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The Rubric Bank — with all five levels
234 written Arabic criteria, each with five anchors describing exactly what separates one level from the next. These are the same criteria your work is measured against — open to read before you pay anything.
Having your own work read against one criterion (optional):
Price: 7 SAR · Included in Pro & Artist Plus · First one free — Pricing details
28 criteria
Placing vocal energy on the most important word so stress guides the meaning.
The five levels →How closely your alif's height in the panel (measured in pixels relative to your own reference dot) matches the documented traditional ratio for the declared script (Naskh ~5 dots, Thuluth ~7 dots) — not measured for scripts outside the classical dot system (Ruq'ah/Diwani/Kufic)
The five levels →The precision of diacritic (tashkil) placement above/below the letter, when present, and its size proportion to the letter itself — when no tashkil appears in the panel, this criterion is explicitly marked not applicable, never silently skipped
The five levels →Fidelity to the SPECIFIC declared script's own distinguishing features — Thuluth's letter interlocking and ornamentation, Ruq'ah's simplicity and speed, Diwani's flowing flourish, or Kufic's right angles — not one generic standard applied uniformly to every script
The five levels →Designing the product to fit the user's body and motion comfortably
The five levels →Treating the material per its nature: wood expands, clay shrinks, metal expands with heat, thread tensions to a limit.
The five levels →The piece's soundness after firing: no cracks, blisters, or warping, with mature colour.
The five levels →Working with the wood grain's direction, not against it, and using it aesthetically.
The five levels →How closely the work's details the critic describes (color, shape, composition, word, rhythm) match what is actually present in the work
The five levels →How clearly the critique distinguishes "what is in the work" (description) from "my opinion of it" (judgment), rather than blurring them in one undifferentiated sentence
The five levels →The critic's distinction between "what is seen in the work" and "what it is presumed to mean or symbolize", and whether the move from the first to the second is signalled
The five levels →Painter's ability to observe reality and translate it accurately into lines and forms
The five levels →Understanding light source and using shadow to give objects depth and volume
The five levels →Depicting different surface textures in a way making viewer almost feel them
The five levels →Accuracy in playing notes and avoiding deviation from correct pitches
The five levels →Adhering to chosen musical scale or modulating to it intentionally
The five levels →Hitting the Arabic neutral note (quarter-tone) precisely in cents, not rounding it to the nearest Western semitone.
The five levels →Identifying the maqām from playing or singing (Rāst, Bayātī, Ḥijāz…) and separating those sharing a root jins.
The five levels →Ability to capture the most expressive and impactful moment
The five levels →Using natural or artificial light to serve subject and image mood
The five levels →Managing the difference between light and dark areas to build depth and impact
The five levels →Reading where light comes from (front/side/back/top) and its quality (hard vs soft), and using it to build volume and mood.
The five levels →The relationship between the lit and shadowed sides of the subject, using contrast to separate it and build mood.
The five levels →Capturing the instant where elements and motion intersect to make a relationship and meaning that won't recur.
The five levels →