Yes. Because: the size of characters is generally 5×8mm in width and height, the distance between characters should account for half of a character, and the distance between lines should account for the width of a character.
The quality of individual characters in calligraphy is important, but from the perspective of a work as a whole, the arrangement and combination of characters must come first. This is the composition.
From ancient times to the present, there are about six types of organization methods:
First, there are rows and columns: this type of organization can be either vertical (rows) or horizontal (columns) They are all facing each other, Buruo Private. This form of composition already existed in oracle bone inscriptions, and the Western Zhou Dynasty's "Guo Ji Zi Baipan Inscription" also had this arrangement. It was used more in later stone tablets. The advantage of this kind of organization is that it is neat and standardized, but the disadvantage is that it is easy and inflexible. Therefore, it is necessary to pay attention to the correspondence between the words and the words, the posture is pitched (moving the Qi), and there is also the use of the brush to transfer the words, so that the whole text can be separated and the spirit is gathered.
The second is the row-without-column style: This kind of composition allows writing in a row without considering whether the horizontal lines (columns) are relative, but because the line spacing is maintained, the overall writing can still be clear. It can be said that It is the perfect combination of neatness and randomness, so this form of organization is also the most common in practice. It is used in various calligraphy styles such as oracle bone inscriptions, bronze inscriptions, seal script, official script, regular script, running script and cursive script. This kind of row-without-column style is particularly important for the expression of Qi movement. Especially in cursive writing, due to the enhanced dynamic of characters, characters often undergo irregular position and shape changes such as left and right, height, size, etc. In order not to affect the coherence within a line or between lines, one must pay attention to each line. There should be a central axis within a line, so that the characters change within it, front, left, back, right, up, diagonally and down; secondly, control the continuity of the strokes and the interplay of the strokes between the lines, so that the strokes are consistent and consistent. The first one is angry.
The third is the column-less style: famous quotes, aphorisms, plaques or banners with more words, etc., with about three or four words, are mostly written in a single column, and the direction is usually from right to left (other composition methods The same goes for the form).
The fourth is the row-less style: this type of writing is often seen in Dacao or wild calligraphy styles. In fact, it originally had rows. Due to the emphasis on the catharsis of emotions, the interspersed movement of calligraphy lines was indulged, making the rows more elegant. The strict distinction between lines disappears, making the work as a whole a linear block without rows or columns. It is most easily seen in the works of Huaisuo in the Tang Dynasty, Xu Wei, Zhan Jingfeng and others in the Ming Dynasty.
The fifth is the single-character style: This is a very distinctive form of composition in Chinese calligraphy. There is only one word in it, often used as a precept or inscription, or simply as a kind of appreciation of the calligraphy. The single-character style no longer has more characters to compensate for each other (only a few characters such as signatures, and even if there are many characters, they are only small characters). Therefore, in order for a character to become a work, in addition to the characters themselves needing to be viewed, the relationship between the font and the paper shape Cooperation is very important, and the position and form of the title cannot be relaxed.
The sixth is the couplet style: the couplet is also called a couplet, and its origin is related to the inscription on the half of the peach charm written by Meng Yong, the lord of Shu after the Five Dynasties, "New Year's Eve Festival, Jiajie Changchun". In the Song Dynasty, this form was popularized for use on pillars. Literally speaking, there is no limit to the number of words, but the left and right banners must be consistent in structure and structure. It is also a calligraphy style with a strong traditional flavor.
Among the above six main forms of composition, there is another issue that runs through them that must be discussed, that is, the issue of character spacing and line spacing. There are roughly four basic situations based on needs. First, the line spacing is wider than the character spacing; second, the line spacing is narrower than the character spacing; third, the line spacing is equal to the character spacing; fourth, there is no line spacing and character spacing.