What font? Want something nice?
Font, also known as calligraphy, refers to the style of text. Such as handwritten Chinese characters in regular script, running script, and cursive script. It is a generally prescribed term in technical drawing and refers to the written form of words, letters, and numbers in the drawing. There are five types of Chinese characters: Zheng, Cao, Li, Zhuan and Xing. Each font is named after the calligrapher's surname according to various styles. For example, in regular script, there are Ou (Ouyang Xun) style, Yan (Zhenqing) style, Liu (Gongquan) style, etc. There is a font, but it is not named after the founder's surname. It is named after the dynasty. This is Song Ti.
1. Different forms of text. For example, Chinese characters include seal script, official script, regular script, cursive script, running script, etc. "Seal Script" by Cai Yong of the Han Dynasty: "Think about the pitch of the font, and discuss it roughly." "Southern History·Jiang Yan Biography": "At that time, people in Xiangyang opened ancient tombs and found jade mirrors and ancient bamboo slips, but the characters could not be read. Wang The monk Qian is good at writing, but he can't understand it. "Zhiyun seems to be a Kedou Shu". "Stone Drum Song" by Han Yu of the Tang Dynasty: "The words are strict and the meaning is difficult to read, and the font is not similar to Li and Ke." It was also reviewed by Font China. application. 2. A unique calligraphy style formed by famous and representative calligraphers. "Southern History·Biography of Xiao Ziyun": "Ziyun was good at cursive script and was a regular script writer of the time. Ziyun was good at imitating Zhong Yuanchang and Wang Yishao and slightly changed his calligraphy." Song Mei Yaochen "Crossing the River with My Second Brother to Guang Jiao Lanruo" Poem: "Yan Kai Monument in the Long Corridor, Biography of the Font Family." 3. The physical structure of the characters. Volume 3 of "Lang Qian Jiwen" written by Chen Kangqi of the Qing Dynasty: "After Jiadao, imperial examinations paid special attention to calligraphy." Zhou Libo's "Great Changes in Mountains and Villages" Volume 3: "But there is still a pair of calligraphy written with a brush on the walls on both sides, with elegant handwriting. Regular script couplets. "
In addition to the unique pictographic and pictorial characteristics of Chinese characters, the unique writing tool brush is the most important reason for the formation of Chinese calligraphy. The brush is soft and elastic. It can be bent and twisted at will, relaxed and relaxed, and can express various thickness, size, curvature, hard and soft line changes freely and freely. It can also imbue the calligrapher's emotions with it. This "soft pen" can be used horizontally, vertically, to point, to skim, or to suppress, forming the unique formal characteristics of Chinese calligraphy. When a calligrapher's skill reaches a certain level, with the brush in his hand, the words are no longer words, and the dots and lines are written as he pleases, ever-changing, to the point where the written words seem to have a life state. Song style characters still maintain the essential characteristics of Chinese calligraphy in strokes. When comparing it with Tang Kaiyan style, we can see more clearly that the dots, strokes, strokes and the pauses at turning points are a highly artistic summary of the calligraphy brushwork. Judging from the development of Chinese character writing, the regular script of the three masters of the Tang Dynasty was the pinnacle of the stylization of Chinese calligraphy. Regular script is a model. Therefore, it is logical that it has become a model for Chinese block printing. When tasting and designing Song calligraphy, it is very important to pursue the charm of Chinese calligraphy, woodblock knife flavor, and woodblock printing traces. If there is no such feeling, it is just artistic calligraphy. For example, the current round style and variety style have no flavor of traditional calligraphy at all. In addition, from the perspective of Song style characters, the regular scripts of the three great masters of the Tang Dynasty lost the free-spirited passion and agility required for the art of calligraphy due to their pursuit of squareness and stylization. Tang Kaihua is too stylized, making people easily think of Song-style characters. In fact, Tang Kaiji is the model for today's Song-style characters. They are like mature and upright elders, unruly and lacking the courage to change, thus losing their freedom. chance. Although the regular script of Tang San's masters brought great convenience to later calligraphy practitioners, it can be said that people studied portraits. They were all Liu Gong and Yan Gong, but they had no personality at all, and it was difficult to learn this style. He learned the law and became a calligrapher. It can be a model for beginners to practice calligraphy and write good calligraphy, but it cannot be a model for calligraphers. Calligraphers should directly follow the calligraphy of the Qin, Han, Wei, and Jin Dynasties, especially the Han Dynasty, which is expressive and heroic, such as "Han Bamboo Blips", "Taishan Sutra Shiyu Diamond Sutra" and so on. Tang Kaishu is the pinnacle of Chinese calligraphy and regular script. What is facing the pinnacle? It's a downhill slope, it's a new beginning. Tang Kai is also the starting point of Song Ti characters.
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