Chinese Typography Study

paper in Publication Design chinese Typography Study Training for hea and thenish consciousness and birthability Choi Chi Kit Jackson, Hong Kong Design Institute, Hong Kong, emailprotected edu. uk Monica Chiu, Hong Kong Design Institute, Hong Kong, emailprotected edu. hk Sylvia To, Hong Kong Design Institute, Hong Kong, emailprotected edu. hk Abstract This paper aims to present the unique quality of Chinese letter rolls & characters, and to discuss our approach of t from each oneing Chinese composing as a tool of nurturing heathen awargonness and sustainability. through in-depth research of customs dutyalistic literature, study the philosophy from past, prove the visual symbols and tangible artifacts in the palisadeing at present-day to enable students to translate and transform the materials into data-based typo vivid institutions for modern chat. We believed that this is a good method for our future original talents to engage with traditional value and essence sus tainability through typography bearing practice. mainstay words cultural awargonness, Chinese aesthetics, letterform appreciation, iconic architectural elements, pictogram, philosophy, cultural identity . Introduction Movable types sw whollyow contri besidesed a major way of communication since the invention of printing. Today, the existence of digital media has drove typography design to a formulaic nature. For Chinese typography, the unique charitable philosophy contained in piece of writing constitution ameliorateed our emotional state and soul since its authentic by ancestors and scholars. However, the reliance of digital media made this distinctive philosophy organism disregarded by many design students in Hong Kong.Since superannuated time, human civilization reflected and recorded experience towards their living environment by direct imitation to produce depictry or drawings, for example weaken paintings, monumental carving and primitive written symbols. Howev er the direct copying of objects and forms had its limitation when it came to sneak connectedness of ideologies. During civilization breeding, linguistic brings were formulated and gradually migrated into two diverse streams one headed to the direction replacing pictographs with phonetic musical arrangement all to puddleher.Pictographs were soon replaced by alphabets which the centre of words were constructed by juntos of different sound, later developed into wrangle system with enormous amount of words. Another different direction was extension from pictograph with phonetic atom and the additional association from pictographs. The former was wholesome adopted by western orbit to become roman alphabets w hereas the latter(prenominal) was Chinese characters for Chinese stopping point. AaBbCcDdEeFfGg Chinese typography constituted a major way of communication for literature and culture sustain.Unlike roman alphabets, the meaning of Chinese characters comes with the u nique combination of ancestors artifacts, activities, space and sounds in daily life. Even though the representation of Chinese letterforms changed according to human civilization, this unique way of writing system ( Kanzi) still transmit in todays Chinese characters since oracle bone manus been run aground. Horse ? Herd ? Despite the changes and amendment made along the rise and fall of dynasties, Chinese written language is primaryally retained with the same ancient artifacts and literature and still in apply today.In some sense, we be communicating with our ancestors. ? In this paper we discuss the nature and characteristics of Chinese writing system with the approach of instruction aims to revitalize this cultural philosophy on contemporary Chinese typography. 2. Design Principles of Chinese Character 2. 1 conventional Chinese culture in modern design context Chinese arts and crafts development reached its peak as early as Han Dynasty (206 B. C. 8 A. D. ). Lots of docume nts ask been found such as the Kaogong ji (1) that llustrated and stated rules and dimensions for architecture and decorative ornaments. These in coiffureion was however more than inclined to the technical aspects of complex body part and production rather than the design rules and thinking in a modern context. Pages extract from Kaogong ji The resounding(prenominal) attempt to design surmisal and thinking fitms to be embedded in the deepest roots of Chinese culture when our ancestors tried to cause the primitive form of communication, the Chinese letterforms. This domiciliate be trace in the half dozen categories of Chinese Characters, the liushu . 2. Generation of Chinese characters Chinese characters evolved basically from pictographs that represent objects, actions, events and sounds since 5000BC. This is distinctive from roman alphabets which the meaning of words comes from a combination of alphabets but not from one single alphabet. Every Chinese character has it s decl be meaning, or even more than one. Various types of character were first classified systematically in Han Dynasty, just about 100 AD by the Chinese linguist Xu Shen , whose etymological dictionary Explaining Simple and Analyzing Compound Characters, Shuowen Jiezi, divides the volume into six categories, the liushu. 1. Pictographs ( xiangxingzi) 2. Pictophonetic compounds ( , Xingshengzi) 3. Indicative Characters / Ideograph ( , zh shizi) 4. Associative Characters / Logical aggregates ( , Huiyizi) 5. Associate Transformation ( , Zhu nzhuzi) 6. Borrowing ( , Ji jiezi) We have approximately over 60,000 Chinese characters. Although some strokes were simplified or lost occasionally in the past, Chinese characters ar basically is in its stable anatomical complex body part since Qin Dynasty. (2)The 6 categories of Chinese Character (liushu) mention here is an extreme important knowledge for Chinese for maximizing our communication possibility, to distribute as guideline for freshly letterform creation in coherent logic this can be discussed as similar as western design principles. 3. Chinese Typography Training Today, we argon constantly bombarded by excessive visual ignition and information. In the process of coding and decoding visual message, if the origin of Chinese letterform can be well preserved, one can reveal the purest form of visual dialogue for our next generation. Communication depends on jet principles -assumptions and meanings, purpose and values but common meanings can be established only by communication and agreement (Richard McKeon, 1998). 3. 1 The consequence of traditional and modern Chinese characters Although the unique combination of symbolical mark still exists in modern Chinese letterform, a major problem is modern fonts design sign up very much on modification of geometrical shapes to relatively simple structure for the needs of digital media.Hence, we see the large gap between the combination of symbolic attach and c ultural meanings compress ined within. In crop to sustain the unique literate and cultural traditions, we believe the co-existing of symbolic marks and geometrical structure should not be overlooked. Pictogram Oracle Bone paw Bronze script Seal script Clerical script Regular script Cursive script Movable type Digital font ? ? Same as many western typography design, our practical guide to Chinese typography training is a combination of origin and new, involved literature review and experimental plant lifehops.Along with our four years coaching experience deceased through with the application and interpretation of philosophical notion of Chinese penmanship emerged with theoretical, aesthetic and contextual approaches. magazine Space Social Artefacts ? literary productions Cultural People 3. 2 Cultural sustainability Chinese letterform composed of symbolic marks for linguistic and visual communication. It is a significant medium to connect Chinese culture and brotherl y ideologies. In this regard, we obtain Chinese typography as perfect channel to facilitate students creative thinking as well as literature and cultural knowledge.Literature Review data-based Workshops Design for cultural awareness and sustainability. 3. 3 Teaching and percolateing strategy Our training method consist two main stages 3. 3. 1 Literature review It is our essential stage to buildup theoretical and methodological brought from ancient Chinese intellects, a practical base training leading students to translate and transform the Chinese calligraphy philosophy into new visual dimensions. 3. 3. 2 Experimental executionshops Another approach to learn typography is to forget about typography.By lend oneselfing experimental graphic treatments, materials and imagery, we trust to further enhanced audiences emotional and inspiritual responds in reading. Through serious of experimental workshops, we facilitate students to explore and experiment new visual codes. Through our practice-based research project f workoutd with theory and medium in all kinds, we established new aesthetic perspective and approach that manifests the fusion of cultural and operative qualities for contemporary Chinese typography design.Eventually, increase the awareness of cultural sustainability. Literature review Experimental workshops tuition process Origin ? Translate ? Transform + Learning process Explore ? Experiment To salute the idea how we traverse literature and cultural knowledge as well as facilitating students Chinese typography creativity, our learning contents and work examples will be further discussed. Students examples will be show to demonstrate our academic achievements including the awarded projects in national competition. 3. Learning Contents 3. 4. 1 Fundamental Principles of Chinese earnform Chinese calligraphy is an expression of innermost spirit of ones well-being. Calligraphy appreciation enriches viewing audience experience through acknowledge of ones expressive strokes, shapes and structure. In the past, painter and calligraphers has a common practice to developed skills begun by imitating works from great masters. The exercise shown here was intended to revisit, rethink and embrace the very primordial principles of Chinese writing system.By respecting the origin to establish new forms, and be free to give personality to that form. set Calligraphy in practice Knowledge principles of writing order, 8 strokes theory, 34 grid systems, origin of Chinese calligraphy, personality, express, control. Technique structure, strokes, form, shapes, and grid. Learning process Origin 3. 4. 2 Letterform and Chinese Philosophy Chinese Yin-yang philosophy used to describe how polar opposites or seemingly contrary forces are interconnected and interdependent in the intrinsic reality, and how they give rise to each other in turn.The Yin-yang concept is not opposing force, but complemental opposites that interact within a greater whole, as part of a dynamic system of equilibrium. Chinese typography consists of Yin-yang philosophy within. Elements of each letterform are in placed within a grid system of 34 different formats. Everything is organized in a rightfulness position of perfect balance. Yin-yan Examples of Chinese letterform ? ? ? ? ? trigonal poise Asymmetrical balance Stability Visible & invisible Spacing Fullness and emptiness Balance and sense of space Balance and hierarchyIn this content, students were asked to learn historical knowledge of Chinese calligraphy and principles of Chinese letterform design. Through extensive exploration and experiments to develop, translate and transform the principles into modern typography design. The training is to nurture the appreciation of aesthetic quality of Chinese letterform. 3. 4. 3 Simplified type strokes and forms Although there are straight structure and format for standard characters, designers still have flexibleness during actually implementation of Chine se characters (Junior school teachers whitethorn differ with this).Since Chinese characters are the graphic representation of what we see in real world, there is no domineering right or wrong composition of letterform. In fact the development of script has reflect this flexibility pictographs metal scriptseal script clerical script regular script, not to mention the drastic change from Traditional Chinese to Simplified. Letter strokes and composition are continuously morphing and altering over time. Historically, it is a visual game which artists play well-nigh with the forms and strokes for visual interest such as , , . Today, these hrases are still in use in our frequent life such as paper cut, red banners for blessing embroidery, furniture and architecture for decoration So, about every character has its own meaning or a story to tell. The following examples demonstrated how Chinese characters can be read as graphic forms with an intentional to re behave strokes and emerge two or more forms together to become new composition. Viewers are amused by the tricks, and enjoy the process of reading and decoding the design. And we believed that this can be a good appetizer for students to start off the scatter of Chinese Typography.For this content, students were asked to play with their own Chinese names by simplifying strokes and forms. They may find it confusing in the beginning but soon make out the fun of being wrong. Strokes were removed deliberately but the principle is that the characters could still be read and be understood. The process includes reduce strokes ? add weight ? use counter space ? align grid ? create style. The experimental exercises show below demonstrated how students break down the equilibrium philosophy with strokes from Chinese name.Through practicing the principles as first step, several techniques were employed (Diagram 1-5). Next, students were asked to come up with a suitable idiom or phase that can well express the visual quality from preceding(prenominal) design, finally translate and transform the visual approach and ordinary letterform to new image structure (Diagram 6). make Type structure Knowledge structure, strokes, grid, form, shapes, space, yin-yang philosophy. Technique eliminate elements, graphic treatment, Visible & invisible space, positive & contradict association, counter space, form and deform, distortion, grouping, illusion, positive and negative space, fullness and emptiness, visual balance in strokes, counter-space, the subtle symmetrical black and white marks Learning process Origin Translate Transform 3. 4. 4 Characteristics from materials Chinese characters are pictogram compose with symbolic marks of artifacts to become the foundation of our culture, however people today are often ignore the beauty and stories behind. The beauty of such simple geometrical form revealed the culture, activities, space, sound or motion of daily life at the time.Each letterform build within a grid contained a story, a connotation or more. If Chinese characters are originally invented by our ancestor with an instinct to be survive, why cant we create typography from ignoring everything about typography? Psychologists suggested that human being is capable of internally organizing and representing aspects of his environment, and this representation or purpose is subject to continuous change and revision. Each time this cognitive map is changed or reinforced that can be said to have learned. (Kerry J.McGarry, 1981). Our following exercise requires students to examine the properties of various materials and explore the possibility to create Chinese characters which convey message in both visual and language. Through the assignments, students were asked to keep repeat testing by manipulating materials. Our workshop for this particular topic consists of two stages 1. 2. By playing with strong-arm materials to examine and explore the possible appearances or performance Obser ve to discover the human physiological reaction against the experimental workSoftness within hardness explores the physical property of bamboo stick Cloth ? , surround ? , penetrate ? , stand ? , Rise ? , transparent ? , roll ? The above works demonstrated our process to obtain human physiological reaction through materials. The collected information and experiments such as textual elements or visual appearance will be transformed and developed into typography that can convey a message with physiological response. Exercise Play with materials Experiments materials, texture, objects, etc.Techniques flat laying, top-up, layering, reduce/destroy, add on or attach, transparent, marks or scare, positive & negative space, depressing & shadow, 2D or 3D, physical & chemical reaction, interaction, alternation, etc. Learning process Explore Experiment 3. 4. 5 Artefacts This is some other(prenominal) experimental workshop attempted to challenge the functional aspect of letterforms. If Chi nese characters concealed imagery of artefacts for functional communication for humane society, we doubted if this communication still serve tellingly? Would this be a communication gap between ancient time and modern world?Can this problem be fixed by rediscovering the elements consisted in our present time? In this exercise, students were asked to discover their own letterform story through image capture. Students were asked to capture the expressive cultural artefacts or physical environment, with those elements found from existing place and time, a contemporary letterform is possibly formulated. Exercise Type finding Exploration cultural artifacts, icon, architecture, humanity, society. Technique photography, discover, observation. Learning process Explore Experiment 4. Type design inspired by liushu 4. 1.Pictographic Characters ( xiangxingzi) Strokes and structure VS iconic elements and symbols Pictograph, as well known as pictogram to conveys its meaning through pictorial i llustration of a physical object. The forms of these Chinese characters can be linked and associated directly to the physical objects such as Horse, Fish, Sun and mope ( ). As highly simplified graphic representation of objects, motion and stories, a scene of drama all frozen into a still frame, all these dialogue, props, lights and textures are condensed into graphic strokes. The beauty of culture is locked into the visual codes of each letterform.When we believe that Chinese characters are frozen images of drama/stories, the best way to unfreeze them is by placing them covering to the physical/material world. There has no necessity to create additional visual elements if they are already out there in the real world. Perhaps all we have to do is to re-discover them again. In this exercise, students were asked to create their typeface through captured image of iconic structures and cultural artifacts of architecture, temples, street scenes, Chinese restaurant, local tea shops, rou te signs, ritual materials, and any thing relates to our heritage and culture.Students will then ask to identify the patterns and images until the basic visual elements can be revealed. A new letterform will be formulated and developed with those elements they found. Students were also incite to study the pictorial origins and stories of Chinese characters, experiment to decode all underlining meanings, almost like an archaeologist interpretation the prehistoric world of life with unearthed fossils. (Left to Right) Light ? , Hole ? , Bamboo Scaffolding Light ? It depicted the simplest form of light beam that created the strokes radiated from the center point.Hole ? There had no stroke in the word. The form was generated with layers of corrugated boards that created the depth of a hole. Bamboo Scaffolding The student studied thoroughly the materials and structure that construct the unique characteristics of the bamboo scaffolding. All elements were reduced to their basic forms such as the bamboo sticks, tiding strings, broken pieces, dirt and objects around the building site. Viewers could associate the visual structure of the typeface with the context of the design immediately. Left) visual elements (Right) Temple Temple The student took a lot of photos at an old temple to grasp the detail of the ancient architectural style of Chinese buildings such as censer, stone carving lion and pagodas that reflected not only the life style of ordinary people, but also their religious beliefs. With these unique visual elements, student was able to formulate the letterform of primitive, simplicity of rich textural quality typography. 4. 2 Indicative Characters / Ideograph ( zh shizi) The indicative characters are used to express things that are pussyfoot in meaning. They may be purely abstract symbols that hint directions, or symbols will be added to pictographic characters to indicate abstract nature of matters. Examples are Chinese words indicating above, ben eath, concave and convex. ( ) In this content, students will have to experiment with different materials with textual properties, conditions and mood to see how they can be connected to represent the meaning of Chinese characters. In the history of Chinese ainting, there is a famous saying of One will be learn in inner-self if one can learn from the greater nature in ones surrounding. (3) It is to get rid of the computer table and go out to discover the origin and beauty of nature. (Left to Right) Trapped ? , open ? , Concave ? , look ? 4. 3 Pictophonetic compounds ( , Xingshengzi) Another category of character is a pictophonetic compound, which is to have one component to indicate the type or meaning of word, named as radical, while the other component to indicate the pronunciation of the word. ( This increases largely the possible combination of words, and nearly 90% of Chinese words used nowadays are created as pictophonetic compounds. This category can sometimes indicate the relationship between words with the same radical, and makes salmagundi of characters very efficient. Here is an interesting students experimental work for lyrics design of Chinese opera house (Cantonese Opera). Traditional Chinese music notes is embedded into the lyrics characters. Music notes become the strokes of the letterform, and the length and distance between characters indicate the rhythm of the song.The design integrates the sounds with the meaning of characters, and reveals the aesthetics of traditional Chinese calligraphy. 4. 4 Associative Characters / Logical aggregates ( , Huiyizi) Pictograph is a very effective medium of communication for indicating physical objects and visual materials, but it has its own limitation when comes to abstract concepts and ideologies. Instead of switching completely phonetic system, our ancestors created flexible manipulation of the formation of letterforms so as to enrich the complexity of Chinese and allow broad dimensions of communica tion.To express abstract concepts, they created the associative characters that put two or more pictographic characters together to describe an action, or something abstract. ( ) For example the character illuminate is the combination of two pictographs of sun and moon, which are obviously the biggest illuminating objects at that time. The character ? is the pictographs of one man after another showing the meaning of follow / by. (Left to Right) Stack ? , Wrong ? , Sun-drying of Clothes The students works above show the creativity of making logical aggregates through objects and letterforms.Stack ? by piling up a stack of corrugated boards, the form and appearance of the material associate the image with the meaning of the word stack. Wrong ? The symmetric image of the character is created by a strong contrast of black & white colour. This also depicts the meaning of right & wrong carried by the Chinese character. ( ) Sun drying of clothes The design captures very common stree t fit in Hong Kong where people dry their laundry outside public estates. The clothes form the shape of Chinese characters.Viewers can understand the meaning of the words even they do not understand the Chinese words. 5. Pictogram with Chinese Aesthetics and Chinese Philosophy Traditional Chinese intellects enrich ones literate spirit through practicing calligraphy and painting. It is an expression of innermost beauty of ones integral soul of balanced lifestyle. Calligraphy enriches the clever capacity of viewers through appreciation of expressive quality of strokes, shapes and structure that extends to acknowledgement of ones well being.Chinese painters dog-tired their life to reveal their spirit and emotion through the use of ink, washes and impressionistic brushstrokes. Both components of black and white shared the same level of importance. Realism is never their aim, and sometimes the negative space is the message. Like grace painting, masters drew their landscape freely wit h changeable perspectives, and white space is used to suggest distance. The nature is an entity as ONE, and then separated into wind, rain and four seasons. The brightness and darkness, high and low, close by and furthermost away, the peak of imitation is between alike and unlike. (Shi Tao, 16421718) (4) The surrealistic and impressionistic nature of Chinese arts provides a perfect laboratory for students exploration of Chinese typography. Below example shows how Chinese calligraphy reflects Chinese philosophy of yin-yang positive & negative, fullness & emptiness to works hand in hand with another significant art form carried from Chinese painting. Through the necessary process from studying literature and ideologies of the ancient time, he attempted to extract and translate those beliefs and principles into graphic rules and visual principles.The exercise offered students a good opportunity to test extensively if the rules and principles are versatile and applicable. (Left) Typog raphic chain mailer of a Chinese poem (Right) Traditional Chinese Landscape Painting It is human instinct to gain knowledge from the past for the needs of improvement. When we learn that iushu is the traditional ways of creating meaningful and comprehensive characters, we start to think that may be we can employ similar principles to create new characters for things that do not exist in the past.Or maybe we can take advantage of the constructional nature of Chinese character to create new letterforms through imagination. For words or objects with more than one meaning, or with ambiguous meaning, they will lead to subjective interpretation. (capital of Minnesota Rand, 1985) Nowadays young generation is so used to the Martian language online which is a new language based on traditional Chinese. The principle of creating that language is amazingly similar to those developed from liushu. A good example is the borrowing of a long-term unused character ? for a helpless facial expression .Seemingly, the principle of character creation developed over long period of time is already embedded in our DNA and influence every move we make. In the last session, we are going to present our students contributions on typography design with their enthusiasm on cultural phenomenon. The essential and efficiency for adapting typography principles into contemporary of representation were successfully demonstrated. darkness Street With highly developed and sophisticated transport network in Hong Kong, paved highways and roads were reinforced to serve the needs of busy local economy 24 hours a day.No other place would observe this unique energetic transportation, bustling bridges and highway darklife on earth. Street lamps and vehicle lights mark the night and become the energetic strokes that reveal the scenic impression of a cosmopolitan city. (Left) Joss paper . (Right) Awful Taoist incantation Joss paper Paper offering is a common tradition in Hong Kong during funerals, fes tivals and special occasion to ensure the well being of the deceased and ancestor.Joss paper, also known as ghost money, a traditional handmade paper product, which is decorated with seals, stamps, engraved designs or other motifs. The type was created by the rich texture and quality of the ritual paper products with visual elements interacting with original strokes to unfold this cultural distinctiveness in a contemporary approach. Awful Taoist incantation The original meaning of the phrase means poor works of calligraphy that is difficult to read and understand. The design employs the traditional symbol of incantation and combines it with new online languages used by youngster nowadays.This is a good example showing the potential of bringing new life to our tradition especially when we know that we are sharing the common language with our ancestors. (Left) Chinese Input Method (Right) reelN roll against the organizational system Chinese Input Method In modern digital world , unlike using roman alphabets, Chinese have to type in characters with different input methods (Cangjie, Pinyin, Jianyi) They are dictated by the keyboard format and the graphic form of characters, both of which are unrelated to the original meaning of the characters.This design challenges the idea by creating the letterforms with keyboard radicals, and the results are semireadable, between alike and unlike. RockN roll against the organizational system All Chinese characters are the results of different composition with 8 basic strokes. This provides the possibility to disperse and recompose the strokes to generate new letterforms. This design decomposes the strokes of the words organizational system and recomposed into Rock & Roll in Chinese, so as to demonstrate the conflicts between the two forces. (Left) Suppression in Childhood Right) ordinal of June Suppression in Childhood The big rectangular shape in Chinese character always conveys the meaning of trap, surround and block. The design employs this symbol as a metaphor of suppression in childhood where all garner written by the child is surrounded and blocked, no matter they are about study, games, toys, friends, examination, dreams, and etc. Fourth of June The design makes good use of the characteristic of Chinese characters that the combination of strokes is quite flexible and sometimes could be quite ambiguous.The words of Six and Four are mixed with Patriotism and Riot intentionally to post a question Is 4th of June an patriotic action or a riot? 6. Conclusion If we see typography as a powerful tool of visual communication, the unique visual quality of Chinese typography could definitely empower the creativity of designers, and enrich the communicative value of text. Typography can do a lot more than just providing a comfortable and legible platform for message delivery.By creative manipulation of Chinese character, viewers can firstly look at the visuals at textual material, and then lo ok through the visuals to discover the underlying concepts embedded inside with the clever correlation with culture and information. It can prepare readers by setting the right context and atmosphere, and enhance the meaning and impact of message. We have depict our complete approach for Chinese typography training. Our philosophy of Chinese typography training has been proven effective to facilitate heritage concept and necessary information in typography design. Image and text are the two major lements in visual communication. For Chinese typography, letterform composes both elements in an entity. With this unique communication quality, Chinese typography is a perfect medium to bridge the traditional Chinese cultural to the modern world of communication. Although it is no easy task for young generation to understand the knowledge in full, with our enthusiastic to embrace heritage and creativity into Chinese typography, students gradually develop and grow themselves from aesthetic appreciation and eventually sustain the cultural identity for Hong Kong. Footnotes 1. Kaogong ji sometimes translated as Book of Diverse Crafts, is a classic work on science and technology in Ancient China, compiled towards the end of the Spring and Autumn Period. 2. Being pictographs, the graphic forms of characters are good for story telling and readers can guess the meaning of words by evidently looking into the graphic forms. However Simplified Chinese Style drastically reduced total effect of characters by combining words of similar pronunciation, and simplified the letterform by removing strokes, but the characters lost the quality of storytelling because they are not longer pictographs. . , ( ) 4. , , ( , 16421718) References Richard McKeon (1998) Selected Writings of Richard McKeon, Vol. 1, Philosophy, Science and Culture. McKeon, Zahava K. , and William G. Swenson, eds. University of Chicago Press. Kerry J. McGarry, (1981) The Changing Context of Information An Int roductory Analysis. Clive Bingley. Paul Rand (1985) A Designers Art, Yale University Press.