Buddhism, as one of the major religions in China, has had a profound influence on various fields, including calligraphy arts. Even before the invention of printing technology, monks and believers started to copy Buddhist scriptures while reading them, both to show proof of faith and to spread Buddhism. Some of the scriptures were written on… Continue reading Type Design in Chinese Buddhism: Digital Revivals of Chinese Buddhist Manuscripts and Wood-plate Printings
Word is a celebration and no script holds that emotion more than the Ranjana life. During their calligraphy demonstration, Ananda Maharjan, Sunita Dangol, and Anshu Shrestha will be showcasing Ranjana script and Kutakshar while also writing the participants’ names and mantras in Ranjana – creating artful demonstrations and keepsakes for the ones who attend.
This work presents the development of the TFC Foundational Hand, a typeface to be used in the calligraphy practice. In calligraphy, the common way to study it is trying to replicate letters presented in books worksheets. This practice has been in use for centuries, but because of the paper media restrictions, there are some limitations.… Continue reading TFC—The Development of a Digital Typeface to be Used as a Calligraphy Learning Tool
Hiragana is a Japanese origin syllabary derived from Chinese character (Kanji). In this session, we would like to show you the flow of changes to current letter form from original Kanji which each of those was originated, and demonstrate the flow of brush stroke when a word is woven with the letters. Please kick back… Continue reading Stream of Kana: Japanese Kana Drawing Performance
A brief history of the transformations the letter A has been through, accompanied by a live calligraphic visualization of the shapes.
This presentation discusses various methods used by calligraphers and font designers to address visual imbalances caused by optical illusions. In visual language, there is a drastic difference between mathematical values and visual values. For example, the mathematical center and visual center of a defined geometric space are different. In many letterforms, overlapping strokes have to… Continue reading Significance of Optical Illusion, Optical Correction and Visual Balance in Calligraphy and Font Design
Hieroglyphs are evolved from pictorial characters, which are the crystallization of Chinese wisdom. It is also an inheritance of our ancestors’ original way of tracing objects and recording. It is currently the oldest language in the world. Hieroglyphs refer to purely using graphics as characters. Use the lines and strokes of the characters to outline… Continue reading The writing and interpretation of Chinese pictograph
A working knowledge of Western calligraphy can be most helpful in speeding up one’s understanding of type design basics. This crash course will cover the two primary styles used in Western typography—roman and italics with the broad nib pen and the pointed pen. A deeper understanding of the relationships between tools and letterforms is expected… Continue reading Crash Course: Western Calligraphy
Although calligraphy is usually born on paper, with pen and ink, most of my work winds up on some other material: glass, textile, film, performance, metal, human skin. In my view calligraphy, which is an ancient craft, can become a contemporary craft and even artform by leaving some of its traditional parameters behind. The first… Continue reading MEDIUM SHIFT Taking letters where they’ve never been before
How can you apply the shapes and theories of pointed nib calligraphy to a typography design? In this workshop, participants will be guided to approach the use of the pointed nib in calligraphic styles such as copperplate or Spencerian, to understand from the practice characteristics that can be translated further back to typographical language such… Continue reading Calligraphy for Non-Calligraphers: How to Approximate Pointed Nib Typeface Design—Part 2 of 2