Abstract:

The foremost mission of this article is to put forward the idea that traditional Turkish Handicraft artifacts can be utilized in modern design processes as a source of inspiration, and to proceed with this assumption with exemplary assessments within the broader frame of typographical arrangements –a fundamental component of graphic design. The original idea for the subject is the Kufic script form, which is pertained to the earlier years of Islam. Muslim artists oriented by religious scholars who had declared aniconism upon the decrees that figurative depictions, i.e. painting, is contrary to the tenets of Islam, were obliged to stylize nature, that is to say abstracting it, and thus restrict their innate God-given artistic production instinct. Therefore, arts such as ornamentation, miniature, and calligraphy were enriched to the greatest degree, and certain other handicrafts were transformed almost into an art form. Especially the act of writing, on the premises that it is a means to reflect God’s sacred commands, was elaborated and developed in utmost detail by Muslim artists amongst artists of other faiths. Referring to Kufic calligraphy style applications in modern Latin alphabetic forms seeks to mention the probable contributions of traditional Islamic calligraphy to modern graphic design. This interesting interaction between the two distinct though similar branches of “traditional Islamic calligraphic art” and “contemporary typographic design” will demonstrate how perfectly we can benefit from our traditional art heritage during the design process. Visual examples will be brought forward to support the argument that calligraphic arrangements (calligrams) are a way out or a source of inspiration to the typographical arrangements with the Latin alphabet, which we currently are utilizing.

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