Legacies of Hand by Elaine Lai

Legacies of hand

The shapes of the letters were dependent in part on the tool that they used, and the sharpened reed and quill created thick and thin lines in each of these writing systems. Although the materials have changed, the shapes of these tools are similar to those we use todayÂÂâ&#x20AC;&#x201D;brushes, reeds, quills, papyrus, and vellum, have been rreplaced by steel pens and paper.

COPYRIGHT Original published by University of California Press 155 Grand Avenue, Suite 400 Oakland, CA 94612 First Paperback Edition 2014 All rights reserved. No part of this book may be reproduced in any manner without written consent of the publisher and the author.

LEGACIES OF HAND

CONTENTS

Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument or brush INTRODUCTION

ORIGINS From

the ancient Greek in one stroke . words “KELLO” and “GRAPHE.” DUCTUS

“the direction and sequence of each stroke.”

CALLIGRAPHY TOOLS

The best ink is the Bricked Chinese ink. It is usually ground on a special stone or o n mate glass with some purified water.

WESTERN A style of writing is described as a script,

hand or alphabet.

EASTERN Shodō, “the way or principle of writing.”

Chinese calligraphy and ink and wash painting are closely related, since they are accomplished using similar tools and techniques.

CONTEMPORARY CALLIGRAPHY Calligraphy continues to

flourish in the forms of wedding & event invitations,

font design/ typography,

original hand-lettered logo design,

religious art and

various forms of CONFERENCE SCHEDULE

art.

TRAVEL MAP colophon

ORIGINS

Calligraphy (from Ancient Greek: “beauty” and “writing”) is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument or brush in one stroke, as opposed to built up lettering, in which the letters are drawn. A contemporary calligraphic practice can be defined as, “the art of giving form to signs in an expressive, harmonious, and skillful manner.” Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be legible. Classical calligraphy differs from typography and non-classical hand-lettering, though a modern calligrapher may practice both. Calligraphy continues to flourish in the forms of wedding and event invitations, font design and typography, original hand-lettered logo design, religious art, announcements, graphic design and commissioned calligraphic art, People have been cut stone inscriptions, recording their thoughts and and memorial documents. calculations It is also used for props and moving images on all sorts of surfaces for for film and television, testimonials, thousands birth and death certificates, of years. Before the written word, maps, and other written works. Some of the finestworks they made records of modern calligraphy are of hunting trips, accountings of charters and letters patent issued crop yields, by monarchs officers inventories of animal herds, of state in various countries. and tributes to their gods. As these images became more stylized, abstract graphic marks were used as symbols for the spoken word, replacingthose detailed illustration.

Scriptorium, literally â&#x20AC;&#x153;a place for writingâ&#x20AC;?, is commonly uteries devoted to the writing, copying and illuminating of manuscripts by monastic scribes. Written accounts, surviving buildings, and archaeological excavations all show, however, that contrary to popular belief such rooms rarely existed. Rather than to a physical room.

Bamboo and wooden slips were one of the common media for literacy in early China. The long, narrow strips of wood or bamboo typically carry a single column of brushwritten text each, with space for tens of Chinese characters. For longer texts, many slips may be bound together in sequence with thread. Each strip of bemboo slips or wood is said to be as long as a chopstick, and as wide as two.

The earliest surviving examples of wood or bamboo slips date from the 5th century BC during the Warring States period. However, references in earlier texts surviving on other media make it clear that some precursor of these Warring States period bamboo slips was in use as early as the late Shang period (from about 1250 BC). Bamboo or wooden strips were the standard writing material during the Han dynasty and excavated examples have been found in abundance. Subsequently, paper began to displace bamboo and wooden strips from mainstream uses, and by the 4th century AD bamboo had been largely abandoned as a medium for writing in China.

In “Medieval Calligraphy: Its History and Technique” by Marc Drogin, he defined ductus as “the direction and sequence of each stroke.”

DUCTUSIn calligraphy, a “ductus” is the direction,

number and sequence of the strokes that work together to create a letter. Some people use it to refer to the flaring or “reverse entasis” in the stokes of a letter.

CALLIGRAPHY TOOLS

A Chinese proverb says: â&#x20AC;&#x153;To make a hand in your job, first sharpen your instruments.â&#x20AC;? It is quite natural that every artist-calligrapher chooses his instruments with great care since calligraphy demands concentration, coziness and repose.

PAPER Calligraphers usually use a smooth glazed paper. A smooth paper better reveals the broad-nib pen and the strokes are more accurate. A good paper inspires the artist. INK The best ink is the Bricked Chinese ink. It is usually ground on a special stone or on mate glass with some purified water. This ink softly flows down the pen and has a nice silky tint. Always dilute inks in flasks with water, otherwise the thick ink will leave rough blotchiness on the letters. From time to time shake the flask with ink. You can buy professional colour inks. They easily flow down the pen and have very nice colours. BRUSH The brush contributes to the myriad possibilities. Unlike a rigid instrument such as a stylus or a ballpoint pen, a flexible hair brush allows not only for variations in the width of strokes, but, depending on whether one uses the tip or side of the brush, one can create either two-dimensional or three-dimensional effects.

broad nibs

vellum

bamboo

nibs edge markers gold silver sumibrushes gouache

foil pencil

holders chisels

copperplate

quills ruling pens sumi ink

inkwell

brushes

BROAD NIB Also called broad-edge or chisel-edge, is the older of the two nib types. It is rigid and has a flat edge. The pen is usually held at a constant angle to the horizontal; different scripts require different nib angles. Thick and thin strokes are created by varying the direction of the stroke.

LEFT-HANDED NIB Common perception is that regular fountain pen are problematic for left-handers, left-handed pens have a left-oblique chisel nib which adjust the angle for the left-handers. They are also good for Arabic Script for it is written from right to left.

POINTED NIB The pointed nib has a sharp point rather than a broad edge. Thick and thin strokes are achieved by varying the amount of pressure on the nib. Thick lines are created on downstrokes by pushing down on the nib, causing the nib tines to splay and allowing more ink to flow through the widened slit onto the writing surface. Lighter pressure produces less flexing of the tines, creating thinner strokes. The finest hairline strokes are created on the upstrokes and sideways strokes. Due to the shape of the pointed nib, thick lines can only be produced on downstrokes. If too much pressure is applied to the pen on an upstroke, the nib tines are likely to dig into the paper.

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When you open my letter you will recall those days and how much,

just how much...

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Cursive, also known as longhand, script, joined-up writing, joint writing, running writing, or handwriting is any style of penmanship in which the symbols of the language are written in a conjoined and/or flowing manner, generally for the purpose of making writing faster. However, not all cursive copybooks join all letters. Formal cursive is generally joined, but casual cursive is a combination of joins and pen lifts. In the Arabic, Syriac, Latin, and Cyrillic alphabets, many or all letters in a word are connected, sometimes making a word one single complex stroke.

While the terms cursive or script are popular in the United States for describing this style of writing the Latin script, this term is rarely used elsewhere. Joined-up writing is more popular in the United Kingdom, Ireland and India.[citation needed] The term handwriting is common in the United States, United Kingdom, Ireland, Canada, Australia and New Zealand. In Australia, the term running-writing is also popularly applied. In reference, cursive is often said to have been “written”, as opposed to having been “printed” in traditional block format. Cursive is distinct from block letters, in which the letters of a word are unconnected and in Roman/Gothic letterform rather than joined-up script. This style may also be called “printscript”, “print writing”, and “block writing.”

ILLUMINATED LETTER

n illuminated manuscript is a manuscript in which the text is supplemented by the addition of decoration, such as decorated initials, borders REKISTA RAZDO, RODIDA IN GUTHAIMAI (marginalia) THOS SKAUNOS STIBNOS, and miniature illustrations. In the SAGGWEIS UNLUHTIDAI SAI! MIKILS SLAWS, SIGISROHSNA strictest definition of the term, an FULLJITH illuminated manuscript refers only MUNTHAUJODUS MAURGJADA, to manuscripts decorated with gold MANWUBA STANDITH LIUTHAREIS LISTEIGS, IN or silver, but in both common usage SA LAISEINAI THUIDOS and modern scholarship, the term is IS HAUHEINOS HAUSJAINA, HARPO FAGRSTIBNA now used to refer to any decorated IS WAURDA WAIRTHA, or illustrated manuscript from the WAURMLEIKA WINDANDO Western traditions. Comparable Far UT IN DAUHTROHSNA, DAUFATA KUNI Eastern works are always described as NIST SILDALEIKA IS STIBNA, SIFANDEI painted, as are Mesoamerican works. IN MAHTAI Islamic manuscripts may be referred toAFARDAGIS IN AKRAM, as illuminated, illustrated or painted, AHANAI JAH AHSAM HINDAR THOS MAUJOS MILDONS, MITH though using essentially the same AUHJONDANS FILU techniques as Western works. FILUWAURDEIN JAH FRIJONSKIPA, FULLJAND THO KAURNHUSA JAH IN GALGASTADIM, GUDJANS BIRODJAND The earliest surviving substantive SO RUNA RAZDA, REIKA illuminated manuscripts are from ANSAWAURDA the period AD 400 to 600, initially JAH IN BADUFAHEDAI, IN BRAKJAI JAH SAKJON produced in Italy and the Eastern AHTAGUMANS AUHJOND, Roman Empire. The significance of AITHAM HILDAI these works lies not only in their WAIRTHS, WAURDA inherent artistic and historical value, WULFILA THO HUZDIDES SA BOKAREIS IN BOKOM, but in the maintenance of a link of BANDWIDA THO TUGGON literacy offered by non-illuminated THOS SKAUNOS STIBNOS, texts, as well. Had it not been for the SAGGWEIS IN UNLIUHTIDAI REIKISTA RAZDO, RODIDA IN monastic scribes of Late Antiquity, GUTHAIMAI. most literature of Greece and Rome would have perished in Europe, as it was, the patterns of textual survivals were shaped by their usefulness to the severely constricted literate group of Christians. Illumination of manuscripts, as a way of aggrandizing ancient documents, aided their preservation and informative value in an era when new ruling classes were no longer literate.

Blackletter, also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 to well into the 17th century. Fraktur is a notable script of this type. Sometimes the entire group of Blackletter faces is incorrectly referred to as Fraktur. Blackletter is sometimes called Old English, for it is believed that the language was written with blackletter.

Afardagis in akram, ahanai jah ahsam hindar Thos maujos mildons, mith auhjondans filu Filuwaurdein jah frijonskipa, fulljand tho kaurnhusa Jah in galgastadim, gudjans birodjand So runa razda, reika ansawaurda Jah in badufahedai, in brakjai jah sakjon Ahtagumans auhjond, aitham hildai Wulfila wairths, waurda tho huzdides Sa bokareis in bokom, bandwida tho tuggon Thos skaunos stibnos, saggweis in unliuhtidai Reikista razdo, rodida in Guthaimai.

Haiku 俳句は近世に発展した文芸である俳諧連歌、略して俳諧から生まれた近代文芸である。室町時代に流行した連歌の遊戯性、庶民性を高めた文芸が俳諧であったが17世紀に松尾芭蕉が出てその芸術性を高め、なかでも単独でも鑑賞に堪える自立性の高い発句、すなわち地発句を数多く詠んだ事が後世の俳句の源流となる。さらに近代文芸として個人の創作性を重視して俳句を成立させたのが明治時代の正岡子規であった。子規は江戸末期の俳諧を月並俳諧と批判して近代化した文芸たらしめるための文学運動を行い、発句が俳句として自立した。俳句の自立後の視点から、芭蕉などの詠んだ俳諧の発句をさかのぼって、俳句と同一視するようになった。無季俳句、自由律俳句も含まれるがそれを俳句と認めない立場も存在する。また、英語などの非日本語による3 行詩も「Haiku」と称される。日本語以外の俳句では五・七・五のシラブルの制約がなく、季語もない場合が多い。現在では外国人が日本語で俳句を作ることも始まった。そうした外国人の俳人には現在マブソン青眼、ドゥーグル・J.リンズィー、アーサー・ビナードなどがいる。日本の詩歌の伝統をひきついで成立した俳句は、五・七・五の拍（モーラ）による言葉の調べ（韻律）と「季語」と「切れ」によって短い詩でありながら心のなかの場景（心象）を大きくひろげることができる特徴を持っている

The calligraphic tradition of East Asia originated and developed from China. There is a general standardization of the various styles of calligraphy in this tradition. Chinese calligraphy and ink and wash painting are closely related, since they are accomplished using similar tools and techniques. Chinese painting and calligraphy distinguish themselves from other cultural arts because theyemphasize motion and are charged with dynamic life. Japanese calligraphy (書道 shodō) is a form of calligraphy, or artistic writing, of the Japanese language. For a long time, the most esteemed calligrapher in Japan had been Wang Xizhi, a Chinese calligrapher in the 4th century, but after the invention of Hiragana and Katakana, the Japanese unique syllabaries, the distinctive Japanese writing system developed and calligraphers produced styles intrinsic to Japan. Zen calligraphy is practiced by Buddhist monks and most shodō practitioners. To write Zen calligraphy with mastery, one must clear one’s mind and let the letters flow out of themselves, not practice and make a tr emendous effort. This state of mind was called the mushin (無心 “no mind state”) by the Japanese philosopher Nishida Kitaro. It is based on the principles of Zen Buddhism, which stresses a connection to the spiritual rather than the physical.

ASIAN CALLIGRAPHY

ISLAMIC CALLIGRAPHY

Islamic calligraphy, or Arabic calligraphy, is the artistic practice of handwriting and calligraphy, based upon the Arabic language and alphabet in the lands that sharing a common Islamic cultural heritage. It is known in Arabic as khatt (‫)طخ‬, which derived from the word ‘line’, ‘design’, or ‘construction’. The development of Islamic calligraphy is strongly tied to the Qur’an; chapters, and excerpts from the Qur’an is a common and almost universal text of which Islamic calligraphy is based upon. Deep religious association with the Qur’an, as well as suspicion of figurative art as idolatrous has led calligraphy to become one of the major forms of artistic expression in Islamic cultures. As Islamic calligraphy is highly venerated, most works follow examples set by well established calligraphers, with the exception of secular or contemporary works. In antiquity, a pupil would copy a master’s work repeatedly until their handwriting is similar. The most common style is divided into angular and cursive, each further divided into several sub-styles.

MODERN CALLIGRAPHY

The modern revival of calligraphy began at the end of the 19th century, influenced by the aesthetics and philosophy of William Morris and the Arts and Crafts movement. Edward Johnston is regarded as being the father of modern calligraphy.

Calligraphy after 20th century is in the midst of a renaissance. Historically, calligraphy was relatively inflexible, with classic script styles taught as complete alphabets with established letterforms. The aim was uniformity足. Contemporary calligraphers frequently create their own alphabets to reflect their personal aesthetics and personality, using bold and fresh colors, daring layout designs, and innovative materials, seeking inspiration in everything around them. The notion that there are right and wrong ways to write letterforms is outdated. This is apparent in current trends in typography, from graffiti art to the thousands of digital fonts.

CONTEMPORARY CALLIGRAPHIC ARTS BEYOND THE BRUSHES. ABSTRACTION IS AT THE HEART OF MODERN CALLIGRAPHERS. BECAUSE THE BRUSH MARK HAS ALWAYS BEEN RECOGNIZED AS A RECORD OF THE ARTIST’S HAND, IN ADDITION TO PERFORMING A DESCRIPTIVE OR SEMANTIC ROLE, BOTH PAINTING AND CALLIGRAPHY HAVE BEEN VALUED FOR THEIR ABSTRACT EXPRESSIVE POTENTIAL. BENEFITTING

FROM SUCH A RICH TRADITION OF EXPLOITING THE ABSTRACT AND SYMBOLIC QUALITIES OF PAINTING AND WRITING, CONTEMPORARY ARTISTS HAVE BEEN ABLE SELECTIVELY TO ADOPT WESTERN NOTIONS OF NONFIGURATIVE ART TO AUGMENT AND EXPAND THEIR EXPRESSIVE GOALS.

CONFERENCE SCHEDULE

8:00-9:00

9:00-10:00

10:00-11:00

11:00-12:00

12.15.2014 Monday

Open Introduction

Guest Speaking: Shiela Waters

Contemporary Calligraphic Aesthetic

Modern Calligraphy

12.16.2014 Tuesday

Medieval Calligraphy

Guest Speaking: Ishigawa Kyuyoh

Illuminated Letters

German Black Letters

12.17.2014 Wednesday

Modern Calligraphy in Art

Guest Speaking: Thomas Ingmire

Hand Lettering Skills

Left-Handed Calligraphy

1:00-2:00

2:00-3:00

3:00-4:00

4:00-5:00

5:00-6:00

Lettering & Design

Guest Speaking: Bahram M. Safavi

Calligraphy & Typography

Workshop: Designer Lettering Mamoun Sakkal

Islamic Calligraphy

Chinese Calligraphy

Japanese Calligraphy

Workshop Zen Calligraphy Qiu Xigu

Lettering & Patterning

Guest Speaking: Annie Cicale

Creative Lettering

Calligraphy for Kids

Workshop: Fun Lettering Margaret Shepherd

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TRAVEL MAP 51

Directions to the conference BART offers fast, convenient regional service and MUNI Metro provides light rail service throughout the City. To reach Moscone North & South, take BART or MUNI to Montgomery station. To reach Moscone West, take BART or MUNI to Powell station. Caltrain offers a frequent schedule into the nearby station at 4th & Townsend Streets. All of these stations are within a few minutesâ&#x20AC;&#x2122; walk of The Moscone Center. Mascone Center 747 Howard Street San Francisco, CA 94103

COLOPHON The text is set in hoefler

text,

TYPEFACES

The headings are set in TRADE GOTHIC, designed by Jackson Burke in 1948 and released by Linotype in the USA

EQUIPMENT MacBook Pro 2.5 GHz Intel Core i7 Canon Pro9000 Mark II Printer

SOFTWARE Adobe Creative Cloud

InDesign, Illustrator, Photoshop

PAPER Moab Entrada

Natural Rag 190gsm

PRINTING & BINDING

Printing: Elaine Lai Binding: California Office San Francisco, CA Dec.16.2014

PUBLISHER

university of california press, Oakland, California (Fictitious book not actually published by UC Press)

DESIGNER Elaine Lai

PHOTOGRAPHY & CALLIGRAPHY Photographs: Hen3k Hen3k @ flickr, Elaine Lai Illustrations & Calligraphy: Elaine Lai ABOUT THE PROJECT

This is a student project. No part of this book or any other part of the project were produced for commercial use.

Legacies of hand

LEGACIES OF HAND

contemporary aesthetic of fusion calligraphic arts

People have been recording their thoughts and calculations on all sorts of surfaces for thousands of years Before the written word they made records of hunting trips accountings of crop yields inventories of animal herds and tributes to their gods As these images became more stylized abstract graphic marks were used as symbols for the spoken word and to replace detailed illustration the society for calligraphy southern california

P.O. Box 64174 Los Angeles, California 90064