Study On The Implications Of Typography From The Perspective Of Calligraphy Zbangfa

Contemporary visual design and its aesthetics are unable to be expressed out without characters being artistically written. Chinese typography design is based upon the gene of typography and its calligraphic traditionally. This paper is intended to study all possibilities relating to contemporary typography design from the perspective and reference of ZhangFa of traditional calligraphy upon modern typography design. It is the first time that the basis of creativity in relation to typography design has been studied upon a dual perspective, that is, a historical and linear one from "handwriting" to "printing" and a contemporary and horizontal one from "practicing" and "assessing aesthetics".First, this paper is intended to raise questions based upon such realistic issues as graphic design and e-reading in a contemporary culture. Typography is a realistic and popular media in life. The highlight of those issues such as "variety" and "quality" of typography in an artistic form is just a discovery of design issues in typography. What is followed is to analysise Pinyin as a typographic image method of narrative from the perspectives of inner structure, instinctive form, free idea ways of thinking, science and logics, thus to see the capability of our interpretation upon the calligraphic ZhangFa into the level of gene; and to analysise the development and concept of the Western typography design enabling us to clarify a history of typography communication design in a broader sense and the understanding of typography, in the meanwhile, some new materials in this paper has revealed exchanges between Eastern and Western typography, helped to see the differences between the East and West; and to demolish some kind of absolute opposition between the East and West. By studying the issues from practicality and finding out the truth out of originality, by searching on the concept gene of calligraphic Pinyin of the East and Western typography design, this paper might lead the typography design concept to a more original, more popular meaning.By making aesthetic analysis upon those ZhangFa masterpieces in the Chinese history of calligraphy, by making comparable analysis upon excellent work of typography design in the East and West, by anatomy to learn about the quantitative outlooks and artistic essence of ZhangFa, interpretation upon expression of "free-idea" and "being poetic" is the origin of the art of calligraphic ZhangFa, enabling us to learn much more about design principles and methods. However, a reference between history and today comes to be even meaningful with design practice in reality. This is also what the paper intends to carry and convey. In this chapter, the writer will analysise that the characteristics of technology advancement in an information era and a pluralism of openness in a society has made modern typography design index of references into a cultural change from "function" to "emotion", "rationale" to "instinct" in a framework of typography communication aesthetics. Design should follow a gradual method out of a calligraphic "Daoism out of skills" or "gentleman's" thought of going in-between.By the above-study, the writer regards that ZhangFa is much more than an outcome of a calligraphy art form, in the meantime, it is also a creative process. ZhangFa as a calligraphy imaging narrative emphasizes "an idea ahead of one's ink and wash"; ZhangFa as an art form of calligraphic poetics emphasizes "an importance of an enjoyable spirit rather than a form by outlook", and "an importance of an emotional mood shown on paper"; ZhangFa should convey an attitude of nature with an emphasis of "the best without a purpose"; and ZhangFa should also convey a poetic beauty of typography with an emphasis of "the best out of one's heart-felt mood". By comparing the rational and practical method and concept of design under the circumstances of assembly manufacturing in terms of the Western modern typography design to calligraphic ZhangFa, it stresses much more upon communication and consciousness of "spirituality" and "feeling". In a contemporary and future society of information and individuality, this will be the core of communication for design. A contemporary society even opens up a broader space for a calligraphic beauty, highlighting the balance between design's "poetics" "rationale" and "practicality". With a reference to the history of the Western design's unease development, the notion of "being same but different" in calligraphy has inspired us to keep a design attitude of harmony. To bring back the idea of calligraphic ZhangFa into a contemporary typography design is not only a re-discovery of our own culture and tradition, but is also a response to the requirement of continuity in a cultural history by designers. From the perspective worldwide, this is not only a cultural issue.