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-Quran 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 Gods creation in
nature.

(Nothing in this world that can match the Wahyu i.e. Al-
Quran. 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 Gods 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
Or
An 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
chapterInsyallah.