Ayah Jibril: A jewel of a designer

Ayah Jibril applies herself industriously to graphic design and makes jewelry utilizing Arabic calligraphy.
She has shown and highlighted the aesthetics of the line on necklaces, rings, and even cake designs. She has drawn lines in Arabic calligraphy formations, with its multifaceted variety.
She says that her talent was born out of her love for the Arabic letter and the Arabic calligraphy. “I was driven by my work in design, which led me to design jewelry pieces that are made of gold or silver. I used to apply calligraphic designs on the pieces. What I do is that I make a sketch of the design, and I give to a shop that specializes in this area. I made presentations in many training workshops for young Saudi women,” she said.
Arab News caught up with the talented designer for an interview. Here are some excerpts:

What do you design? And who do you design for?
I design rings and necklaces that are graced with Arabic calligraphy, in all its varieties. It is known that Arabic calligraphy has seven types of letter design. I have a special style. It’s like a signature that is known to everyone who works in designing jewelry pieces with calligraphic forms. I apply my love to the letter and imprint it on gold and silver pieces. Sometime I grace it with precious stones, according to the customer’s order. Most of my clients are men who buy my designs in order to give them as gifts to their families and wives. I am always asked to write names of males and females on my pieces.

How do you make your designs?
I make designs using software. I put my characteristic forms. Then I turn it to a workshop that specializes in metal cutting, and they manufacture the object according to the design. I tend to use the Kufic and Diwan variety, in addition to free lines. I design company logos. Sometimes business people ask me to make logos for them. I collaborate with “Little Cake” and with Maha Al-Hamid, a businesswoman who specializes in drawing calligraphic designs on cakes.

What do you think of the increasing trend of drawing Arabic calligraphy forms on fashion, bags and shawls?
Arabic calligraphy needs attention to its aesthetics, which could be helpful in fashion design, bags, and accessories. If they are done elegantly and with grace, this will help emphasize and underscore Arabic culture and calligraphy. I believe designers have to give more emphasis and attention to Arabic calligraphy. It has a very wide space for creativity, and it should be presented in a way that befits the language of the Holy Qur’an.

How did you learn Arabic calligraphy?
I attended various training courses, and I learned the mechanics of writing in this mode, and the various forms of Arabic calligraphy, like Thuluth, Kufic, and Diwani. I experimented with mixing different forms together, so I combined the traditional lines together with the free flowing and abstract forms. The aesthetics of Arabic calligraphy come from the direction and flow of the basic lines, and we must engage them artistically.

What are the rates that you ask from your clients?
A silver ring could fetch something like SR 950 and above. For a gold ring, it would cost the client over 4,500. I leave it to the client to choose the precious stones he or she likes me to engrave for them. Different people have different views regarding the precious stones. Some of them like to have the original oriental pieces that are graced with emeralds, aquamarine, agate, or ruby, etc. I have a partnership with Dar Al-Helia Jewelry in Jeddah to design jewelry pieces that carry my signature.

What do you think of the creative work of young Saudi women?
Young Saudi women are emerging as artists that have the creative spirit and artistic touch. They need encouragement from the local community and society at large. They have so much of the creative energy that is waiting to be released. They also need support and help from the authorities, so that they can move along and achieve progress in their careers. Arabic calligraphy is a realm that has much to offer and many of its creative venues have yet to be attempted. We can use the language of the lines of this type of writing to enhance the status of our language and its arts. I hope Arabic can gain world prominence that it once had, and become a very salient feature in Arabic culture in general.

How do you see the future?
I will be working on advancing and developing my work to more sophisticated modes. I hope that I can have my own “production lines” in jewelry. And I also wish I can enter the world of Arabic calligraphy design on pieces of furniture, fashion and artifacts. I look forward to making partnerships with many other parties in various areas. Most of all, I aspire to have my own signature and footprint in the design of Arabic calligraphy products.