Normalised Grid/Motif Based Patterns

Islamic Geometric Patterns

Ahmad M. Aljamali and Ebad Banissi

Visualisation and Graphics research Unit
Department of Computing, Information Systems & Mathematics
South Bank University .London.
banisse@vax.sbu.ac.uk
A.Aljamali @vax.sbu.ac.uk

Abstract This paper proposes an alternative design to the IGP

that is basedon the reflections of earlier techniquesthat are
The studies of Isiamic Geometric Patterns (IGP) show reportedby recent scholars in the field[6].
that the methods of generation is based on a set of classical What makes studies of this kind of pattern special is
gridding systenzr. They are hierarchical and primarily based the fact that they are based on two languages of
on the sacred geometrical primitives (triangle. square and interpretations: One is the language of visual design and
circle). form that gives us the constructed patterns. The other is the
With such patterns, symmetries are as visible as the language of sacredness that is conveyed through form.
forms themselves. They signify an obtlous secondary colour, symmetry, hierarchy, grid and juxtaposition of what
meaning that is so often referred, in the sacred and religious to seeand what not. It is what makes an architectural design
texts, to as a higher order of significance. Based on the of a church different from a Hindu temple or a mosque.
classical grid system, normalised grid-based patterns
proposes a neu’ language of design with a further aids of Furthermore, it is noted that how important is
symmetries that holds these forms so robustly. symmetry in visualising the balance and equilibrium. It
It takes away their hierarchy by replacing it with a less shows how simple rearrangement and stretch shifts a
tangible forms that are bounded by shear balance of calligraphy grid to a grid for patterns. Apart from the new
symmetries. An underlined question for the reader is “Are design for approach that is aided by computing tools, we
we disturbing the semantics of these patterns, the meaning explore these beyond what have not done before. It aims to
that ha1.e been portrayed by architect, tile designers anal discover and analyse the attributes that generally considered
visualists for a long time though their visual forms?” ;ISsacred.The relationship between sacrednessand form is
under focus more than anything else.
Key Words: Patterns, Islamic Patterns, Symmetry,
Glids. 2. Symmetry
J. Rosen[6] defines symmetry as “balance, a repetition
1. Introduction of parts. a regularityof form”. The geometric proportions
in the language of design for Islamic patterns is seen by as
The IGP literature is referenced with a varying degree the conceptual essenceof alMizan. (meaning, the balance)
of underlined significance. The IGPs are often linked to the mentioned in the Qu’ran[8].
studies of 17 classesof symmetrical groups.
Muller[l], Coxeter[21, Belov[3], Fejes Toth[4] and “... And the heaven. He raised it high, and He made the
Martin[S] call these wall paper (crystallographic) patterns; balance .._” [The Beneficent Rahman - Surah LV -71 [8]
Abas & Salman[6] studies them in the context of tiling
with simple view that these are a set of tessellation I‘ ... That you may not be inordinate in respect of the
primitives such as triangles, rectangles, squares, hexagons measure..,” [The Beneficent Rahman - Surah LV 81 [S]
and octagons.
Issam[7] portrays a historical dimension to the origin “... And keep up the balance with equity and do not make
of IGP and their developments. He noted that the early the measuredeficient ...”
mastery of Arab’s knowledge of mathematics, rhythmic [The Beneficent Rahman - SurahLV -71 [S]
repetitions and symmetries gained from Byzantium and
Sassanidera is the reason for the quick expansion of such A symmetrical operation is a rigid motion, a motion
motifs after Islam[7]. that leavesdistancesbetweenpoints unchanged.

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 These motions include reflection, rotation, translation Interlocking design is another adaptation of square
and a varying combination of these. A symmetry operation grids. An example in figure 3 shows how a collection of
effects orderly repetition, and orderly repetition can have grid unit can be merged to produce patterns that is less
strong aesthetic appeal. obvious that it is based on the square grid. In recent
The number of symmetry groups for periodic patterns centuries, artist like Esher adapted the square grid for the
is restricted into 17 plane groups and 230 space groups[9]. frame of his work.
Islamic art proved to be an equally rich source for the study
of symmetries such as translation, rotation, and reflection
transformation, the seven classes on one sided bands, and
the seventeenclassesof the plane spacegroups[ lo].

3. Symmetrical grid
Patterns by nature of their definition lends themselves
to be described and explored using grids, a framework that
primitive elements are mounted on. It is also a design aid
that sets a geometrical harmonies lo be visible. It is
described by affine transformations once the building block
of patternsare generated. Figure 3: Square grid with interlocking
Square grid, shown in figure 1 is tlhe most popular and pattern
simplest form that not only used by traditional pattern artist
but it sets the fundamental building block of raster displays.
Another extension to square grid is a simple
triangulation by overlapping two grids tilted at 45’ and their
nodes are matched, figure 4. This added layer will increase
complexity by at least four folds.

Figure 1: Square g ‘id framework

On the forms of patterns that these are used in Islamic

calligraphy (not quite the same as bitmap characters). In Figure 4: Square grid-with interlace
traditional architecture, this reveals itself in the form pattern
beautifully decoratedand displayed versesof the sacredtext.
Figure 2 shows an example that is basedon this art.
A further exploration of triangular grid, shown in
figure 5 gives rise to a isometric shapeswhich is a popular
in stone work are shown in Islamic art.

A further exploration of this is achieved by combining

horizontal and vertical line spacing. It has produced patterns
of overlapping effects. Figure 6 is an example of such
gridding that results in the octagonal pattern. Jones[lll
notes that “___from this multiple grid, Islamic artist have
created a large number of borders ...”
Figure 2: Calligraphy pattern using
Square grid

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 4. Compass/ruler method
From a circle it is possible to generate a regular
polygon once the circumference is divided equally to the
required number of parts and the points of division are
joined with the straight lines. The first step of dividing the
circumference into three, four and five equal parts, or their
multiples, will determine the subsequentgrid-pattren(s) and
repeat unit, while the radius or diameter of the circle can be
taken as a unit measure[7].

Figure 5: Isometric Triangular grid

popular in stone work patterns

Figure 6: Multiple grid for overlapped

pattern

In 1925. Hankin[l2] analysed the pattern in figure 7.

He refers to it as “a dificult sacacenic design”. He goeson “
... Saracenic design each have pattern space, have either
radial or bilateral symmetry”. It is surprising that this ideal
is so heavily achieved in a pattern. Figure 8: Compass/ruler method [7]

Based on this statement by El-Said, there is a clear

indication that simple or complex, any IGP pattern is based
on these primitives-circle. square and triangle. It is based
on multi-layered gridding system. An example of his work
and method is illustrated in figure 8.

5. Numerical method
Based on the research carried out by Salman[ 131, the
numerical data is extracted from these pattern using CAD
Figure 7: Complex grid with radial and
data capture features. Figure 9 demonstrate this technique
bilateral symmetry
that are used together submotif and unit pattern is
tessellated from these submotive. A simple horizontal and
vertical translation produces the end result.

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 6. Normalised grid/motif method

Science rests firmly on the dual foundation of

reproducibility (produce again or a new) and predictability
(declare in advance). Reproducibility means that
experiments can be repeated by the same and by other
investigators, thus giving data of objective, lasting value.
Predictability means that order can be found among the
phenomena investigated, from which laws can be
formulated, predicting the results of new experiments.Then
theoriescan be developed to explain the laws. Predictability
makesscienceour means both to understand and to exploit
nature[131.
Therefore, by investigating IGPs patterns it was
evident that it’s indeed possesses reproducible and
predictableaspects.
This meansthat IGP is reproduced and a new patterns
can be generated from the old ones. Also new laws and
formulas can be developed to generated the same patterns
C: Pattern J and others. In normalised grid method, we are introducing a
new meansin generating IGP.
A hexagonal unit pattern figure 10A has been studied
m
using compass/rulermethod.
4: Submotif B: Unit pattern
A common segment of the main grid figure IOA
which we call it submorfgrid (figure 10B) is identified and
>olyLine 1:(.5,.289), (389, .096), (.889, 0) separated.
The submotif grid is the most critical and important
Figure 9: Numarical method I[131

d
E: Motif pattern
Reflection on
y-axis of submotif
pattern in figure D

A: Originanl grid
compass/ruler method
by Issam El-Said

C: Normalisation
30’ of the submotif
grii in figure B.
/

b
Unit pattern
B: Submotif grid
1/I 2 of the grid fig.

igure 10: Normalisation

D: Submotif pattern
chbg.

of he!xagonal submotif
Five rotational copies of
the motif figure E about
point (a).
grid and generation
V
of motif and
unit patern.

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 a jile eattern Generate eptions pisplay Window kielp

Figure 11: An example of 4x2 pattern based on normalised grid

Figure 12: An exploration of hexagonal unit pattern for various slice angles

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 part of the design procedure which we will use to identify it is tangible to establish a set criteria that links attributes
the vertices of our submotif pattern figure IOD. The in visual forms and patterns to their higher meaning.
function designed is based on two arguments, radius and
angle of slice (see figure 100 References
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Ruschlikon (1944).
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a=0 3. N. V. Belov. Moorish patterns of the Middle Ages and the
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b=RJ2 (1956). English translation; Soviet Physics-Crystallography
h = R/2 [ l+(coso)*] 1e482-483 (1956).
c=R 4. L. Fejes Toth. Regular Figuren. Akademiai Kiado, Budapest
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areaand allows us to explore the patterns as their arguments Methods for Computer Graphics Studies of Islamic Symmetric
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important in the sense of understanding of hierarchical Elmhurst Station, P.O. Box 1115, Elmhurst. nwe York
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symmetry of the form but also the symmetry of the
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The next stage of this research is to establish whether

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