Chapter 21

The Development of Islamic Geometric

Pattern in Jewellery Product Design

Mohd Idzham Che Rahim, Marzuki Ibrahim, Mohd Zamani Daud

and Nur Syafinaz M. Anuar

Abstract This study is to develop Islamic geometric pattern form to design jew-
ellery from existing Islamic geometric pattern. The study was done by using
computer-aided design (CAD) software to improve the quality of design and to
assist in the creation, modification, analysis, or optimization of each design by
showing the overall appearance of designed jewellery product. To accomplish this
purpose, a combination of available sources such as personal observations and
paper-based sources were utilized. The process involved in this research was
three-dimensional drawing using SolidWorks. This CAD software was used
because it could design from sketches to two-dimensional drawing,
three-dimensional drawing, technical drawing, rendering process, and animation,
and transfer the data to machine to create model item. Final product fabrication used
copper material and plated white and yellow gold with pearl. The focus of this
research was the exploration of Islamic geometric pattern form to design jewellery
from existing Islamic geometric pattern. This research used machine because it
could create perfect model item as the item had to go through repetition process that
could not be created by using manual process. The limitation experienced by the
researchers when conducting the study was the Islamic geometric pattern jewellery
could not be produced without machinery technology due to its angle accuracy.

Keywords Islamic geometric pattern Jewellery product Computer-aided design

21.1 Introduction

Islamic geometric patterns are popular among Islamic artists and designers in all
parts of the world, for decorating almost every surface, whether walls or floors, pots
or lamps, book covers, or textiles. Islamic decoration makes great use of geometric

M.I.C. Rahim
M. Ibrahim (&)
M.Z. Daud
N.S.M. Anuar

Faculty of Art and Design, Universiti Teknologi MARA Kelantan, Machang Kampus,
Bukit Ilmu, 18500 Machang Kelantan, Malaysia
e-mail: marzukiibrahim@kelantan.uitm.edu.my

© Springer Science+Business Media Singapore 2016 229

S.K. Ab. Manan et al. (eds.), Contemporary Issues and Development
in the Global Halal Industry, DOI 10.1007/978-981-10-1452-9_21

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patterns which have developed over the centuries. Many of these originated from
various earlier cultures: Greek, Roman, Byzantine, Central Asian, and Persian.
Islamic geometric pattern is the most recognizable visual expression of Islamic art
and has been used repetitively in architecture, furniture, and product design.
However, Islamic geometric pattern is not commonly used in jewellery design.
Islamic jewellery started from early seventh to tenth century from the description
of the ball-shaped earring depicted on a sculpture from the Umayyah Desert palace
Khirbat al-Mafjar and the scardrope shape like the paintings at Samarra, the tem-
porary Abbasid capital. Islamic art encompasses great achievements in geometry,
calligraphy, and arabesque. These visually diverse art forms grow out from the
same spiritual origin to represent the multiple manifestation of the divine
(Kritchlow 1976; Al-Bayati 1981). For more than thirteen centuries, they acted as
unifying factors. They have linked the architectural products from all over the
Islamic world, extending across Europe, Africa, and Asia (Jones 1978; Kaplan and
Salesin 2004). The four fundamental concepts in Islam, beauty, harmony, sym-
metry, and unity, are all intrinsic to the contemplative side of Islamic art (Grube
1978). Expressing these concepts was never a subjective matter. Islamic artists did
not seek to express themselves as such, but rather aimed to honour matter, and
revealed the objective nature of its meaning (Kritchlow 1976; Jairazbhoy 2000).
The use of geometric patterns is one of the chief characteristics that give the Islamic
artistic heritage its distinct identity.
The vast variety of geometric formation and the strict rules of its generation
reveal an important inner dimension of Islamic tradition: “unity in multiplicity and
multiplicity in unity” (Jones 1978). This principle is represented by means of
different mathematical forms symbolizing the constant celestial archetypes within
the cosmos (Mostafa 1955). Most of these geometric patterns were based on
(a) square repeat unit and the “root two” proportion system, (b) hexagonal repeat
unit and the “root three” proportion system, and (c) pentagon repeat unit and the
“golden ratio” proportion system. Islamic geometry has successfully integrated the
bounding laws of pattern geometry with the beauty and harmony of colours and rich
combinations (Kritchlow 1976). Even though these patterns are physically fixed in
time and space, still their visual manipulation and rhythm indicate movements in
these dimensions (Danby 1995). There are some samples of Islamic geometric
patterns in some items to show how unique those patterns are and the potential to
develop more of such patterns on designed jewellery. For example, the minarets of
Al-Azhar Mosque Cairo, Egypt, bowl greater Iran bowl and Islamic geometric
pattern pillow which are popular in decorative art of many countries such as
Morocco, Turkey and Egypt.
This research hopes to draw more attention on the uniqueness of Islamic geo-
metric pattern and to develop these geometric forms from the existing pattern by
creating and producing an Islamic geometric pattern jewellery design for the jew-
ellery market today. The aim is to design jewellery from the existing Islamic
geometric pattern to ensure that this type of jewellery is possible to be designed,
produced, and created. The study of the Islamic geometric pattern must be done by

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using computer-aided design (CAD) software to improve the quality of design and
to assist in the creation, modification, analysis, or optimization of each design by
showing the overall appearance of designed jewellery product.

21.2 Research Methodology

The qualitative data are used for this research to collect all data through personal
observations and paper-based sources.
Personal Observations
The researchers will use the observation method to collect data from the existing
product design. The observation on the existing product design has been conducted
based on the pattern, application, or function of design.
Paper-Based Sources
The researchers will collect data about the research through books, journals,
newspapers, and magazines. The researchers also use the electronic sources such as
Internet because there are some data that cannot be found in books but can easily be
found in the Internet.

21.3 Analysis of Qualitative Data

21.3.1 Personal Observations

The researchers used observation method to collect data from the existing Islamic
geometric product design. The observation on the existing Islamic geometric pro-
duct design has been conducted based on the pattern, the application, and/or
material of design (Table 21.1).

Table 21.1 Islamic geometric pattern on existing product

No. Product Description Pattern Technical Material
1 Architecture Structure Construction Stone

2 Furniture design Surface Printed Wood

3 Product design Surface Drawing Ceramic

4 Jewellery product Surface Inlay Metal

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21.3.2 Paper-Based Sources

The researchers then collected data by conducting a research through books,

journals, newspapers, and magazines. All the selected data have been analysed and
studied to identify which Islamic geometric construction is possible to be developed
in creating Islamic geometric pattern jewellery. Figure 21.1 below shows the
construction study by the researchers based on seven great mosques and complexes.

21.4 Design and Development

From the collection of qualitative data on finding of Islamic geometric pattern and
creating suitable forms to design jewellery, the researchers start their designing
process by selecting a suitable pattern based on the pattern, the application, and/or
material of design. Thereafter, the mentioned pattern has been developed to a few
steps which include sketches and designs for the creation of a new design for
Islamic jewellery.
With the help of the new technology like rapid prototyping machine, laser
cutting machine in the designing process and cutting pattern process, the exact sizes
can be obtained easily. The cutting and the model can be produced by converting
data to 3D for a short time. However, the use of technology in finalizing the product
is limited because of financial constraint. From this research, it can also be

A B
C D
A : The Great Mosque of Cordoba
B : The Great Mosque of Kairouan
C :The ‘Abd al-Samad Complex
D :The Tomb of Jalal al-Din Hussein
E : The Great Mosque of Herat
F : The Huand Hatun Complex
G : The Mosque of al-Salih Tala’i

E F G

Fig. 21.1 Construction study on seven great mosques and complexes. a The Great Mosque of
Cordoba. b The Great Mosque of Kairouan. c The Abd al-Samad Complex. d The Tomb of Jalal
al-Din Hussein. e The Great Mosque of Herat. f The Huand Hatun Complex. g The Mosque of
al-Salih Tala’i

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concluded that the product manufacturing is only suitable for an established

company with a machinery facility.
From this study, the researchers are with the opinion that the Islamic jewellery
design based on the Islamic geometric pattern must be done by using CAD software
to improve the quality of the design and to assist in the creation, modification,
analysis, or optimization of each design by showing the overall appearance of
designed jewellery product.
The use of laser cutting machine is also very important to save time and to
ensure the accuracy of the cutting process. Other than that, computer numerical
control (CNC) machine is also recommended as a tool to create a 3D model
product.
From this study also, all the researchers agree on a point that there are a few
suitable accessory materials for this jewellery product, such as pearls and stones.
However, the researchers also reach a consensus that the most suitable accessory
material for this Islamic jewellery design is pearl because of its rotational character
which is equivalent with the jointing techniques.

21.4.1 Brainstorming

The existing Islamic geometric pattern from the mosque, tiles, building, and walls
has been compiled and combined for research purposes to create a general idea for
the development of Islamic geometric form. By using CAD, a few Islamic geo-
metric patterns have been recreated in 3D sketches as shown in Fig. 21.2.

21.4.2 Ideation

Next, the researchers documented the mock-up form of selected ideation according
to group machine technology and material as highlighted in Fig. 21.3.

21.4.3 Evaluation

The evaluation of the design came after the researchers have organized and sorted
out the selected idea of the design. The potential forms have been chosen, and the
restructuring of the selected forms has been created in 3D by using CAD for further
details of the ideation forms. There are six forms selected by researchers to be
evaluated by eight professional designers in order to determine which form is
suitable to be developed into Islamic jewellery design.
Based on the evaluation result, it is found that most of the respondents prefer to
select the potential design from three important design criteria such as (1) usability

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Fig. 21.2 3D sketches using computer-aided design (CAD)

Fig. 21.3 The Islamic geometric pattern computer drawing

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Fig. 21.4 Six selected ideation models of Islamic geometric design

(function of the design), (2) aesthetic (appearance of the design), and (3) technical
(technique used for the design).
The feedback from the respondents has been summed up in the chart below by
researchers to analyse the design through the criteria. Below are the results of the
designed criteria.
Figure 21.4 above focuses on the selection of the design idea for printing pur-
poses as final design development. Although the design Ideation 3 has been chosen
by the respondents as the final design for this research, researchers have decided to
use all design ideations to develop final design product.

21.4.4 Design Development

After the six designs were selected, the development of final design has begun.
Below are the six potential model designs that have been developed by the
researchers (Fig. 21.5).

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Fig. 21.5 Six final Islamic geometric patterns using SolidWorks 3D design software

21.4.5 Fabrication

After finalizing the design, the researchers were ready for the fabrication of the
Islamic jewellery product. Based on the criteria chosen beforehand, the researchers
followed the technical matter selected from the design criteria which focused on
copper metal as the main material for the product fabrication process (Figs. 21.6,
21.7, and 21.8).

Fig. 21.6 Data preparation and setting up of copper plate into laser cutting machine

Fig. 21.7 Combination of the form design pattern to create the final design

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Fig. 21.8 General overview of the finished jewellery product

Fig. 21.9 Design Set A (pendant and ring) and Set B (bracelet, ring, and brooch series)

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21.4.6 Final Product

Figure 21.9 shows the purpose of the product on the models in studio photography.

21.5 Conclusion

This study has explained the development of the existing Islamic geometric pattern
which can be developed into contemporary jewellery product design. This study
also focused on the design form to determine which Islamic pattern form is suitable
to be developed into jewellery product design. The aim of this study was to design
jewellery from existing Islamic geometric pattern. Returning to the aim stated at the
beginning of this study, it is now possible to state that a fine, valuable, and mar-
ketable Islamic jewellery product can be created from the selected Islamic jewellery
design. The researchers also agree on another point that the existing Islamic geo-
metric pattern is not only suitable to be developed into Islamic jewellery product,
but also used for other product designs such as household products, office appli-
ances, and craft products.

References

Al-Bayati, B. (1981). Process and pattern: Theory and practice for architectural design in the
Arab world. London: Flexiprint Ltd.
Danby, M. (1995). Moorish style. London: Phaidon Press Ltd.
Grube, E. (1978). What is Islamic architecture? In G. Michell (Eds.), Architecture of the Islamic
world, its history and social meaning (pp. 10–14). London: Thames & Hudson Ltd.
Jairazbhoy, R. A. (2000). Islamic architecture. Lahore, Pakistan: Ferozons (Pvt.) Ltd.
Jones, D. (1978). The Elements of Decoration: Surface, Pattern and Light In G. Michell (Eds.),
Architecture of the Islamic world. Its history and social meaning (pp. 144–175). London:
Thames & Hudson Ltd.
Kaplan, C., & Salesin, D. (2004). Islamic star patterns in absolute geometry. New York: ACM
Press. http://portal.acm.org/citation.cfm?id=990002.990003
Kritchlow, K. (1976). Islamic patterns: An analytical and cosmological approach. New York:
Thames & Hudson Inc.
Mostafa, M. (1955). The museum of Islamic art (1st ed.). Cairo: Ministry of Education Press.

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