In this short animated film, calligraphic motifs and words are used in the background and the design of the birds. Pages: 29 and 30.

A short temporal typography video showing various types of kinetic behavior. Pages: 31, 32 and 37.

A video installation that provides an example of verbal compositions that are static over time. Page: 33.

This short animated calligraphy video shows motion along the calligraphic line. This motion is akin to the movements of the pen that registers the calligraphic shapes on paper. Pages: 67 and 76.

In this part of the animation, calligraphic forms, letters, and words appear through kinesthetic motion. The trace of the motion that remains on the screen in this process is akin to the process of writing calligraphy on paper. Watch the whole animation here. Page: 68.

In this part of the animation, the trace of the motion along the calligraphic line does not remain on the screen, giving the impression of a moving calligraphic line that conforms to the shape of a calligraphic form. As a result, the shape of the calligraphic form cannot be completely seen in any single frame of the animation. Watch the whole animation here. Page: 69.

This excerpt from the animation is an example of kinesthetic composition. This scene of the animation shows a calligraphic composition that changes over time because of the kinesthetic behavior of its individual calligraphic elements. Watch the whole animation here. Page: 72.

Several sequences in this short animated film provides examples of Plasmatic behavior. Pages: 92, 93 and 94.

This short animated video depicts how the identity of a form may transform in animation, shifting from a purely abstract identity to a verbal one. In this short video, abstract forms (such as circles and squares) playfully transform and align together to present the word عشق, pronounced ishq, (which in Persian means love). Pages: 105, 106, 122, 126, 127 and 128.

In this animation test, a line moves around the screen, taking the shape of the letters of the word خوش, pronounced khush, (which in Persian means joy) one after another. As the line transforms from one letter to the other, it loses its verbal identity and becomes an abstract shape for a few frames until it conforms to the shape of the next letter. Pages: 110, 111, 124 and 126.

In this simple animation, the letter ḥā' (ح) changes into the letters khā' (خ), jīm (ج), and chā’ (چ), respectively. Pages: 111 and 112.

In this animation, the letter ‘ayn (ع) distorts, morphing into the base-form of the letter qāf (ق). In other words, a verbal identity transforms through metamorphosis into another verbal identity. Page: 115.

In this video a transformation of identity occurs through metamorphosis. Page: 116.

In this animation, a number of individual forms freely move around the screen; at some points in the animation, they align together so that their overall shape forms the letter hā’ (ه). Pages: 116 and 117.

video installation: DVD, DVD player, LCD flat-panel wall-mounted monitor, 43 x 48 cm. In this video installation series, image and text both are revealed, hidden, and revealed again through the rotation of two calligrams. Within this process, the shapes of the calligraphic forms do not really transform, but the viewer’s perception of them changes. To see the video installation click here. Page: 119.

At the beginning of this short animation, a verse from a poem by the Persian poet Hafiz starts to be written in beautiful shikastih script. The poem reads: از صدای سخن عشق ندیدم خوش تر, “az sidāyi sukhan-i ishq nadīdam khushtar” (which in Persian means: I have heard nothing more pleasant than the sound of the words of love). After the verse appears fully on the screen, new words and letters start to be written over the poem. The appearance of new elements continues until the screen is filled with an accumulation of letters and words that shape a beautiful calligraphic composition. The appearance of these new calligraphic elements, which overlap with the verse of the poem, encourages the audience to stop reading and start to appreciate the beauty of the wave-like forms of calligraphy. So, in fact, the balance of function in this animation shifts from readability to visibility over time. Pages: 148, 149, 152, 155 and 160.

This animation provides several examples for transformation of the function of calligraphy. In the opening sequence of the animation, the rhomboid dot shifts function (at least) twice. First, the rhomboid dot with hermeneutic function transforms into the diacritical point with semantic function; then, the balance shifts again towards the aesthetic function, making the dot a visual element in an image. Page: 150.

In this animation test, the function of calligraphy transforms through simple motion (kinetic behaviors) of the individual calligraphic forms, which is a form of Primary motion. Page: 155.

In this animation test, the function of calligraphy transforms through change in color of individual calligraphic forms, which is a form of Primary motion. Page: 156.

This animation provides an example for transformation of function through secondry motion. In one of the scenes of this short animated film, the camera movement results in a shift in the function of calligraphy. Pages: 157 and 158.

In this video art, the function of calligraphy transforms over time through camera movement or Secondary motion. Page: 158.

This video provides an example for transformation of function through Tertiary motion (sequence motion). Pages: 159 and 161.

In this installation, the animated visuals projected onto the sculpture transform the function of calligraphic forms in the piece. Pages: 70, 71, 162 and 164.