Rafiq Elmansy is an author, creative director and lecturer at the American University in Cairo. He is also an Adobe-certified instructor and community professional. He writes books for many publishers, such as Taylor and Francis, John Wiley and O'Reilly Media. He is the founder of Designorate, a design management blog.
Many companies and design agencies tend to look at the design and creativity stage from a narrow perspective. Usually, the design team is locked inside the ideas room with no contact with the rest of the world until it delivers the idea that gets approved by the client or project manager.
Once a project goes into crisis mode and stress increases, creativity is given an even more limited role in the project. This can be a result of the high cost of developing creative concepts or a lack of confidence that creative people are able to handle pressure and provide help at this critical stage of the project.
Arabic calligraphy was originally a tool for communication, but with time, it began to be used in architecture, decoration and coin design. Its evolution into these major roles was a reflection of the early Muslims’ need to avoid, as their beliefs required, figures and pictorials that were used as idols before Islam was established in the Arabian Peninsula.
While the Arabic tribes preferred to memorize texts and poetry, the first Muslims tried to document their holy book (Qur’an Kareem) using the scripts that we’ll look at in this article. In order to understand how these scripts developed into the beautiful and complex shapes we know today, we have to understand the history of Arabic calligraphy.
SmashingConf isn't the eighth wonder of the world, but we are pretty close. Join us at SmashingConf Oxford on March 16–19 or meet us at the shores of Santa Monica for SmashingConf LA on April 27–30. You won't be disappointed.