The strategy that most strongly interests me involves constructing an entirely tactile composition using both Braille and embossed linework. The surface is then painted, making every element simultaneously visible and legible, merging the acts of seeing and reading into one shared sensory field.
This dual-access approach holds the most creative potential for me, as it allows full freedom to explore both two-dimensional and three-dimensional ornamental forms with intentionality and precision.
Crucially, this method offers a way to bypass one of Braille’s core constraints, its linearity. By embedding Braille into curved or flowing arabesque lines, I hope to experiment with more organic layouts. While this requires rigorous testing with blind readers, I am beginning this exploration with a few short names of Allah, which do not necessarily require a strict linear sequence. This choice gives me room to investigate how Braille might evolve into an ornamental system that shares the graceful curvature of Islamic arabesque, accessible to both touch and sight,and to people without sight.
That said, I am aware that such a system is best suited for mobile or handheld surfaces—such as vessels, small sculptures, or modular tiles—rather than fixed architectural surfaces like walls. As a first step in this direction, I’ve begun developing a specific Rumi motif, currently in its early sketch phase, titled Anaar Rumi (Please read addendum explaining the nature of Anaar Rumi). 
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