Book Review: Islamic Geometric Patterns by Eric Broug This book is the result of fascination with the marvel that is Islamic art and Architecture. Islamic Art And Geometric Design. IdentifierIslamicArtAndGeometricDesign. Identifier-arkark://t51g1zv7v. OcrABBYY FineReader School of Islamic Geometric Design. The School was established in by Eric Broug and is based in the UK. Free PDF Templates. All step-by-step.
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Islamic Geometric Patterns. Eric Broug. Loading Preview. Sorry, preview is currently unavailable. You can download the paper by clicking the button above. Islamic Geometric Patterns (revised edition, ). This book shows how to create different patterns just by drawing lines and circles. First published in , . Download now: musicmarkup.info Author By Eric Broug Ebook Mobi PDF Islamic Geometric Design Eric Broug PDF books PdF Islamic.
Here are my favourites. Can also be used with any on-screen video maker such as that found in ActivInspire or Smart Notebook to create videos for classroom demonstrations — though also see below. The pencil here works as a straight edge; the ruler can be used to measure. Resources from the School of Islamic Geometric Design by Eric Broug — excellent website with resources and information ready for the classroom, templates, teacher pages etc based in Halifax in the UK — contact details too! Islamic Art and Geometric Design — 25 page booklet with some excellent classroom activities page 20 onwards : from the Metropolitan Museum of Art, New York — though at times does take a time to download, so save it. Science and Islam: Art and Design Lessons — resources designed to support an introduction to the use of simple maths and geometry in the tradition of Islamic design from the Oxford Museum of History of Science. Geometric patterns — this excellent 24 page resource from Cleave books contains commentary and masters for all sorts of geometrical work.
Early stage[ edit ] The earliest geometrical forms in Islamic art were occasional isolated geometric shapes such as 8-pointed stars and lozenges containing squares. These date from in the Great Mosque of Kairouan , Tunisia, and since then have spread all across the Islamic world.
Abstract 6- and 8-point shapes appear in the Tower of Kharaqan at Qazvin , Persia in , and the Al-Juyushi Mosque, Egypt in , again becoming widespread from there, though 6-point patterns are rare in Turkey.
These patterns are rarely found outside these two regions. More elaborate combined point geometrical patterns are found in the Sultan Hasan complex in Cairo in , but rarely elsewhere. Finally, point patterns appear in the Jama Masjid at Fatehpur Sikri in India in —, but in few other places.
These include ceramics,  girih strapwork,  jali pierced stone screens,  kilim rugs,  leather,  metalwork,  muqarnas vaulting,  shakaba stained glass,  woodwork,  and zellige tiling. Bowls or plates can be decorated inside or out with radial stripes; these may be partly figurative, representing stylised leaves or flower petals, while circular bands can run around a bowl or jug.
Radially symmetric flowers with, say, 6 petals lend themselves to increasingly stylised geometric designs which can combine geometric simplicity with recognisably naturalistic motifs, brightly coloured glazes, and a radial composition that ideally suits circular crockery.
Potters often chose patterns suited to the shape of the vessel they were making. The style is used in Persian Islamic architecture and also in decorative woodwork. In woodwork, especially in the Safavid period, it could be applied either as lattice frames, left plain or inset with panels such as of coloured glass; or as mosaic panels used to decorate walls and ceilings, whether sacred or secular.
It has over colour illustrations and photographs and presents the subject in a practical and historical content. It has an appendix with step-by-step instruction for over a dozen patterns.
Like an adult colouring book but more challenging, more educational and more fun.
It contains 48 geometric patterns, and 48 corresponding loose-leaf pages. These pages have the constructions lines needed to make each pattern in the book.
The challenge is to figure out which bits of construction line to trace and which bits to ignore.
This eBook codifies the rules that have guaranteed design excellence for 1, years. It can help architects and designers use this design heritage more fully and more profoundly. It also looks at the most common problems in contemporary architecture and design, and how to avoid them. The best way to A grid makes this possible. It allows the that pass through the intersections indi- identify what grid was used to structure the craftsmen to determine the size of the cated with red squares composition is to look how recurring repeat unit before he commits himself to elements can be seen to be grouped making the composition.
Another composi- together and spatially related to each other.
If we take his composition with red pair of compasses and a ruler. Alternatively, we can grids; a grid of squares or a grid of hexa- corners of the square and the X shape focus only on the blue lizards and they can gons.
They are also the most common grids from the previous step be seen to make a structure of hexagons. One Alternatively again, the red fish and yellow of the observational skills that Escher bats can be seen to create a grid of alter- demonstrated in his sketches from the nating yellow and red triangles.
The pres- Alhambra was that he was able to identify ence of triangles and hexagons are evidence which grids were used for which composi- that this composition was created in a grid tions.
There are different ways to do this. One of the easiest ways is to identify the type of star pattern that is used. This can Step 7: Draw four lines.
Look now been drawn. Take a different colour offer different visual possibilities.
Different surround a central star. The thousands of carefully at the intersections they con- pen or pencil and trace the sections of elements will draw attention at different nect with lines as indicated different geometric compositions that have times and looking more closely and more been created by craftsmen over the centu- frequently at his compositions will give the ries can generally be categorised according viewer different visual rewards over time.
The style of geometric design at was used by a craftsmen to make a compo- the Alhambra, where small glazed tiles with sition. A sixpointed star fits in a hexagon. Step 9: Trace the sections of lines as Step All lines have now been drawn.
In the case of compositions where tessellated in a grid of squares to create visual rewards depending on the distance Pattern 2 on page there are no star patterns with surrounding between the observer and the composition.
Made by tessellating a simple sixpointed star in a hexagonal grid step sequence was also drawn by Escher without the repeat units. When a triangular on his trip to the Alhambra. The lower right element is added to this grid, it becomes a black and white drawing shows features the Sketch of tile work in the Alhambra, pencil, grid of hexagons and triangles.
The trian- familiar arrows shapes that point left and gular shapes can be treated as new repeat right and up and down. What is clear from units that can contain part of a pattern and this drawing and the two colour drawings they can now contribute to the creation of a on the same page was that Escher was new pattern.
The picture on the left shows especially interested in how shapes interact the composition with the repeat units with each other. The arrow pattern shows visible, the picture on the right shows the this well: the black arrows need the white compositions without the repeat units arrows to exist and vice versa.