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He is also an artist in his own right. This Arab proverb suggests that those who don't know the value of something might see it as worthless.

‫‫فريق‬ العمل‬

He trained in calligraphy in Egypt then in Turkey in the s. Then in , he was approached on behalf of the Central Bank to design the Arabic script for the new Dh note.

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In addition to the currency, Al Mandi has worked on other significant government projects. He designed the wall painting at Dubai New Hospital. I love it, because it is not really work for me.

I get to do what I love Kufi, the style that Al Mandi chose, was used to write the first copies of the Holy Quran, and is the oldest form of calligraphy, dating to the early 7th century. The Thuluth script appeared in the 9th century. It is also used in the Quran and is one of the more important ornamental scripts. It is often used in titles, headings and colophons - the imprints or emblems of publishers.

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Thuluth al Jely is a classical script and one of the most important and difficult to write and read. Many modern Qurans are written in Naskh, a more cursive style dating to the late 8th century that is easier to read.

Al Mandi explains how designing currency is a group effort, with over 20 people working on each note as a norm in this field. Together we sit and decide how to make a currency stand out.

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How can it be recognized from among a pile of currency? It has to be unique but at the same time recognizable for anyone who lives here or has visited the UAE. This calligraphy program has received a very positive response from calligraphers and students from Tunisia, France and other Arab countries.

THE KAIROUANI CALLIGRAPHY

In order for the vision to be successful, the exhibition celebrating the fifth edition of Tunisian Calligraphy was dedicated to the Kairouani script. For this show, a number of Tunisian eminent calligraphers as well as new talents, presented distinctive paintings featuring the Kairouani script. The beta version of this Kairouani typo script was distributed to calligraphers, specialists of the field, as well as a group of designers to be tested and assessed.


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Adjustment work followed the feedback and observations received. The digitalization, testing and the publication of the Kairouani typo was facilitated and financed with in active partnership with company Blue Fish. In addition to the calligraphy techniques and writing aesthetics, subjects such as fabrication of ancestral inks and reeds and parchments, and book making art were discussed during the workshops.

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The parallel between writing movements and recitation techniques proved to be a valuable asset in understanding the calligraphy of the sacred text. It is noteworthy that the community of Tunisian calligraphers counts eminent calligraphy masters who are recognized internationally and regionally.

The re-emergence of Arabic calligraphy in contemporary Middle Eastern arts and crafts is now an established trend.