Academic literature on the topic 'Arabic typography education'

Arabic pegon script or pegon script is the term of a few Hijaiyah/Arabic letters that is generally modified and used to write in Malay and Javanese. In Madura, East Java, Pegon script is used for the writing in the language of Madura and other languages, such as Java language. Unfortunately, practices of writing with Arabic typography Pegon in everyday life today, especially in the area of Madura, still as though vague, because the practice of typography around the world still dominated by "regimes" in Latin script. Pegon script as the focus of typography, is seen as an instrument to realize the visual language. Visuality of language in the form of Pegon script involving practices of language (Madura language). Pegon script actually is the result of "hard work" of efforts to "reconcile" the letter of the culture that was at first considered foreign (Arab-Islamic) with the local culture, especially the language of the local/indigenous (vernacular language). Now, practices of Pegon script can be said of a shift in usage habits. The practice Pegon script initially suspected rolling as a means of spread and transmission of Islamic knowledge, then it took place as an instrument of islamic education (literacy) in islamic students (santri) society, then it also turned increasingly popular and wider scope in the practice for the daily communications. However, in this era of Latin script, pegon script can be said to be marginalized in the corner of the specific socio-cultural environment, and has failed to return “to play” in the global arena, and tend to be replaced with Latin letters that dominate the world of typography practices.

The purpose of this study was to develop a handout based on the results of a DNA Fingerprinting Profile in Javanese-Arabic Ethnics in Malang, East Java, Indonesia for the course of Evolution. Development (Handout) was carried out based on the 4D development model of Thiagarajan. The 4D model has 4 stages, namely define, design, develop, and disseminate, while the research to be carried out is only limited to the develop stage. The research subjects were students of the Biology Education Study Program IKIP Budi Utomo Malang who had taken as many as 40 evolutionary subjects. Data analysis techniques used to analyze quantitative data in the form of validation scores from two material experts, two media experts and readability tests. The instruments used to collect data in the study included validation sheets and questionnaires. The results of the material expert validation analysis included aspects of the completeness of the material, material, questions about evaluation and aspects of material development. The results of expert media validation analysis include aspects of Handout size, Cover Design Handout, Cover Handout Typography, Cover Handout Illustration aspects, Handout Content Design, Typography of Handout Content, Handout Illustration, Language Feasibility, and Presentation Completeness. The results of the readability test analysis include aspects of the material ease, the victory of the handout of understanding material, and renewal of material. Based on the results of the analysis data in this development research, it can be concluded that the average results of the assessment from the material expert validator was obtained with a percentage of 89.85% with the category Very Valid. The average assessment results from media expert validators with a percentage of 98.22% with the category Very Valid. The average assessment results from the readability test with a percentage of 92.73% with the category Very Valid.

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.

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).