The purpose of the project

         Many people consider calligraphy as a planar art, however the beauty of it is not limited to paper and ink. The process of writing calligraphy is also a significant part of artistic creation. The various methods that artists executes is the presentation of strength. Nevertheless, this process can’t be seen through the paper work itself; thus the viewer can barely experience the powerful strength behind the artwork. This project focuses on visualizing creative process of calligraphy, in order to reveal the invisible part in calligraphy to the audiences, as well as create a new form of appreciating calligraphy art.

Investigations of the premise

  • Precedent — Graffiti Analysis. In this project from Evan Roth, he attached a light on the marker which is used by the graffiti artist, and tracked the motion of graffiti. Using a free and open database, the motion of writing process is recorded and archived. The writers can share the analytical representations. This project changes the 2D graffiti into 3D model, and present the visualized graphic based on the often unseen motion.[1]

         As far as I am concerned, this project successfully brings graffiti art into a new perspective. According to Roth, “The project aims to build the world’s largest archive of graffiti motion, and bring together two seemingly disparate communities that share an interest hacking systems, whether found in code or in the city.”[2] The concept of storing the motion is similar to my project. As he transformed graffiti into 3D model, I intend to change calligraphy into painting. Graffiti Analysis focuses on presenting the motion of writing; my project lays stress on the pressure of brush and uses these data to generate painting.

  • Precedent — SAO (騷). This is a performance combining calligraphy from globally acclaimed artist Tong Yang-Tze with multi-media, videos, jazz music and contemporary dance. The visual elements are originated from 100 calligraphic pieces. Using multi-media technology, the calligraphy contours are changed into a new dimension. The SAO performance breaks the limitation of planar calligraphy, combining with other mediums and binding them together. Through the brand new interpretation, the audiences can also appreciate these art forms from a brand new perspective.[3]

         I am impressed with this cross-boundary calligraphy project. The sensation of audience is triggered by the physical performance and calligraphy art. Besides, the music also serves an important role throughout the whole performance. Tong Yang-Tze has many bold and powerful brushstrokes in her calligraphy, which create movement as they sweep across the paper. The visual tension created by ink is elevated through the dancer’s movement and music’s rhythm. As many people think calligraphy is just a traditional art, Tong proved that calligraphy could be an element of contemporary art.

  • Precedent — Easel. This is an interactive installation which uses I/O brush technology. It is equipped with a canvas, brush, and three paint cans. Users can dip the brush into one of the paint cans and paint on the canvas. With I/O brush technology, the brush creates unique collages made of video of users themselves. Three paint cans provide different effects, providing users lots of variety. Because the video is made by scene of that moment, the outcome user gets every time is unique and no equivalent. It is a project that provides strong engagement and distinctiveness. [4]

         It is very intriguing about creating art piece based on real-time image. The users can create the painting elements by themselves. Combining original painting method with technology, it is able to bring more varieties and possibilities. Need not be a master of painting, as long as having the imagination and creative, everyone can be a great artist by using Easel. For my project, given that many people may not familiar with calligraphy, they can still have experience to write it and feel the beauty of it through a new perspective.

[1]. Evan Roth, “Graffiti Analysis,” Evan Roth (2004).

[2]. Evan Roth, “Graffiti Analysis — About,” Graffiti Analysis, 2010, http://graffitianalysis.com/about/.

[3]. David Mead, “Tong Yang-tze: Sao,” CriticalDance, February 17, 2014, http://criticaldance.org/tong-yang-tze-sao/.

[4]. Rozin, Daniel. “Easel.” IEEE Spectrum 38, no. 3 (2001): 70.