Artist of the Week: Mostafa Sedky Mostafa holds a degree in Engineering, but he did not stop at the rigidity of numbers. Instead, he found in them a living language, choosing to dive into the world of Islamic geometric ornamentation as a field that connects art, knowledge, and design. What initially drew him was the structural logic and mathematical harmony behind these geometric patterns.

Mostafa does not view historic monuments as mere silent walls; he sees them as his primary source of inspiration. For him, every monument is like a “living book written seven or eight centuries ago“. He believes that careful observation of these ruins reveals layers of thought, craftsmanship, and intention behind every line and proportion. For him, these architectural spaces generate questions, and questions, in turn, generate ideas that can inspire research and creative exploration for years.

As a culmination of years of research and practice, Mostafa authored his specialized book: “Islamic Geometric Ornament: Principles and Foundations“. The aim was not just an artistic record, but a rigorous yet accessible introduction for non-specialists to this complex field. The book is an invitation to explore the rules that give this art its universal language, extending his vision of making heritage accessible and understandable to everyone.

Mostafa understands that Islamic art evolved naturally for centuries, but a cultural disruption created a gap between contemporary practices and our artistic heritage. Therefore, in his work and designs, he does not aim to simply replicate historical motifs. Instead, he seeks to reinterpret their underlying principles to feel both authentic and relevant today, building a strong bridge between the authenticity of the past and the needs of the present.

In Mostafa’s workshops at SOCO, you don’t just learn how to draw a geometric pattern; you discover the deeper values and cultural philosophy behind this art. He invites you to connect with a sophisticated intellectual tradition and a remarkable artistic civilization. His ultimate goal is to foster a sense of appreciation, pride, and a rooted connection to this heritage.

For those wishing to enter and delve deeper into this world, Mostafa’s most important advice begins with “clarifying your intention“. Islamic geometric art is a vast field, and its true depth reveals itself only to those with patience and discipline. If you truly want to understand this heritage, do not look for quick results; enjoy the journey, stay curious, and allow yourself the time needed to truly understand the “language of these patterns“.

Join Mostafa Sedky’s Course at SOCO (Available Online):

Special Discount for Sadati Card Holders

We are pleased to announce this initiative as part of our community support to encourage everyone to discover art:

20% Discount for Sadati Card holders (Fujairah Government and CPO employees).

To avail the discount:

• Send a photo of your card via WhatsApp or Email.
• Or present it upon attendance.

That was our newsletter for this week ✨

See you next week with a new artist from SOCO.

Thank you for following us 💛

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Working primarily with watercolors on paper and vellum (calfskin), Shevaun seeks to capture light, color, and texture in breathtakingly precise detail. While botanical art has been used for millennia to document new discoveries and medicinal plants, Shevaun follows this classical approach rooted in accuracy but moves beyond traditional limits by actively experimenting with diverse media and compositions.

Her artistic journey began in 2004 after moving to Egypt. Inspired by the local flora and fauna, she used art as a way to engage her young daughters. As they collected "treasures" from gardens—such as seashells, insects, butterflies, and flowers—she would capture them in her sketchbooks.

This passion took a formal turn in 2010 when she began a distance-learning diploma with the Society of Botanical Artists (SBA) in the UK.

Impressively, she is now a full member of the Society and teaches the very course she graduated from! Upon her return to Ireland in 2012, her involvement in a local bee conservation campaign led to a major milestone: her first significant commission to design national postage stamps featuring native flora and fauna. Since then, she has collaborated closely with scientists on projects ranging from jellyfish and seaweed to lichens, insects, and birds.

Shevaun describes herself as a visual storyteller: "I don’t just paint a flower; I want to know where it grows, where it comes from, and how it relates to culture. All these ideas merge into my compositions."

Her teaching and personal practice center on botanical art as a calm, meditative form that requires deep observation and an understanding of the natural world. She draws profound spiritual inspiration from the Quran, specifically Surah Ash-Shu'ara (26:7): "Have they not looked at the earth—how many generous kinds [of things] We have caused to grow therein" “أَوَلَمْ يَرَوْا۟ إِلَى ٱلْأَرْضِ كَمْ أَنۢبَتْنَا فِيهَا مِن كُلِّ زَوْجٍ كَرِيمٍ”.

Education is Shevaun’s second great passion. In her workshops, she encourages students to slow down, notice both the beauty and complexity of the natural world, and build the practical skills of drawing and painting. To expand her message, she launched her own online art course “Botanical Elements”guiding and inspiring artists on their botanical journeys from their own homes.

Shevaun finds being part of the SOCO (School of Calligraphy and Ornamentation) community to be a wonderful and inspiring experience. Surrounded by talented and creative individuals, she feels constantly energized by the exchange of different artistic approaches, which rejuvenates her ideas and inspires new concepts.

Shevaun summarizes her entire experience by saying: "Botanical art has enriched my life. It is where art, nature, and passion meet."

Ultimately, Shevaun Doherty’s work is more than just precise botanical paintings; it is an open invitation to meditate on the details of nature that we often overlook in the hustle of daily life. From the gardens of Egypt to scientific collaborations in Ireland and her creative synergy with the SOCO community, Shevaun proves that art is a universal language. It masterfully bridges the gap between scientific precision, visual beauty, and spiritual depth.

We invite you to explore more of her creations. Perhaps a bit of "slow observation" the next time you wander through nature will reveal hidden treasures worthy of having their stories told.

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Today, we are excited to start a new series…

Each week, we will bring you closer to the artists and tutors of the School of Calligraphy and Ornamentation (SOCO), sharing their stories, artistic styles, and creative journeys.

This week’s artist:
Shevaun Doherty

At the School of Calligraphy and Ornamentation, we believe that art begins with observation.

And with Shevaun, this idea becomes a way of life.

Shevaun is a botanical artist specialising in watercolor painting. She has come from the West to the East to share her expertise, and she works with us as a tutor and instructor, passing on her knowledge and passion to our students every day at SOCO.

In our conversation with her, she said something simple yet profound:
“Art is seeing the details that most people overlook.”

She does not simply paint nature
she reintroduces it to us in a way that allows us to see it again, differently.

Her journey began while living in Egypt, where nature became a daily source of inspiration. By collecting simple elements such as flowers and leaves, she developed a practice that later evolved into a refined artistic style combining scientific observation with artistic sensitivity.

At SOCO, this is exactly what Shevaun teaches our students…
not just how to paint, but how to observe, be patient, and truly understand what they are creating.

For her, painting is a quiet process that requires time and focus—values that we aim to cultivate in our students.

Her work is distinguished by its ability to capture light, color, and fine details using watercolor, making each piece feel like a true study of nature.

If you would like to begin your journey in this art form, you can join her courses at SOCO — available online from anywhere in the world.

To join : https://socofujairah.ae/product/painting-realistic-fruit-in-watercolour/

In this workshop, you will learn:
• The fundamentals of drawing
• Watercolor techniques (wet-on-wet, layering, dry brush)
• Understanding light, shadow, and fine details
• How to build a complete artwork step by step

We look forward to seeing you next week with another artist.

Thank you for following us ✨

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Just as Ramadan offered a space for stillness and reflection, Eid arrives as a celebration of life and beauty. In Islamic culture, art has always been closely connected to this joy from Arabic calligraphy that adorns heartfelt greetings to Islamic ornamentation that brings elegance and delight to every detail.

At the School of Calligraphy and Ornamentation, we see Eid as a continuation of this journey, where art meets celebration, and creativity becomes a way to express gratitude and beauty.

Eid is also a time for connection, for sharing meaningful moments with those around us, and for expressing our emotions in different ways, including through art, which remains a universal language that brings hearts together across cultures.

On this blessed occasion, we extend our warmest wishes to you and your loved ones, and we pray that it returns to you with goodness, happiness, and peace.

Eid Mubarak,
May your good deeds be accepted, and wishing you a joyful year ahead 🌙✨

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Islamic arts have long been associated with this state of contemplation and serenity. The harmonious geometry of patterns, the delicate botanical motifs, and the flowing elegance of Arabic calligraphy are not merely aesthetic elements; they form a visual language that expresses the balance and harmony at the heart of this timeless art. Through these repeated and balanced patterns emerges a profound sense of order and beauty that has inspired artists for centuries.

During the nights of Ramadan, art takes on a special meaning. Practicing Arabic calligraphy, drawing Islamic patterns, or even reflecting on the beauty of ancient manuscripts can become moments of quiet focus and calm, where creativity turns into a space for reflection and inner peace.

One of the most beautiful values embodied in Islamic art is patience. Every artwork begins with a simple line or an initial idea, gradually developing step by step until harmony and beauty are achieved. An artist may spend hours—sometimes even days—perfecting a single line or repeating a decorative pattern until it reaches the desired balance. In this way, art meets the spirit of Ramadan. Just as one learns patience through fasting, an artist learns patience through the creative journey, where the artistic process becomes a peaceful experience of focus, contemplation, and serenity.

At the School of Calligraphy and Ornamentation, we believe that traditional arts are not merely technical skills, but a cultural and spiritual experience at the same time. Through learning Arabic calligraphy and the arts of ornamentation and Islamic geometry, students discover not only the beauty of these arts but also the deeper philosophy behind them—where art becomes a space for reflection and a bridge to cultural heritage.

As this blessed month approaches its end, the last ten days remain a precious opportunity to pause for a moment, reflect on the beauty that surrounds us, and renew our connection with art, culture, and inner peace.

Ramadan Mubarak,

May these blessed days be filled with beauty. 🌙

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A total of 35 students participated in the visit, which began with an introductory tour of the exhibition featuring the winning works of the Fujairah International Competition for Calligraphy and Ornamentation. The exhibition showcases diverse examples of Arabic calligraphy and Islamic ornamentation. During the tour, the students examined the artistic compositions in detail, learned about the differences between various calligraphic schools and gilding techniques, and listened to explanations about the stages of producing an artwork, from initial concept to final presentation. They showed clear interest in the displayed works and asked thoughtful questions reflecting a genuine desire to understand the artistic and historical dimensions behind each piece.

Following the tour, the students took part in a series of specialised workshops designed in line with their academic interests. The programme opened with a workshop on Islamic geometry led by instructor Asayel, where students explored the foundations of geometric pattern construction, principles of repetition and symmetry, and the mathematical precision underlying this art form. These concepts were applied through practical exercises that strengthened their understanding of the relationship between lines, angles, and visual balance.

A second workshop focused on Maghrebi script under the supervision of instructor Tasneem, highlighting the distinctive characteristics and aesthetic principles of the script. Students engaged in hands-on practice, learning to draw letters while paying attention to proportion, structure, and fluidity. Meanwhile, a third group participated in a botanical ornamentation and gilding workshop led by instructor Namareq, where they explored the beauty of plant motifs and learned traditional gilding techniques with careful attention to detail.

The visit concluded in an atmosphere of enthusiasm and engagement, with students expressing their appreciation for the experience, which allowed them to explore Islamic arts firsthand within a structured educational environment. This visit forms part of the School’s ongoing efforts to strengthen collaboration with academic institutions and support programmes that nurture aesthetic awareness and deepen understanding of Islamic visual heritage among university students.

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The visiting group consisted of 20 male and female students from the Indian community. The visit began with an introductory tour of the exhibition featuring the winning works of the Fujairah International Competition for Calligraphy and Ornamentation. The exhibition presents distinguished examples that highlight the diversity of Arabic calligraphy schools and the richness of Islamic ornamentation. During the tour, students learned about the differences between various calligraphic styles and compositional approaches. They carefully observed the intricate details of decorative elements and colour harmony, and listened to explanations about the stages of producing an artwork, from initial concept and planning to final execution. Their thoughtful questions reflected curiosity and a genuine interest in understanding the artistic techniques and historical contexts behind each piece.

Following the tour, the students moved on to specialised workshops designed according to their age group and interests. They were divided into two groups to ensure focused engagement. The male students attended a workshop on Islamic geometry led by instructor Asayel, where they explored the foundational principles of geometric pattern construction, including repetition, symmetry, and mathematical precision. Through practical exercises, they gained a clearer understanding of the relationship between lines and angles in creating balanced and harmonious designs.

Meanwhile, the female students participated in a workshop on Maghrebi script under the supervision of instructor Tasneem. The session introduced them to the distinctive characteristics, historical background, and aesthetic principles of the script. A practical component allowed them to experiment with writing the letters themselves, with emphasis on proportion control, pen angle, and the fluid movement of strokes.

The visit concluded in a positive and enthusiastic atmosphere, with students expressing their appreciation for the experience and the knowledge they gained. They emphasised the value of such initiatives in deepening their understanding of Islamic arts and strengthening their connection to artistic and cultural heritage. This visit forms part of the School’s broader efforts to open its doors to educational institutions and foster an environment that nurtures aesthetic awareness and appreciation of traditional arts among younger generations.

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During the meeting, the “Rulers of Fujairah” project was introduced. This artistic initiative aims to document the genealogy of Fujairah’s rulers, beginning with Sheikh Mohammed bin Mattar in 1808 and continuing to His Highness the Crown Prince. The project seeks to present this lineage in a carefully studied visual composition that combines historical accuracy with refined calligraphic and ornamental treatment. The ultimate goal is to produce a comprehensive artwork dedicated to His Highness, reflecting the Emirate’s leadership legacy through a meaningful artistic approach

Elif opened the session by presenting the concept and objectives of the project, emphasising the importance of grounding the design process in thorough visual and historical research. It was agreed that the first phase would focus on gathering references and conducting studies, particularly examining traditional Arab and Islamic genealogy trees, historical manuscript examples, contemporary family tree designs, and motifs inspired by the UAE and Gulf heritage, such as the falcon, palm tree, forts, and geometric patterns. Various calligraphic composition formats including circular, vertical, and mirrored structures will also be explored.

Participants were asked to bring two to three images that inspire them to the next meeting, along with a brief explanation of their choices. This will mark the transition to designing the names and selecting the most cohesive visual approach. Elif stressed the importance of adopting a unified calligraphic style that suits all names to ensure harmony within the final composition.

On the research side, participants were encouraged to study the life and achievements of each ruler and to examine traditional naming conventions in Islamic manuscripts, thereby strengthening the intellectual foundation of the artwork. The group also agreed to develop a documentation file explaining the rationale behind selected details and design elements, serving as an accompanying reference that reflects the project’s methodology.

This initiative reflects the School of Calligraphy and Ornamentation’s commitment to producing documentary artworks connected to the history of Fujairah, highlighting Arabic calligraphy as an artistic medium capable of merging historical documentation with visual expression in a cohesive and meaningful composition.

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The workshop stemmed from the significance of botanical ornamentation as one of the most prominent components of Islamic art. Drawing its elements from nature, this art form transforms organic shapes into structured designs governed by precise geometric systems that ensure visual balance and harmony. The session began with an introduction to the historical background of botanical ornamentation, explaining how natural forms evolved over time into repeated decorative units with a distinctive abstract character found in manuscripts, architecture, and Islamic applied arts.

The workshop focused on analytical approaches, guiding students on how to study natural elements such as leaves and flowers by examining their structure and primary lines, then deconstructing and redesigning them into cohesive ornamental compositions. Key principles discussed included composition, visual rhythm, repetition, and symmetry, as well as the relationship between positive and negative space within a design. The session also addressed methods of arranging botanical elements within geometric frameworks to enhance unity and structural coherence.

During the practical segment, students engaged in hands-on exercises, creating their own decorative units inspired by nature. They received direct guidance on proportion control and achieving balance between curved lines and structured divisions. The completed works reflected varied visual interpretations while adhering to the fundamental principles of botanical ornamentation, demonstrating a clear understanding of the concepts introduced during the session.

The atmosphere of the workshop was marked by focus and constructive interaction, as students exchanged observations and raised questions about applying this art form within media and contemporary design contexts. This dialogue helped bridge theoretical knowledge with practical application, broadening participants’ awareness of botanical ornamentation as a visual language rooted in tradition yet adaptable to modern creative fields.

This initiative forms part of the School’s broader programmes aimed at promoting awareness of traditional arts and reintroducing them within contemporary educational frameworks, preserving their authenticity while encouraging new generations to explore their aesthetic depth and creative potential.

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The workshop began with an introduction to the concept of the “Shamsa” (sunburst), one of the central decorative elements in Islamic manuscripts. Traditionally positioned at the centre of a page, the Shamsa is constructed according to a precise geometric system that balances form and ornamentation. Participants were introduced to its historical role in highlighting chapter openings or titles, as well as the evolution of its forms across different artistic schools over time.

The workshop covered the stages of designing the sunburst, starting with the initial geometric planning, followed by drafting the internal divisions and ensuring balance between decorative elements and surrounding spaces, and culminating in the application of gilded layers. The instructor explained the practical steps of preparing the surface, defining gilding areas, and handling gold in a way that preserves its purity and brilliance.

During the practical segment, participants were given the opportunity to create their own designs, with direct guidance to refine fine details and master the outlines surrounding the gilded areas. The process required concentration and patience, particularly when emphasising decorative borders and achieving contrast between the gold and the coloured background.

The completed works reflected varied visual interpretations while maintaining the fundamental principles of composition. The golden accents appeared harmoniously integrated within the geometric framework, demonstrating a practical understanding of the execution stages. Discussions throughout the session further deepened participants’ appreciation of gilding as an art form that combines technical precision with aesthetic sensitivity.

This workshop is part of the School of Calligraphy and Ornamentation’s ongoing participation in cultural events, designed to offer hands-on learning experiences that introduce audiences to traditional arts and enable them to engage with these practices directly. It also reflects the School’s commitment to sustaining manuscript arts within a contemporary context, while preserving their authenticity and artistic integrity.

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