Welcome to Arabic Calligraphy Design. I practice traditional and \ncontemporary Arabic calligraphy, and do custom calligraphy for tattoos, design work, and original pieces. All my work is hand-written, I do not use computer \nfonts in my designs. To get started, have a look at the Styles page to see some of the different styles I normally work in, or if you\u2019re interested in a tattoo, click the Tattoos\n page. When you\u2019re ready, send me an email at \narabic.calligrapher@gmail.com, and we can work together on what you\u2019d \nlike designed.
The Khamish pen also known as a reed pen is used by Arab, Turkish, and Iranian calligraphers. The reed of the pen is grown along rivers. Although this pen has been used for over 500 years, preparing the pen is a lengthy process.
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The Thuluth script was first developed in the 11th century during the Abbasid dynasty and was refined by calligrapher Seyh Hamdullah during the Ottoman dynasty. It is the basis of scripts that appear later, such as the Jeli Thuluth, the Naskh and the Muhaqqaq, the last two of which we will cover later in this article.
The Thuluth script is marked by its clear structure and readability, which make it suitable for a number of purposes, even today. The cursive letters and long lines make it easily readable and usable for both titles and long texts.
It is defined by its beautiful curved letters, merged to form complex shapes and decorative forms. This complexity makes it harder to use with long text, so a simpler version of the script is needed if a calligrapher is to use it for that purpose.
Arabic calligraphy is still today one of the most widely acknowledged arts and continues to develop both in traditional methods as well as in digital and computer-generated arts. Arabic calligraphers from around the world continue to develop their own styles and artwork based on existing scripts and their own letters and scripts. Free modern scripts contribute to the art just as much as traditional scripts have done.
A self-taught Arabic calligrapher, Ismail Hummos has taught Arabic calligraphy in several universities. This interactive session will include a demonstration on Arabic calligraphy and discussion of the role it's played in art and architecture in the Arab world. Get the chance to try your own calligraphy and learn more about this unique art form.
Dr. Muhammed Habib is a calligrapher and preceptor in Arabic at Harvard University. He studied calligraphy at the Calligraphy Institute in Cairo, Egypt, and gives workshops on the art of calligraphy at institutions across the country.
Join Elinor Aishah Holland, a freelance lettering artist in Latin and Arabic scripts with an ijazah from master calligrapher Mohamed Zakariya, as she explores the history of classical scripts like Thuluth and Naskh. Students will receive reed pens and paper to practice Arabic letter art. No prior experience is necessary. Light refreshments provided.
In 2006, I started training on a third style named Taliq with master calligrapher Mohamed Zakariya, who lives in Arlington, Virginia. My training with him took about seven years, and I was granted another master degree in Taliq in 2013.
Led by an expert calligrapher trained in the traditional art, this workshop offers a lecture and hands-on experience in Arabic calligraphy. Past workshops have included Muhammad Habib, who completed his calligraphy study at the world-renowned Calligraphy Institute in Cairo, Egypt.
HONDA KICHI I was working in Saudi Arabia and other Middle Eastern countries as an interpreter for a Japanese firm. Our company had been hired to create maps of the region, and I went there as part of its project team. We took aerial photographs of the region and conducted on-the-ground surveys, recording the names of riverbeds, hills, and other topographical features. We then took this information to the Saudi Ministry of Petroleum in Riyadh, where calligraphers wrote in the names that we had recorded. I was struck by how beautiful the Arabic characters they wrote were; even for a Japanese person like myself, the shapes were enthralling.
The supervisor accompanying us from the government ministry was also a calligrapher, so I asked him to teach me more about the art. He loaned me a book on the alphabet and a reed pen. I would copy down the characters and show them to him for corrections. The more I worked on this, the more interesting it became. Gradually I found myself completely absorbed in Arabic calligraphy.
Calligraphy in the Arabic language is an ancient form of communication and a method of documenting history. The Arabic script started in a very simple form with characters similar to each other. However, through the years, many developments have occurred within this form of communication. These developments were created by several artists and calligraphers, which resulted in generating a variety of styles of scripts with unique treatments.
Arabic calligraphy is undoubtedly one of the highest achievements of Islamic art, and over the centuries an enormous number of calligraphic styles have emerged from different regions of the Islamic and Arab world. Arabic writing is an ethereal art set apart by its diversity of styles, the skill and passion required, and the message it was meant to carry.
Therefore I contacted the renowned Lebanese calligrapher Ali Assi and had several lessons with him in which we tried to cover all the information essential for the start of my project. My aim was not to be able to write Diwani, but rather to understand it, always keeping in mind the forthcoming change of medium and how this new knowledge could be applied in a digital type environment.
The last letter in any combination has to sit on the baseline, so the position of the initial letter is determined by the connection level of the terminal letter, the number of letters in the combination and the number of levels each letter occupies.
Arabic calligraphers used a reed pen sharpened in a certain way resulting in a writing nib that is a short dash. This gave variety in thickness for different strokes depending on the angle it is placed with and on the hand movement. Using this pen, the calligraphers created so many scripts overtime along many paths of evolution.
As a major milestone, calligraphers defined a theory of how to relate all letters to the first letter (the Alif), for which they dedicated the first special part of the theory. This theory was stated textually (though leaving a lot to interpret and induce), and visually both in the manuscripts about calligraphy or other manuscripts as sample writings (again with a space for interpretations).
Many studies on Arabic calligraphy applied the notion of metrics found in calligraphy manuals on different aspects of the Arabic digital typography. For example, Bayar and Sami discussed the basis for designing a dynamic font that applies a dynamic stretching for characters and the use of vertical and horizontal ligatures according to the Calligraphic rules [1]. Benatia, Elyaakoubi, and Lazrek showed how the classical algorithms of text justification must be revised to be able to accommodate for the cursive nature of Arabic writing and the rules found in calligraphy manuals [2]. The purpose of these studies is to extend the application of historical rules of Arabic calligraphy, found in the manuals of famous calligraphers, to modern typography.
The proposition of the theory of proportions in Arabic calligraphy is simple; the Alif letter is drawn according to some criteria and is measured by a number of dots in order to achieve a whole-number proportion. Then other letters are referenced either to the Alif or, in a later historical stage, to the Alif along with the measuring dots. The purpose of this research is to express this proposition mathematically and visually, study resulting possibilities, and relate them to the theory.
This condition is a very clever guarantee of the straightness of the Alif. It seems to be stated by someone who is clearly profound in geometry, but refrained from discussing the geometrical and mathematical aspects, and giving simple practical rules for calligraphers to follow. Any curvature in the shape of the Alif would result in unequal spaces between its identical copies as they will not be concentric, and the spaces in-between will, thus, vary in width (Fig 1).
While the size of the squared dot is obvious, with its edge being equal to the pen nib, there are many possibilities for the radius of the circular dot. First, it could be the circle that circumference the dot with a diameter that equals the square root of two multiplied by the dot side (Fig 4A). Second, it could be the circle with a diameter that equals the side of the dot (Fig 4B). Third, it could be the circle (or circles) whose diameter is equal to the horizontal and vertical projections of the dot side depending on the placing angle (Fig 4C). The total number of possible circles could, thus, be two if the placing angle was 0 (Fig 4D), three if the placing angle was 45 (Fig 4E), or four otherwise (Fig 4F).
Regarding the number of dots, Al-Qalqashand quoted different calligraphers giving the values six, seven, and eight as the number of dots to compose the length of the Alif. A generation after, Abdullh ibn Al Al-Ht, (d. 1486) gave additional values and stressed that the Alif should not exceed a certain number of dots, different for each calligraphic style. His words can also be seen to fall within the same understanding. be457b7860
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