foreign designs to guarantee sales and Lack of international communication due to economic restrictions are the reasons for the existence of counterfeiting. Also, the cultural reasons show that factors such as the normalization of copying in supply and demand, the tendency to produce works individually, and negligence in the registration of Logos were recognized. The educational reasons are unprincipled acceptance of university students, the incomplete cycle of university training, quantitative growth of the field of graphic design in universities, and lack of attention to qualitative growth as well as lack of culture to prohibit and condemn the art plagiarism. Iran's non-membership in the "Copyright" treaty is the legal cause. The artistic reasons are the lack of appropriate action by art institutions against art plagiarism and the lack of employment of art experts in the ordering centers. In the third layer, two discourses of Westernism and conservatism were identified, and in the fourth layer, some Iranian proverbs can be considered as motivating factors in the emergence of this phenomenon. Finally, it realized that the first and second layers have the most participation and application in creating problems and the third layer is challenging and analytical. The discussion shows how factors in different layers contribute to copying. The reasons in the first layer sets the stage for laziness and lack of creativity. besides, the second layer categorizes structural reasons into various groups, with economic factors having the most significant role in encouraging copying for more financial gain. The third layer reveals that copying is rooted in Western beliefs and Conservatism among most Iranians. Additionally, Iranian proverbs can further reinforce the tendency for imitation by influencing individuals' subconscious. In short, we can say that to solve the problem, we need important reforms and structural changes by the authorities in the fields of culture, law, art, education, and especially the economy and finally, a way must be found to be able to join the World Copyright Treaty.