Typography is the art and technique of arranging type in an elaborative manner according to visual design rules through the structural design of written language in modern and contemporary times. It represents both practicality and artistry. In post-m... Typography is the art and technique of arranging type in an elaborative manner according to visual design rules through the structural design of written language in modern and contemporary times. It represents both practicality and artistry. In post-modern typography, a turning point of typography, type styles brought a more powerful visual impact through expressive means such as destruction, deconstruction, collage and recombination due to the influence of post-modernism, revealing diversified patterns. With the wide distribution of computer and technology development since the 1980s, furthermore, typography patterns marked a turning point. With the utilization of image-processing functions in computer and introduction of diverse expression techniques on type styles, more innovative and diverse visual effects escaping from the conventional stiff patterns emerged. As mentioned above, post-modern typography is also understood as an art work through which the soul and culture of the times can be perceived intuitively from diverse expressions including oxymoron, satire & metaphor, deconstruction and convergence. A concept of typography was also introduced to China through openness, but it was perceived as just written language. Therefore, its overall development is stagnant. After all, Chinese language has an aesthetic aspect as well as practicality as a symbol which records language. It originates from bone inscriptions based on the aesthetics of lines. In addition, Confucianist, Taoist and Buddhist thoughts were reflected on type styles, and writability and lyricism were emphasized in beautiful structural characteristics. As a result, they have evolved and developed in a diverse fashion. In general, type styles are classified into five different styles: jeonseo (seal script), yeseo (clerical/official script), choseo (cursive script), haeseo (regular/standard script) and haengseo (running script). These five calligraphic styles have their own structure, focusing on readability. Even so, choseo is the essence of Chinese art, containing the shapes of nature and author’s emotions through liberal letter-writing and rhythm. It is a hieroglyph which can express diverse tangible and intangible shapes and meaning. Among ancient Sino-Korean letters, a choseo style is refined and elaborate with a flexible and sharp aspect. In addition, it is a typical calligraphic style for quick writing with manly, active and upright attributes. It has great influence on the thoughts and artistic soul in calligraphic styles (deconstructive, ornamental, liberal and refractive) in unique and personalized modern and contemporary typography. Therefore, the choseo style keeps the followings: beauty of dynamic melody, beauty of form, beauty of sentence writing, beauty of ink rhythm, which reveals the shade and relative weight of ink color, beauty of yijing, which expresses the author’s and audience’s artistry. Therefore, in terms of the beauty of form, the choseo style stretches out openly and freely by balancing or contrasting the force of line, real & unreal in a litter form and sparsity & density. In addition, the structure is also unique, manly and diverse. Therefore, this style has emerged as the most effective calligraphic style in spreading, delivering and advertising visual information such as individual value and meaning simultaneously or consecutively as brand, logo, title or catchphrase in diverse media but poster and calligraphy. Recently, however, only few modern and contemporary typographic designs in China have shown this kind of aspect. In other words, it is still perceived just as a type style, not as typographic design. Therefore, this kind of perception needs to be reestablished. While the definition and classification of typographic terms aren’t properly done, there is no change of sentence writing in Chinese calligraphic art, focusing on changes in a type form only. Therefore, it’s been perceived as a type style only. This study comparatively analyzed post-modern typography known as the turning point of typography and choseo style and investigated their correlative meaning through analysis on the liberal, empty, deconstructive and organic features of the cursive style. According to analysis on correlations between post-modern typography and choseo style, among 16 different formative features of post-modern typography and 11 different formative features of the choseo style, 8 different features were found between them. This kind of result was obtained because the author’s thoughts and emotions are expressed in a liberal and dynamic fashion through change and omission. In terms of formative features by contrary expression, two different types were observed: flexible-rhythmic, emphasizing-stress. Even though ‘orderly-innocent’ could be another contrast type, it was excluded in this study because of some conflicting aspects. In both post-modern typography and choseo style, a letter-writing style decides the image of a sentence-writing style. In post-modern typography, on the contrary, a sentence-writing style reveals deconstructive and organic expressions, completely off from the conventional writing style. A word-oriented message rather than a sentence was focused. The whole sentence-writing and letter-writing styles play the role of a single intuitive image. In a choseo style, a message is basically delivered through sentence writing. The overall image of the sentence-writing style is created through diverse elements such as the real and unreal of a type form, liberty and emphasis. Therefore, organic structure has been found. As described above, post-modern typography was relatively formative and design-oriented with organic and deconstructive elements. In contrast, a choseo style was expressed in a natural, rhythmically organic, deconstructive and artistic manner. Since these elements are rich, destructive and organically structured, there was a turning point for the development of letters, language and culture. Therefore, this study reflected light-active, elaborate-rhythmic and irregular and consecutive idealistic, formative and aesthetic perspective on the phase of modern times according to stress, exception-deviance, rhythm-change and quick writing-wielding between the Chinese thought-reflected choseo style and post-modern typography. If it could develop into new, popular and elegant ‘choseo-style typography,’ it would be necessary to succeed some aspects in Chinese typography as well. Starting with this kind of study, it is needed to reestablish typography in China and utilize and apply the beauty of calligraphy with traditional thoughts to modern calligraphy by topic, subject and contents, offering an opportunity for Chinese calligraphy to take a step forward.
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