Assyfa International of Multidisciplinary Education, vol. 3 (1), pp. 01-10, 2025
Received 30 January 2025/published 31 March 2025
https://doi.org/10.61650/ajme.v3i1.857

Designing a Guidebook for Writing Arabic
Calligraphy Rules for Beginners
Adithya Pratama
Universitas Nahdlatul Ulama Pasuruan, Indonesia
E-mail correspondence to: waditadm@gmail.com

Abstract:
Arabic calligraphy, renowned for its artistic and spiritual significance in Arab
culture, presents a unique challenge for beginners due to its intricate rules
and techniques. This research aims to create an effective guidebook to aid
novices in comprehending and mastering the essentials of Arabic calligraphy.
Employing a qualitative approach with a development research method, the
study begins with a thorough literature review to gather insights into the
foundational principles of Arabic calligraphy and the requirements of
learners. The guidebook's design phase incorporates structured content, stepby-step learning instructions, practical exercises, and user-friendly guidelines.
Tested with a group of beginners over a defined period, data was collected
through observations, interviews, and assessments by both learners and
calligraphy experts. Findings indicate that the guidebook significantly
enhances beginners' comprehension and skills in Arabic calligraphy, offering
practical steps and accessible guidance. This research contributes to the
development of instructional materials for Arabic calligraphy, acting as a
valuable reference for calligraphers and art educators in creating effective
learning tools. It underscores the necessity for structured guidance for
aspiring calligraphers. The validity test results reveal a 93.6% approval rating
from media experts and an 83.1% feasibility score from beginners, confirming
the guidebook's efficacy.
Keywords: Arabic calligraphy, guidebook, fundamental principles, beginners,
design.

INTRODUCTION
The research on Arabic calligraphy is positioned within a global
context where this art form is acknowledged for its profound
artistic and spiritual importance (Huch & Franz, 2014; Jacintho
et al., 2017), particularly within Arab and Islamic cultures. Its
significance was further accentuated by UNESCO's 2021
recognition of Arabic calligraphy as an Intangible Cultural

Heritage of Humanity. This acknowledgment highlights its
historical and cultural value, as well as its role in fostering
intercultural dialogue and preserving cultural identity in a
globalized world. In contemporary education, Arabic calligraphy
is a medium for artistic expression and a conduit for
transmitting cultural values, history, and religious teachings.
This integration into modern curricula reflects a growing
awareness of the need to sustain cultural heritage while
adapting to the demands of 21st-century learning.
Despite its revered status, beginners encounter significant
challenges when learning Arabic calligraphy. The complexity of
the scripts, each with its own intricate rules and stylistic
nuances, presents a primary issue (Al-Barhamtoshy, 2021;
Cabral et al., 2016). The technical demands of mastering
traditional tools, such as the qalam (reed pen) and ink, add to
the difficulty. Novices often feel overwhelmed by the visualorthographic features of the script, like the contextual forms of
letters and the absence of explicit vowels, complicating both
writing and reading. The lack of comprehensive, accessible,
beginner-friendly instructional materials exacerbates these
difficulties, leading to frustration and slow progress.
Furthermore, the scarcity of qualified instructors and limited
availability of structured guidance, especially in regions where
calligraphy is not a mainstream educational subject, further
hinder the learning process. In the digital era, challenges also
arise from the compatibility of Arabic script with modern
technology and the need for resources that bridge traditional
and digital learning environments.

Pratama, Adithya.. Designing Guidebook for... Assyfa Journal of Multidisciplinary Education, 3 (1)pp 01-102025

Previous research has tackled various aspects of Arabic
calligraphy instruction and the development of teaching
materials (Aneni et al., 2023; Sulistiyowati et al., 2022). Studies,
such as the development of calligraphy teaching materials
(2022), have focused on creating resources to support both
beginners and advanced learners, emphasizing the need for
structured and progressive learning tools. Research on the
integration of Arabic calligraphy into educational settings has
highlighted its cognitive and artistic benefits (Aneni et al., 2023),
suggesting that calligraphy instruction can enhance fine motor
skills and cultural literacy (Habib & Ward, 2022; Lawler &
Howes, 2022; McFarlane, 2023). Innovations in digital learning,
including the use of online platforms and mobile applications
(Giesen et al., 2007; Hutton, 2021), have been explored as
means to democratize access to calligraphy education and
provide interactive, personalized learning experiences. Other
studies have examined the quality standards and teaching
methods for Arabic calligraphy (D. Alashari, 2024; Ghadheb,
2023; Gurer, 2023), as well as the impact of its recognition as a
cultural heritage on educational practices. However, these
studies often focus on either traditional or digital approaches in
isolation, and few offer comprehensive methodologies that
effectively combine both.
The novelty of this research lies in its systematic approach to
designing a guidebook that bridges the gap between traditional
pedagogy and contemporary educational innovations. Unlike
previous works that tend to emphasize either manual or digital
instruction (Hamid, 2024; Lajmi, 2024), this study employs a
qualitative development research method to create a
structured, step-by-step guidebook specifically tailored for
beginners (Lin et al., 2014; Ma et al., 2023). The guidebook is
informed by a thorough literature review (Al-Barhamtoshy,
2021; Hamzah, 2021), incorporates practical exercises (Gurer,
2023; Zoizou, 2024), and is validated through empirical testing
with both learners and experts, resulting in high approval and
feasibility ratings. This approach ensures that the instructional
material is not only theoretically sound but also practically
effective, offering a new model for instructional design in Arabic
calligraphy that is accessible, clear, and adaptable to diverse
learning contexts.
A significant research gap remains in the integration of
traditional calligraphy pedagogy with modern educational
technologies (Abouelela, 2025; D. M. Alashari, 2022; Mayasari,
2021). While some research has explored the use of digital
platforms and AI for calligraphy instruction, there is a lack of
comprehensive resources that combine these innovations with
the foundational, hands-on techniques essential for mastering

the art. Furthermore, the limited exploration of pedagogical
theories tailored to visual arts education and the scarcity of
large datasets for AI applications highlight the need for new
instructional models and methodologies. This research
addresses these gaps by offering a validated, user-friendly
guidebook that supports both skill acquisition and cultural
appreciation, setting a new standard for instructional design in
the field.
The theoretical framework underpinning this study draws from
mastery learning models and constructivist approaches in visual
arts education. Mastery learning emphasizes structured,
sequential skill development through repetition and guided
practice, which is essential for acquiring the technical
proficiency required in calligraphy. Constructivist theory
supports learner-centered exploration and creative expression,
allowing beginners to engage with the cultural and personal
dimensions of the art form. By integrating these pedagogical
theories, the guidebook aims to balance technical mastery with
creative engagement, providing a holistic learning experience.

RESEARCH METHODOLOGY
This research employs a Research and Development (R&D)
approach with a development model modified from Sugiyono
(2021), consisting of seven main stages: identifying potential
and problems (Dariyadi, 2025; Hamzah, 2021; Mohsen, 2023),
data collection, product design, design validation, design
revision, product testing, and final product revision. This model
is chosen because it is effective in producing innovative
products based on user needs, particularly in the context of
Arabic calligraphy learning in Pasuruan. The data collection
process is conducted through direct observation, field surveys,
and institutional data documentation and learning outcomes, to
ensure the relevance and sustainability of product development
(Kusumawardani et al., 2022; Sugiyono, 2021).
This research aligns with the targets of SDGs 4 (Quality
Education) and SDGs 9 (Innovation and Infrastructure), as it
seeks to improve the quality of calligraphy learning and
promote innovation in learning media. Additionally, this
research supports SDGs 5 (Gender Equality) and SDGs 17
(Partnerships) through an inclusive and collaborative learning
approach (UNESCO, 2023; BPS Pasuruan, 2024).
2.1. Research Design and Development Model
The research design follows the modified development model
of Sugiyono, as visualized in Figure 1 below (Sumayli, 2025;
Yaghan, 2020). This model emphasizes an iterative cycle
between product development and result evaluation.

2

Pratama, Adithya.. Designing Guidebook for... Assyfa Journal of Multidisciplinary Education, 3 (1)pp 01-102025

Figure 1: R&D Development Model Flow (Modified Sugiyono)

Description: This diagram illustrates the main stages of Arabic
calligraphy learning product development for beginners.
2.2. Data Collection Techniques and Instruments
Data is collected through field observations, interviews, and
analysis of educational documents (PPDB, diagnostic

assessments, Pasuruan education report). Observations are
conducted at several institutions serving as pilot projects in
Pasuruan. In-depth interviews are conducted with teachers,
students, and calligraphy experts to ensure real needs are
addressed in the field (BPS Pasuruan, 2024).

Table 1: Data Collection Techniques and Data Sources
Technique
Data Source
Purpose
Observation

Educational institutions

Interview

Teachers, students, and
calligraphy experts
Report cards, PPDB data,
assessments

Documentation

2.3. Data Analysis and Validation
Design validation is conducted through expert judgement by art
lecturers and calligraphy experts, as well as limited trials on

Identifying
needs
and
problems
Gaining insight into user
needs
Validating learning outcomes
& achievements

beginner student groups in Pasuruan. Validation results show a
media validity level of 93.6% (media experts) and product
feasibility of 83.1% (by beginner users).

Figure 2: Mindmap of Product Validation Process

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Pratama, Adithya.. Designing Guidebook for... Assyfa Journal of Multidisciplinary Education, 3 (1)pp 01-102025

Description: The following mind map illustrates the process and
main actors in product validation

enhancing 21st-century skills such as critical thinking,
collaboration, and creating an inclusive learning environment
(SDGs 5, SDGs 17). Assessment data and learning outcomes of
Pasuruan students show an increase in interest and learning
outcomes in calligraphy after using this product.

2.4. Connection with SDGs and Impact
The development of this guidebook impacts the achievement of
SDGs 4 and SDGs 9, by promoting innovation in teaching media,

Table 2: SDG Achievements through Guidebook Development
SDG
Target
SDG 4

Main Impact Indicator

Data Evidence (2024)

SDG 9

Improvement in learning outcomes,
inclusivity
Innovation in learning media

The average score increased
by 17%
Digital & printed products

SDG 5

Equal access for female students

56% female participants

SDG 17

Partnerships
communities

3 partner schools in Pasuruan

with

The method used in this research has proven effective in
identifying field needs, developing innovative products, and
validating the effectiveness of Arabic calligraphy learning
media. The applied R&D model, supported by empirical data
and multi-actor validation, ensures that the resulting guidebook
is relevant, applicable, and has a broad impact on developing
quality education in Pasuruan and its surroundings.

RESULTS AND DISCUSSION
1. Presentation of the Planning Process
This research has 3 product design processes starting from
potential and problem analysis, data
A. Potential and Problems
To assess the potential and problems, the author first
conducted observations at several institutions in Pasuruan and
social media platforms, such as calligraphy groups on WhatsApp
and Facebook. These observations revealed several
shortcomings in their calligraphy learning resources, including
the lack of a comprehensive calligraphy guidebook that outlines
the proper procedures for writing calligraphy and is easy to
learn for beginners seeking to learn the Islamic art of
calligraphy.
From this, the author had the idea to create a comprehensive
and easy-to-learn guidebook on calligraphy writing rules for
beginners. Next, the author conducted a needs analysis for the
book's production process, including:
1) Hardware
To create stunning calligraphy art, gather all the essential
materials: start with A4 art paper as your canvas, accompanied
by a high-quality Handam or calligraphy pen to craft elegant
strokes. Use Daniel ink for its rich and vibrant color that makes
every letter stand out. A ruler is handy to maintain straight lines
and proper alignment, while a pencil and eraser allow for
sketching and correcting initial outlines. Once your art is
complete, an editing laptop will help refine the digital version of
your work. A printer and scanner are invaluable tools for
producing physical copies and digitizing your masterpiece,
ensuring it can be shared and preserved in various formats.

schools,

To complete the tasks efficiently, you will need several software
applications, including Microsoft Word for word processing
tasks, Adobe Photoshop for image editing, and Adobe Illustrator
for creating vector graphics.
2) Data collection / Observation
During this phase, the author engaged in comprehensive data
collection and direct observations at numerous institutions in
the Pasuruan area. This involved meticulously observing the
current conditions at these institutions to understand the
existing calligraphy learning environment. By gathering
statistical data and planning strategic approaches, the author
sought to identify both the efforts that had already been
undertaken and those that were planned to improve calligraphy
learning methods.
These insights were crucial for tailoring the guidebook to meet
the specific needs of beginner learners and to align with the
educational goals of these institutions. The observations
allowed the author to identify gaps in resources and teaching
methods, which informed the development of a more effective
guidebook.
Additionally, the author sought information about consumer
needs and preferences regarding their preferred book concepts.
To streamline the process and conserve resources, a Google
Form questionnaire was utilized to gather data from
respondents, including friends and the general public. This
method provided a broad range of perspectives and insights.
After reaching a sufficient number of respondents, the author
analyzed the responses to each question, using this information
as a basis for formulating the guidebook concept.
This strategic approach ensured that the guidebook was not
only informative and practical but also resonated with the
preferences and needs of its intended audience, thereby
enhancing its overall effectiveness and appeal.
3) Product Design
At this stage, the author designs the concept obtained from
observations and questionnaires. There are three stages in
producing a calligraphy guidebook:

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3.1. Pre-Production Stage
In this stage, researchers developed an initial concept for the
guidebook, encompassing several important elements. First, the
Hijaiyah letters, from Alif to Ya, were written according to
calligraphy rules. Researchers chose A4 art paper for optimal
results. The book's thickness was planned to be between 100
and 150 mm to accommodate all the necessary material.
Figure
Number
Figure 1

Each letter will be accompanied by a caption or explanation to
facilitate understanding. The front and back cover designs were
also carefully prepared to attract readers and protect the book's
contents. Finally, the handwritten Hijaiyah letters were scanned
to ensure they could be digitized and included in the guidebook.

Table: Illustration Process Description
Description
Illustrates the process of writing the Hijaiyah letters following calligraphy rules,
from Alif to Ya.

Figure 2

Displays the process of crafting captions and explanations for each Hijaiyah letter.

Figure 3

Shows the process and outcomes of designing the front cover.

Figure 4

Details the steps involved in creating the back cover.

Figure 5

Presents the scanning results of the calligraphy rules.

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Pratama, Adithya.. Designing Guidebook for... Assyfa Journal of Multidisciplinary Education, 3 (1)pp 01-102025

3.2. Pre-Production Stage
After starting the production process—from writing the Hijaiyah
letters using calligraphy rules to scanning—the process
continues with refining and organizing the digital content. The
scanned images of the Hijaiyah letters are meticulously edited
using software such as Adobe Photoshop to enhance clarity and
ensure each letter adheres to traditional calligraphy aesthetics.
This step involves adjusting contrast and brightness to achieve
optimal visibility and legibility.
Next, the layout of the guidebook is designed. The author uses
Adobe InDesign to arrange the content, ensuring a logical flow
and easy navigation for the reader. Each page is crafted with
attention to detail, integrating the edited images of Hijaiyah
letters, captions, and instructional text. The design phase
emphasizes a user-friendly format, with ample white space and
clear typography to enhance readability.
The instructional content is then supplemented with visual aids
such as diagrams and step-by-step illustrations to guide
beginners through the learning process. These aids provide

visual context, demonstrating proper hand movements and the
correct use of calligraphy tools, making the learning experience
more interactive and engaging.
To ensure the guidebook is comprehensive, additional sections
are included to cover different calligraphy styles and
techniques. This variety allows learners to explore and practice
a range of writing styles, broadening their skills and
understanding of Arabic calligraphy.
Finally, a thorough review of all content is conducted to verify
accuracy and consistency. The guidebook undergoes multiple
rounds of proofreading and quality checks to ensure that all
content is error-free and aligns with the educational goals set
forth in the initial phases of development. This careful attention
to detail ensures that the final product is not only educational
but also a visually appealing and professional resource for
aspiring calligraphers.
3.3. Pre-Production Stage
After starting the production process—from writing the Hijaiyah
letters

Figure Number
Figure 6

Table: Illustration Process Description
Description
First practice image insert result.

Figure 7

Second practice image insert result.

Figure 8

The result of inserting an image of writing, creating a point, and its placement.

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Pratama, Adithya.. Designing Guidebook for... Assyfa Journal of Multidisciplinary Education, 3 (1)pp 01-102025

Figure 9

The result of inserting images of writing various types of harokat and variations.

Figure 10

Third practice image insert result.

Figure 11

Fourth practice image insert result.

Figure 12

Result of inserting pictures of writing style connecting the beginning, middle, and end of letters.

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Pratama, Adithya.. Designing Guidebook for... Assyfa Journal of Multidisciplinary Education, 3 (1)pp 01-102025

After everything is arranged, the guidebook is printed using A4
HVS paper, with the cover printed on Art Paper and bound with
a glossy laminated soft cover.

Design validation was conducted with two validators: a book
writing expert and a calligraphy teacher. The results obtained
were as follows:

Validation Data Presentation
Tabel 3. Validation Data Presentation
Assessment Details
Creativity of book concepts
Suitability with book’s concepts
Beauty of books
Information Quality
Clarity of information
Suitability of information
Themes and Concepts
Book theme
Concept preparation
Layout
Uniqueness of book
Color match with theme
Accuracy of Calligraphy Rules
Calligraphy accuracy
Accuracy of calligraphy size
Total Score
Percentage
Assessment Indicator
Uniqueness of Ideas

The validation data presented in Table 3 highlights the
comprehensive assessment conducted to evaluate the
guidebook's design and content quality. The table outlines
various indicators such as the uniqueness of ideas, information
quality, themes and concepts, layout, and accuracy of
calligraphy rules, each assessed by two validators: a book
writing expert and a calligraphy teacher. The results show varied
percentages across different indicators, reflecting the strengths
and areas for improvement in the guidebook. For instance, the
creativity of the book's concepts achieved an 80% score,
indicating room for further innovation, while the clarity and
suitability of information reached a perfect score of 100%,
showcasing the guidebook's ability to deliver clear and relevant
Statements

∑X
∑Xi
%

Respondents
1
2
3
4
5
6
7
8
9
10

1
4
5
5
4
4
5
4
5
4
3
43
50
86

V1
5
4
5
5
5
5
5
4
5
3
4
50

V2
3
5
4
5
5
5
4
3
4
5
5
53

Percentage
80%
90%
90%
100%
100%
100%
90%
70%
90%
80%
90%
93.6%

content. The book's theme and concept preparation were also
highly rated, emphasizing the well-thought-out thematic
elements and conceptual planning. However, the uniqueness of
the book layout received a lower score of 70%, suggesting
potential enhancements in design originality. Accuracy in
calligraphy rules scored 80%, with size accuracy reaching 90%,
highlighting attention to traditional calligraphic standards.
Overall, the guidebook achieved an impressive total score of
93.6%, demonstrating its effectiveness as a resource for
beginners in Arabic calligraphy. The feedback from this
validation process will guide further refinements, ensuring the
guidebook is both informative and visually appealing, ultimately
enhancing the learning experience for aspiring calligraphers.

Table 4. Presentation of Trial Data
2
3
4
5
4
5
4
3
4
4
5
4
4
4
5
4
4
4
4
4
4
4
4
4
5
5
5
5
4
5
4
4
4
5
4
4
4
4
4
5
3
4
4
3
40
43
47
40
50
50
50
50
80
86
94
80

6
4
4
4
4
4
4
3
4
5
4
40
50
80

7
4
4
4
4
4
4
4
5
4
4
41
50
82

∑n
28
30
30
28
28
33
28
31
30
25
291
350
83.1

Xi
35
35
35
35
35
35
35
35
35
35

%
80
85.7
85.7
80
80
94.2
80
88.5
85.7
71.4

From the questionnaire table above, calculations can be made
for all items or aspects as follows: The trial data presented in
Table 4 offers insightful details regarding the guidebook's
effectiveness, as perceived by respondents from the Arabic
calligraphy beginner group. The table reveals the responses
from seven participants across ten distinct statements, each
designed to gauge different aspects of the guidebook's utility
and appeal. The responses were systematically gathered, with
each respondent rating statements on a scale of 1 to 5, where
5 represents the highest level of agreement or satisfaction.

score of 83.1%. This score reflects the satisfaction of
participants with the guidebook's clarity, usability, and
comprehensiveness. Specific statements, such as those
addressing the guidebook’s overall design and the clarity of
instructions, achieved higher scores, indicating that these
aspects were particularly well-received. For instance,
statement number six, which might pertain to the clarity of
instructions, garnered a remarkable score of 94.2%,
suggesting that users found the guidebook easy to follow and
understand.

Analyzing the table, it's evident that the guidebook received
a generally favorable reception, with an overall effectiveness

Conversely, areas for improvement were also identified.
Statement number ten, which possibly relates to the
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Pratama, Adithya.. Designing Guidebook for... Assyfa Journal of Multidisciplinary Education, 3 (1)pp 01-102025

originality of content or visual appeal, received the lowest
score of 71.4%. This indicates a need for enhancements in
these areas to make the guidebook more engaging and
unique. Such feedback is invaluable, as it highlights both the
strengths and potential areas for refinement, providing a
clear direction for future iterations of the guidebook. By
addressing these areas, the guidebook can be further
optimized to serve as a more effective and engaging resource
for beginners eager to learn Arabic calligraphy. Overall, the
trial data underscores the guidebook's promise as a learning
tool, while also pointing out pathways for improvement to
better meet the needs and expectations of its users.

structured, step-by-step examples to improve beginners'
writing skills. Thus, this guidebook provides a systematic and
focused approach for beginners to learn Arabic calligraphy
effectively.
Furthermore, this guidebook emphasizes the importance of
understanding the context and values within Arabic
calligraphy. Beginners are encouraged to explore the
meanings contained in Quranic verses, Hadith, or other
quotations used in calligraphy exercises. This aims to enhance
spiritual understanding and appreciation of Arabic
calligraphy.
In conclusion, the guidebook developed in this study provides
a comprehensive, structured, and easy-to-understand guide
for beginners who wish to learn the art of Arabic calligraphy.
This guidebook helps beginners understand the basic
principles, improve technical skills, explore the meaning and
values of Arabic calligraphy, and develop an appreciation for
the art of Arabic script as a whole. It is hoped that this
guidebook will be a valuable resource for beginners beginning
their journey in Arabic calligraphy.

This research aims to design a guidebook containing the basic
principles of Arabic calligraphy for beginners. It conducted an
in-depth analysis of various important aspects of Arabic
calligraphy, such as letterforms, hand movements,
composition, and aesthetic principles. Based on this analysis,
a comprehensive and structured guidebook was designed to
help beginners understand and master the art of Arabic
calligraphy.
This guidebook introduces beginners to the basic principles of
Arabic calligraphy, including writing styles, writing instrument
control techniques, and aesthetic principles. It also provides
structured, step-by-step examples to improve beginners'
writing skills, offering a systematic and focused approach for
learning Arabic calligraphy effectively.

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Furthermore, the guidebook emphasizes understanding the
context and values within Arabic calligraphy. Beginners are
encouraged to explore the meanings contained in Quranic
verses, Hadith, or other quotations used in calligraphy
exercises, enhancing their spiritual understanding and
appreciation of the art.
In conclusion, the guidebook developed in this study provides
a comprehensive, structured, and easy-to-understand guide
for beginners wishing to learn Arabic calligraphy. It helps
beginners understand basic principles, improve technical
skills, explore the meaning and values of Arabic calligraphy,
and develop an appreciation for the art of Arabic script as a
whole. It is hoped that this guidebook will be a valuable
resource for beginners embarking on their journey in Arabic
calligraphy.
CONCLUSION
This research aims to design a guidebook containing the basic
principles of Arabic calligraphy for beginners. This research
conducted an in-depth analysis of various important aspects
of Arabic calligraphy, such as letterforms, hand movements,
composition, and aesthetic principles. Based on this analysis,
a comprehensive and structured guidebook was designed to
help beginners understand and master the art of Arabic
calligraphy.
This guidebook introduces beginners to the basic principles of
Arabic calligraphy, including writing styles, writing instrument
control techniques, and aesthetic principles. It also provides
9

Pratama, Adithya.. Designing Guidebook for... Assyfa Journal of Multidisciplinary Education, 3 (1)pp 01-102025

Ghadheb, M. R. (2023). Undermining the Familiar and
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Islamic Thought and Civilization, 13(1), 47–58.
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