Arabic Calligraphy Mastery Series - THULUTH: A comprehensive step-by-step study of the Thuluth script

I am new to Arabic calligraphy. Took a basic 4 hour introductory course on Tuluth by another calligrapher that gave me some basic understanding of the Arabic calligraphy. Got this book a few weeks ago .It's an amazing book for beginners. Very well illustrated and has easy to follow instructions. I practice only 15 minutes a day and have already made significant progress. I strongly recommend this book to anyone looking for a beginner's book.The price is a bit steep, which is understandable as there are not too people reading this kind of books . I wish the book was hardbound . A soft cover doesn't do justice to a book that is meant to be used as a text book on a daily basis.

I've bought several books on calligraphy, for both Arabic/Persian and Latin alphabets, and this is by far the best one of the lot. It may seem a little pricey, but it's worth every penny. Every single stroke for every letter is drawn with metrics and described in detail, along with many alternate forms that allow for considerable creativity. Many more advanced examples are provided, with guidance on maintaining readability. Neither beginner nor expert can go wrong with this book by Omar Uddin. I hope we see more volumes soon in this "Arabic Calligraphy Mastery Series," giving us more beautiful Arabic scripts to try our hand at.

Good book,I liked it. thank you writer.

Clear-concise-methodical approach-with excellent easy to follow steps that are clearly illustrated-Impressive gallery depicting authors' sampling of professional client based work-highly recommended for all beginners to advanced students-

Like other reviewers, I have collected many of the very few books that exist on Arabic calligraphy in Arabic, English, French and German languages. If I had had this one in the early days, I would have saved years of research and trial and error. This book shows detailed methods for creating beautiful Thuluth calligraphy. It contains a number of beautiful variants of the letters, including uncommon variants and where best to use them. It shows fairly thorough connection tables for the letters, containing wonderful alternative connections among pairs of letters.This book also contains unique knowledge. For example, you will not see an explanation of the 'consolidated commencing suad' (p72) anywhere else. No. other. book.It's not perfect. No book could be. First, while the book does illustrate each stroke of the letter, you really want to SEE the strokes in action. You want to see the flow of the strokes and also the motion of the artists arms. You want to see how quickly to make each stroke, how often to dip the pen and to see the shape form. There are some strokes, like the "flick of the pen" and the top stroke of the 'ain that no words can explain.I'm not a shill for this author, but he also offers a video course where you can see all of that. I took a different in-person course many years ago, but I've forgotten some things and and I really like having this book now for reference.Second, this appears to be a self-published volume that lacks some polish in the page layouts (it suffers from narrow page margins, cramped text, and an unconventional copyright footer on every single page - we get it :-) ). The text is large and easily legible, though, so I consider this minor.It could also have benefitted from a copy-edit pass (I volunteer next time :-) ). I will list the typos/errors/omissions I saw in hopes the author will create a second edition. Do not let any of this slow you down from buying this excellent work and supporting the artist who has shared an enormous wealth of knowledge.- The first letter is Alif and the end of the stroke should be explained - it is not a simple oblique ending, so does the artist turn the pen, or lift up gradually, or what? (I turn the pen, but I believe that is not optimal).- More information on tashkeel/diacriticals. Show us the strokes for hamza and shadda. How much smaller should the pen be for tashkeel?- The explanation of 'seen al-mursil' basically says don't use this form except when it's a sheen. But the illustration shows its use in bismillah, which is pervasive. So, I would think the text would mention using it in bismillah at least. Minor omission, perhaps, but confusing to beginners.-p71 "PAIR TABLE" is cut off.- p159: the text ends abruptly.- Enhancements: The books ends with a thin section on designing single-line, multi-line and circular calligraphy designs - I would love to see more design principles in the back of the book.I'd love to hear more backstory about the names of the variations. In some cases, the author does explain the name (e.g., ha al-lamia) but not in many cases. As an intermediate Arabic person, it is not obvious to me what 'ha al-mudghama' means, for example.

In the Islamic tradition, the sense of beauty and excellence—at once aesthetic, ethical, intellectual, and spiritual—is encapsulated by the untranslatable Qur’anic term iĥsān. The classic definition of iĥsān comes from the hadith of Gabriel, wherein the Prophet ﷺ describes it as “to worship God as if you see Him, for if you do not see Him, He sees you.” Most simply, the Islamic arts cultivate iĥsān because the patterns on traditional prayer carpets; the geometric designs and calligraphy ornamenting mosques and Islamic homes; as well as the architecture of these homes, mosques, and madrasas help us to worship God as if we “see Him” through these displays of beauty, for “God is Beautiful and loves beauty.”Preservation of this knowledge requires a teacher to have an Ijaza, certificate of mastery from ones teacher. Omar Uddin does not have an Ijaza, thus is not a master, and the knowledge he shares is limited and flawed.