To read a text written in a beautiful Arabic script, you stimulate your senses to capture the literal beauty, while you are motivated to read it in a fine way because it brings you the pleasure of reading and the pleasure of reflecting on the gradations of the script, its refinement and its aesthetic form. On the contrary, reading a text written in a bad script may make you not complete the reading process. Thus, calligraphy may lead us to a kind of positive or negative interaction with the written text, whether it is a dedication on a book, a letter, a written literary work, or a scientific text. In the vast majority, we as readers expect writers and poets to have od and beautiful handwriting because literary writing is their craft that no one disputes with them. The quill and the small carved wooden sticks that are dipped in ink, and later the pen, were the tools of writing by hand, and all the manuscripts that reached us were written with these tools, in high refinement and elegance because the writer took his time in writing, embroidering and forming, which created a great diversity in the forms of Arabic scripts from Naskh to Ruq'ah to Diwani, Persian, Moroccan, Andalusian, and Tughra. These are scripts that writers and calligraphers excelled in ancient and modern times, but care for calligraphy moved to the artists and calligraphers themselves in a big way, and writers and authors replaced them with technological writing tools via computer, laptop and mobile, and before them typewriters and printing tools.