The creative process

Muslim artist is aware of the importance of ‘content’ in their artwork.

It has to be addressed prior to the creation of ‘form’.

It is the ‘content’ that determine the ‘form’.

The message of Islam (tawhid) is being transmitted through ‘form’.

In Islamic art,

the concept of tawhid formed the content of the art work.

Based on the:

a. Al-Qur’an and Al-Hadith

b. Nature

There are two processes in creative work:

a. The problem solving process

b. The creative process

(Process ‘a’ is an activator assisting in the process ‘b’)

Define

Analyze

Idea

Select

Implement

Evaluate

Form Generation

Stages in the creative process:

1. Imitation of nature

2. Stylization of nature (denaturalization of nature)

3. Abstraction of nature

Muslim artist imitate nature to produce art work.

He realized that man can never create God’s creation in nature.

(Nothing in this world that can match the Wahyu i.e. Al-Qur’an. Nature is also another form of the words of

God)

In any instance, an artist cannot reproduce nature. He can imitate nature but it is not the true thing – an

illusion.

What he had created is in the form of stylization of nature, which in other words - a denaturalized form. His

creation cannot be equated with the God’s creation.

The creative process had undergone stages of imitation and stylization of nature (the denaturalization of nature), and

finally the stage of abstraction of nature.

The composition of the abstract form can be organic or geometric, or both – to create an Islimi design known from

the Ummayad to the present day.

Evidence of these stages can be seen in any Islamic art work.

It can be either on the:

First stage: imitation of nature

Second stage: stylization of nature

Third stage: abstraction of nature

OrAn Islamic Art work may consists of any one of the

followings:

a. First and second stage

b. Second and third stage

c. First and third stage

d. All the three stages

• Visual Elements of Form

• Perception Theory

• Communication Theory

• Human Factors and Dimensions

• Form Configuration, Structure, and Materials

• Unity of Form

• Visual and Physical Attributes of Form

Value/Tone,

Colour

Texture

Dimension

Shape

Proportion

• Space, Depth, and Distance

(2- and 3-Dimensional Form Perception)

Light/Brightness

Illusions

Monocular Cues

(size, partial overlap, value, colour, aerial perspective, detail perspective, linear perspective, texture gradient, shadow, blurring

detail, transparency)

Binocular Cues

(muscular cues, parallax cues)

Position

Orientation

Motion

Time

Organizational Principles in 2 and 3 Dimensions

Visual Perception

Concepts/Principles

1. Gestalt Theory

Figure Laws, Grouping Laws

2. Figure/Ground

Distinguishing Figure from Ground, Ambiguous Figure, Stability / Instability, Figure Closure, Figure / Ground Reversal, Pattern & Figure / Ground Reversal, Figure Overlap

Prescriptive Principles of Organization

1. Spatial Organization

Centralized, Linear, Radial, Clustered, Grid / Lattice Systems

2. Symmetry Groups

Identity, States of Being, Operations (translation, rotation, reflection, glide reflection) Symmetry, Transformations

3. Compositional/Visual Organization

Balance (symmetrical / asymmetrical), Repetition, Harmony, Rhythm, Variety, Contrast, Dominance

4. Acquired Associations

Free Association, Familiarity, Reading Order, Hierarchies of Information general to specific, specific to general, chronological

(affine, perspectivity, dilatative, topological, golden section, root rectangles)

3. Dynamic Symmetry

Proportional Systems (arithmatic, harmonic, geometric), Proportional Theories (Golden Section, renaissance, the Modular, anthropometrics)

Communication Theory

Verbal & Nonverbal Communication

Pattern Recognition

Human Recognition

(Relative to Social / Cultural Patterns

Visual Language

Semiotic

(Theory of Signs)

Theory by Charles Morris

Semiosis

Sign Vehicle, Designatum, Interpretant

Syntactics

Semantics

Pragmatics

Communication Theory

Semiotic

(Theory of Signs)

Theory by Charles Morris

Syntactics

Formal Concept of Language, Syntactical Rules (formation rules, transformational rules)

Semantics

Relation of Signs to Their Designata, Semantics Rule, Linguistic Structures, Nonlinguistic Structures

Process by D. Berlo

Source

Message

Channel (Media)

Receiver

Semiotic

(Theory of Signs)

Pragmatics

Relation of Signs to the User, Pragmatical Rules

User Requirements

Social / Cultural Factors

Economic Factors

Anthropometrics / Human Dimensions

Structure and Material

Structure Systems

Static Structures

Solid,

Skeletal

Surface / Planar

Matrials and Their Characteristics

Wood

Paper

Plastic

Metal

Fabric

Ceramics

Glass

Art Forms

Architecture

Design Forms

Visual Messages

Products

Structures

Interiors

Form

Media (art tools and materials)

The Elements of Art

Line, Shape Value, Texture, Color

The Principles of Organization

Harmony (involving rhythm-repetition) and Variety (involving contrast-elaboration)

(Balance, Movement, Proportion, Dominance, Economy and space)

Unity means oneness,

an organization of parts

that fit into order of a whole

and become vital to it

Both two- and three-dimensional compositions and forms are created by combining:

a. Subject matter

b. Meaning/intent with material/media

Artists/designers/architects manipulate components to devise and produce meaningful Islamic art forms,

products, buildings, interior spaces, communications, and so on.

Thank You…….see you in the next chapter…Insyallah.