This
work is not balanced. In terms of pictorial energy and weight if favors the
left side to a distracting degree. Of course, it is beautiful etc. This is a strong example of how much respect this
culture had/has for the letterform; clearly
not a casual work of art. |
What is effectively a signature seems to favor freedom more than strict design. The strongest contextual factor on this work was the era from which it was created. It is effectively an icon representing the signing ruler, Sultan Suleyman of the 16th century. Any study of modern brand identity must include the extensive visual communication traditions developed by Islamic culture.
Calligraphic line builds the skeleton of this work; textured pattern the skin. A contrasting value pattern throughout (not to mention gold) creates the sumptuous character of this signature. Intricate, subtle overlapping and intertwining stroke relationships create flattened depth, especially within the block to the lower-right quadrant. Pattern elements are formatted to present them on a single spatial plane. Lengthy vertical elements attempt to stabilize this work in how they favor the right horizontal half of its entirety, but this is unsuccessful. This is a work of asymmetry.
Line predominates; it creates a pleasing contrast in free, swooping motions and nuanced, compact motion as the eye moves from area to area. Generous curves are abruptly interrupted by radical changes in direction and plunging, straight character. Patterned texture is pleasing, and its restful tone is aided by the calligraphic patterning outside of the proper image. Overall, this work is sensitive to graphic design principles: Measured negative space, clearly-defined edges, controlled eye movement, and pleasing pictorial harmony.
The grace and sensitivity of this tughra is undeniable. It organically merges curved and straight edges and large, loose spaces with compact, intricate element combinations. This is visual communication with pain-staking, exacting precision applied to each detail; a single flaw and the entire composition would have to be discarded.
What is effectively a signature seems to favor freedom more than strict design. The strongest contextual factor on this work was the era from which it was created. It is effectively an icon representing the signing ruler, Sultan Suleyman of the 16th century. Any study of modern brand identity must include the extensive visual communication traditions developed by Islamic culture.
Calligraphic line builds the skeleton of this work; textured pattern the skin. A contrasting value pattern throughout (not to mention gold) creates the sumptuous character of this signature. Intricate, subtle overlapping and intertwining stroke relationships create flattened depth, especially within the block to the lower-right quadrant. Pattern elements are formatted to present them on a single spatial plane. Lengthy vertical elements attempt to stabilize this work in how they favor the right horizontal half of its entirety, but this is unsuccessful. This is a work of asymmetry.
Line predominates; it creates a pleasing contrast in free, swooping motions and nuanced, compact motion as the eye moves from area to area. Generous curves are abruptly interrupted by radical changes in direction and plunging, straight character. Patterned texture is pleasing, and its restful tone is aided by the calligraphic patterning outside of the proper image. Overall, this work is sensitive to graphic design principles: Measured negative space, clearly-defined edges, controlled eye movement, and pleasing pictorial harmony.
The grace and sensitivity of this tughra is undeniable. It organically merges curved and straight edges and large, loose spaces with compact, intricate element combinations. This is visual communication with pain-staking, exacting precision applied to each detail; a single flaw and the entire composition would have to be discarded.
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