Modern chinese fonts
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Filed by Victor Mair under Typography, Writing.The Writing on the Wall: How Asian Orthography Curbs Creativity (2003), by William C." Writing Sinitic languages with phonetic scripts " (5/20/16)." Firestorm over Chinese characters " (5/23/16)." Backward Thinking about Orientalism and Chinese Characters " (5/16/16)." Writing Chinese characters as a form of punishment " (11/1/15)." The wrong way to write Chinese characters" (11/28/18)." An immodest proposal: 'Boycott the Chinese Language'" (11/18/18).
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" Writing characters and writing letters" (11/17/18)." Ask Language Log: Looking up hanzi for ignoramuses" (11/29/17)." Is there a practical limit to how much can fit in Unicode?" (10/27/17)." Chinese character inputting" (10/17/15)." How many more Chinese characters are needed?" (10/25/16)." The infinitude of Chinese characters" (9/9/20) - with an enormous bibliography on Sinographs.Instead, she writes the characters with a ball point pen, which I would consider a purer form of writing characters than doing so with a brush, where so much of one's attention is devoted to ornamentation and embellishment, whereas my student's mother is content to concentrate on the abstract essence of writing itself, for which I have great respect. She could do this with a brush, which is what most people would do, making it a calligraphic exercise, but my student's mother chooses not to do so. The mother of one of my graduate students spends hours each day writing out Buddhist sutras. We have often touched upon the difficulty of deciphering the strokes of characters used in such digital media, especially those characters that have more than 12 strokes, which is roughly the average number of strokes for the 13,000 commonly-used Chinese characters that Hui wants to put in the Ku Mincho font.Īside from the sheer multiplicity of strokes in Sinographs, one thing that makes them hard to distinguish are the calligraphic flourishes (hooks, turns, elongated dots, etc.) that tend to fill up what white space they may have between strokes. He is so fixated on traditional calligraphic excellence that he seems conceptually unable to advance to a new level of reenvisioning the shapes and forms of Chinese characters to suit the new media for which they are now intended, especially computers and phones. I personally would like to see radically new fonts created for Sinographs, but - in my estimation - Hui's Ku Mincho project is barking up the wrong tree. That would be like telling designers of modern fonts for northern European languages to go back to the 4th-century pre-Gothic script of Ulfilas (or Wulfila) to develop a "revolutionary" new script for English or for designers of modern fonts for southern European languages to go back to the uncial majuscule script of roughly the same time period that was used for Greek and Latin. I find this article to be curiously counterintuitive: Julius Hui, the font designer, wants to revolutionize Chinese typography by hearkening back to a time before modern (say, the last four or five hundred years) fonts for typesetting. Julius Hui, who has done custom work for companies like Tencent, wants to radically rethink Chinese fonts." " Revolutionary type: Meet the designer decolonizing Chinese fonts New article by Brian Ng in Rest of World (9/6/21):