CPD course credits: 2 and a half hours.
How is it possible that for over 1,200 years, craftsmen and builders across the Islamic world were able to consistently maintain high levels of design excellence? Regardless of whether we look at geometrical design in Morocco, Iran, Syria or Afghanistan, the same design rules and conventions were used. This course shows you what these rules and conventions are. Understanding them will help you use this design heritage in a way that
a) does justice to over 1,200 years of design best practice and
b) will give you more freedom to be creative and innovative.
This is the first time that these design convention and rules are codified. Course creator, Eric Broug, has spent 25 years looking at patterns and compositions in Islamic art and architecture. He has been able to identify shared visual characteristics and historical best practice.
This course has been especially created for architects and designers. Islamic geometric design is popular in contemporary architecture and design; many projects and products use geometric patterns. This course shows you the do's and the don'ts. The second segment of this course shows the most common problems in contemporary Islamic geometric design. Using examples from contemporary architecture and design, tutorials present and analyse the most common problems and how to avoid them.
The works of Islamic geometric design we now admire most, were made with an ethos of innovation, a desire to make something that hadn't been made before. This ethos is also one of the conventions of Islamic geometric design. This course does not encourage or advocate traditionalism, it wants to give you the insight to innovate and be creative,while still staying connected to the design heritage. But: "you need to know the rules before you can break them"
You will be issued a CPD certificate upon completion.
Eric Broug is an author/educator, specialised in Islamic geometric design. He has an MA degree in the History of Islamic art and architecture from the School of Oriental and African Studies (SOAS) in London. His first book Islamic Geometric Patterns has taught thousands of readers around the world how to draw patterns in the same way craftsmen have done for centuries. It has been published in several languages, including Farsi en Turkish and is one of the most popular Islamic art books on the market.
He has been active in Islamic geometric design for over 25 years and is passionate about the creative and educational opportunities this design tradition offers to a wide range of audiences.
Eric gives workshops and lectures around the world and is involved as a consultant in various educational projects in the Middle East and elsewhere.
He runs a design and education consultancy business in the UK and is the founder of the School of Islamic Geometric design (www.sigd.org), which offers online educational resources.
For more information: www.broug.com
Start1. Introduction (1:45)
Start2. Limited Use of Patterns (9:55)
Start3. Discontinuous Lines (8:06)
Start4. Incorrect Tessellation (12:39)
Start5. Incorrect Framing (9:17)
Start6. Partial Knowledge (11:00)
Start7. Lack of Historical or Regional Specificity (2:40)
Start8. Miscellaneous Issues (8:13)
Start9. Conclusion (4:00)