Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains vii, 251 p. ; also includes graphics (some col.). Includes abstract and vita. Advisor: Georgianna Short, Dept. of Art Education. Includes bibliographical references (p. 248-251).

What do we see when we look at writing? In addition to the verbal messages conveyed by the written words, visual dimensions of script are powerful tools that hold semantic value. This dissertation focuses on one such visual element—the arrangement of written words into geometric shapes or patterns in the context of medieval Islamicate societies (1100–1250 AD)—to uncover its meanings. The dissertation offers a primary case study of the Kitāb al-diryāq (Book of Antidotes, 595 AH/1199 AD, BnF arabe 2964), an illuminated and illustrated manuscript with a variety of geometric patterns created using Arabic script. By examining a broad range of materials (scientific manuscripts, magical objects, and architectural decoration) across Late Antiquity and the medieval period, this heuristic study argues that the arrangement of script in geometric patterns was a vital medium of visualizing knowledge and transmitting knowledge—the form not only carrying cultural meanings but also shaping the reception of verbal messages. Magic is one form of knowledge that is particularly fruitful for examining the function of the geometric script patterns in general, and of the Kitāb al-diryāq in particular. This study traces the contexts in which the geometric script patterns appear, the cultural practices associated with them, and the medieval worldviews in which the patterns circulated. In considering these factors, the study argues that the combination of shape and script is embedded with knowledge that reflects the medieval scientific, magical, and popular imagination. / Graduate / 2023-06-23

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In this self-study inquiry, I studied my graphic design practice in a professional setting, focusing on my Arabic typographic skills and knowledge. My roles as researcher and design educator indivisibly intertwined throughout this research. I worked to understand the value of calligraphy in art and design education, highlighting its power as an art form while also emphasizing its pedagogical potentials. I utilized two theoretical approaches suited to investigating and understanding the Arabic letters as text and image, Ibn Arabi’s science of letters, or 'ilm al-hurûf, and semiotics. I applied my theoretical framework to three distinctive artworks to investigate their uses of the Arabic letters, contemplating their roles in modern and contemporary Arab art. Essential to my research was learning Arabic calligraphy through two approaches: 1) I attended a calligraphy workshop, and 2) I conducted three self-study experimentations. I analyzed my experience through visual representations, commentary, and narrative inquiry to assess Arabic calligraphy’s significance for graphic design education. As such, my experimentations confirmed Arabic calligraphy’s aesthetic and educational value. I employed my findings to create a contemporary Arabic typography curriculum suitable for university-level students. This curriculum is built on learning theories such as visual culture analysis, semiotics, constructivist theory, play principles, and critical thinking, aiming to situate Arabic calligraphy as a modern learning model significant for typography education. Finally, I constructed a basic course for Arabic typography to support students’ development of Arabic typography fluency.