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Towards Chinese Calligraphy Zhuzhong Qian
Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings. -
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
Sig Process Book
A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry. -
Faux Hands for Calligraphy Imitating Non-European Script
Faux Hands for Calligraphy Imitating Non-European Script THL Helena Sibylla – [email protected] As scribes in the SCA, we’re all familiar with a variety of European scripts from the Middle Ages. We’ve probably all dabbled at least a bit with calligraphic hands like Uncial, Carolingian Minuscule, Early Gothic, or Batarde. While many people in the SCA choose to portray European personas, there are an increasing number of people exploring non-European areas such as Islam and China. Beyond that, there are other scripts that exist around the main core of European writing that fit other personas such as Greek or Norse. If you have a scroll assignment for a person where a medieval European hand just won’t be suitable, there are a couple of options. One is to plug your text into a translation program and then writing in the original language. However, this runs the risk of someone who actually knows the language finding unintentional errors created by the translation software, which doesn’t always understand the quirks and idioms found in non-English languages. Creating a script with the look of a foreign hand that fits the culture of the recipient’s persona has the advantage of allowing the scribe to still write in English while creating a visual effect that is dramatically different from the typical SCA scroll. In addition to the examples provided here, I strongly recommend that you spend some time researching the script of the culture you’re planning to emulate. You will want to consider issues of punctuation and accent marks, as well as decorative letters, and upper and lower cases (if they are used). -
Calligraphy, Typography & Lettering Logotypes
CALLIGRAPHY, TYPOGRAPHY & LETTERING LOGOTYPES TypeJUST MY Thank you so much for downloading this mini logo guide, I hope you find inspiration and enjoyment while looking through these magnificent logos. Jonathan Rudolph Founder of LogoInspirations Email: [email protected] logoinspirations.co | Instagram | Facebook | Pinterest | YouTube | Twitter All logos are © Copyright of their respective owners. All rights reserved. Credits for each individual logo can be found on the bottom of each page. Collection curated by Jonathan Rudolph of http://logoinspirations.co This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. logoinspirations.co Lettering & Calligraphy What’s the Difference? Lettering is the art of drawing letters where each letter acts as its own mini illustration. Rather than simply writing letters in a print or cursive style with a continuous stroke, the thing that sets “lettering” apart is the individual attention paid to each letter and its role within a composition. Calligraphy is the art of writing letters and is related to the idea of penmanship. It traditionally uses specific tools like a nib and ink, and it is marked by a variation in width for the upstrokes and downstrokes of each letter (which is what separates it a bit from cursive writing.) Calligraphy is more likely than lettering to be used in longer written pieces. Via handletteringforbeginners.com 4 | Just My Type Online Logo Masterclass logoinspirations.co Contents 6. Caffio Espresso Bar by Monomyth Studio 8. Foiegwa French Diner by Coppers and Brasses 10. The Supreme Roastering Co. by Marka Network 12. Ik Mexbox by Menta Picante 14. -
National Diploma in Calligraphy Helpful Hints for FOUNDATION Diploma Module A
National Diploma in Calligraphy Helpful hints for FOUNDATION Diploma Module A THE LETTERFORM ANALYSIS “In A4 format make an analysis of the letter-forms of an historical manuscript which reflects your chosen basic hand. Your analysis should include x-height, letter formation and construction, heights of ascenders and descenders, etc. This can be in the form of notes added to enlarged photocopies of a relevant historical manuscript, together with your own lettering studies” At this first level, you will be working with one basic hand only and its associated capitals. This will be either Foundational (Roundhand) in which case study the Ramsey Psalter, or Formal Italic, where you can study a hand by Arrighi or Francisco Lucas, or other fine Italian scribe. Find enlarged detailed illustrations from ‘Historical Scripts by Stan Knight, or A Book of Scripts, by A Fairbank, or search the internet. Stan Knight’s book is the ‘bible’ because the enlargements are clear and at least 5mm or larger body height – this is the ideal. Show by pencil lines & measurements on the enlargement how you have worked out the pen angle, nib-widths, ascender & descender heights and shape of O, arch formations etc, use a separate sheet to write down this information, perhaps as numbered or bullet points, such as: 1. Pen angle 2. 'x'height 3. 'o'form 4, 5,6 Number of strokes to each letter, their order, direction: - make a general observation, and then refer the reader to the alphabet (s) you will have written (see below), on which you will have added the stroke order and directions to each letter by numbered pencil arrows. -
Portland-Area Calligraphy Classes by LOCATION
Winter 2019 Portland-Area Calligraphy Classes BY LOCATION NW PORTLAND SW PORTLAND Pacific Northwest College of Art Lakewood Center for the Arts, Lake Oswego Calligraphy: Blackletter Intermediate/Advanced Calligraphy taught by Marilyn Zornado taught by Carol DuBosch January 23–April 3 Wednesdays, January 9–March 6 We focus on various historic forms of medieval writing Register with instructor: [email protected] collectively known as Blackletter. The Blackletter family of letterforms was used for most manuscripts Multnomah Arts Center from the 6th to the 17th century. We will also look at contemporary applications of this adaptable lettering style as it is used in cultures around the world and by Blackletter graffiti and tattoo artists. taught by Christine Colasurdo Cost: $375 + $20 lab fee Mondays, January 7–March 18 Registration: https://cereg.pnca.edu/p/adult/s/1724 1:30–4:30 pm (deadline: January 12) or email [email protected] Developed in the 1300s in Northern Europe, Blackletter is a popular style of writing that can be used in many Portland Community College, Rock Creek ways. It’s also easier than you think. We will study variations of Blackletter and learn about its history. You will learn how to use a broad-edged pen with Italic Calligraphy ink on paper and work on a final project of your own Taught by Cora Pearl choosing. Mondays and Wednesdays, January 7–mid-March For all levels; ages 18 and up 9:00–11:50 am Cost: $242 (9 classes) This in-depth class will help you pay more attention to Registration: www.multnomahartscenter.org details and immerse yourself in a meditative focus. -
Use Hand Lettering Techniques to Make Calligraphy
Use hand lettering techniques to make Calligraphy What is Calligraphy? Calligraphy has developed as a handwriting art across the globe throughout history. Egyptian heiroglyphics, manuscripts from the Middle Ages and many East Asian writing systems are all examples of calligraphy. Calligraphy is similar to hand lettering but usually describes cursive script where each letter flows into the next, while hand lettering allows for each letter to be created uniquely. You can make your handwriting beautiful and expressive by learning basic calligraphy and hand-lettering techniques. What materials do I need? You will need a calligraphy pen holder with a selection of nibs and ink OR round brushes and watercolor paint, paper towels and water. Smooth, thick paper that is gridded or lined can be helpful to practice the size of your letters. You can make your own lined paper with a pencil and a rolling ruler. If you don’t have calligraphy pens, brush-tipped calligraphy markers are an easy way to learn the basics of calligraphy. What are the benefits? Calligraphy is an inexpensive, meditative and relaxing way to build fine motor skills and memory retention. Expressing yourself through artful handwriting engages critical thinking and confidence building skills that will last a lifetime. Calligraphy can be used in decorative projects, calendars and journals that offer expressive and organizational opportunities. Calligraphy can also be used in the creation of unique gifts for others which strengthens relationships. Prepare your Paper Smooth, thick paper will help your writing tool or brush glide easily and will prevent ink or 1 watercolor paint from bleeding through. -
5Lesson 5: Web Page Layout and Elements
5Lesson 5: Web Page Layout and Elements Objectives By the end of this lesson, you will be able to: 1.1.14: Apply branding to a Web site. 2.1.1: Define and use common Web page design and layout elements (e.g., color, space, font size and style, lines, logos, symbols, pictograms, images, stationary features). 2.1.2: Determine ways that design helps and hinders audience participation (includes target audience, stakeholder expectations, cultural issues). 2.1.3: Manipulate space and content to create a visually balanced page/site that presents a coherent, unified message (includes symmetry, asymmetry, radial balance). 2.1.4: Use color and contrast to introduce variety, stimulate users and emphasize messages. 2.1.5: Use design strategies to control a user's focus on a page. 2.1.6: Apply strategies and tools for visual consistency to Web pages and site (e.g., style guides, page templates, image placement, navigation aids). 2.1.7: Convey a site's message, culture and tone (professional, casual, formal, informal) using images, colors, fonts, content style. 2.1.8: Eliminate unnecessary elements that distract from a page's message. 2.1.9: Design for typographical issues in printable content. 2.1.10: Design for screen resolution issues in online content. 2.2.1: Identify Web site characteristics and strategies to enable them, including interactivity, navigation, database integration. 2.2.9: Identify audience and end-user capabilities (e.g., lowest common denominator in usability). 3.1.3: Use hexadecimal values to specify colors in X/HTML. 3.3.7: Evaluate image colors to determine effectiveness in various cultures. -
Calligraphy Specimens Following Writing
Calligraphy Specimens following Writing Manual by ADOLPH ZUNNER[?] printed by JOHANN CHRISTOPH WEIGEL or CHRISTOPH WEIGEL THE ELDER In German and Latin, manuscript on paper Germany (Nuremberg), c. 1713 20 folios on paper, complete [collation i20], unidentified watermark (bisected with center lacking, crest holding 3? bezants with ornate frame, initials M and F at bottom), foliation in modern pencil in upper recto corners, text written in various calligraphic scripts in black ink on recto only, no visible ruling and varied justification, sketched decorative evergreen boughs on f. 1 and calligraphic scrollwork throughout, minor flecking and staining, some original ink blots. CONTEMPORARY BINDING, brown (once red?) brocade paper with elegant mixed floral design and traces of gold embossing, pasted spine, abrasion and discoloration but wholly intact. Dimensions 150 x 190 mm. Calligraphic sample books from the Renaissance, such as this manuscript, are far less common than their printed exemplars; this charming booklet, designed for teaching writing to the young, appears to be one of a kind. This volume in its fine contemporary binding includes texts that display a scribe’s skill in writing different types of scripts. It is partially copied from writing master Adolph Zunner’s 1709 Kunstrichtige Schreib-Art printed in Nuremberg by famous publisher and engraver [Johann] Christoph Weigel. PROVENANCE 1. Written in Germany, in Nuremberg, in 1713 or shortly thereafter, with a title page reading Gründliche Unterweisung zu Fraktur – Canzley – und Current Schrifften der lieben Jugend zum Anfang des Schreibens und sondern Nuzen gestellet durch A. <A. or Z.?> in Nürnberg Zufinden bey Johann Christoph Weigel (A Thorough Instruction in Fraktur, Chancery, and Cursive Scripts, prepared for the especial utility of dear Youth in beginning to write by A. -
Embodiment and Language: Alain Kirili’S Calligraphy in the Round
EMBODIMENT AND LANGUAGE: ALAIN KIRILI’S CALLIGRAPHY IN THE ROUND Back in 2004 I organized a pocket-sized retrospective for Alain Kirili at the New York Studio School consisting of a mere dozen works ranged across his then thirty-year career. From the installers point of view, what this selection lacked in volume it made up for in density and mass. Especially irksome to them was Summation, 1981, a squat totem pole in forged iron of a little over four feet high that nonetheless weighed a ton. Strapping tattooed building crew had to heave it onto blankets, an inch at a time, their collective toil accompanied by much cursing. The artist came by the next day to inspect my placement and announced himself delighted. But he did want Summation brought out into the room more. Taking a deep breath I prepared to summon the teamsters, but Alain already had his creation is a bear hug and with a couple of deft twists of his frame, and barely so much as a grunt, had the piece exactly where he wanted it. A short man with the sweetest smile, Kirili is nonetheless, as a friend of mine said about his own father, “built for violence.” This body image tallies readily enough with an artist who, in hands-on collaboration with traditional artisans in Virginia or in Mali, works the ageless craft of smithery, beating into piping hot extensions of metal his desired bends and kinks. And yet the same frame and muscle are equally responsible for the exquisite filament of weightless wire or the almost draped arrangement of rubber hose in the Aria series. -
The Influence of Chinese Calligraphy on Western Informel Painting Was Published in German in 1985
Marguerite Müller-Yao 姚 慧 The Influence of Dr.Marguerite Hui Müller-Yao 2000 Chinese Calligraphy From 1964 – 2014 a Chinese artist was resident in Germany: Dr. Marguerite Hui Müller-Yao. She learned in China traditional Chinese arts - calligraphy, ink painting, poetry – before studying Western modern art in Germany. The subject of her artistic and scientific work was an attempt of a synthesis on between the old traditions of China and the ways and forms of thought and design of modern Western culture. In her artistic work she searched on one hand to develop the traditional ink Western Informel painting and calligraphy through modern Western expression, on the other Marguerite Müller-Yao hand to deepen the formal language of modern painting, graphics and object art by referring back to the ideas of Chinese calligraphic tradition and Painting the principles of Chinese ink painting. In her academic work she was dedicated to the investigation of the relations between the Western Informel Painting and Chinese Calligraphy. This 中國書法藝術對西洋繪畫的影響 work, which deals with the influence of the art of Chinese Calligraphy on the Western Informel painting is an attempt to contribute a little to the understanding of some of the essential aspects of two cultures and their relations: the Western European-American on one hand and the East-Asian, particularly the Chinese, on the other hand. The subject of this work concerns an aspect of intercultural relations between the East and the West, especially the artistic relations between Eastern Asia and Europe/America in Düsseldorf 2015 a certain direction, from the East to the West.