This research project aims to investigate the distinctions in the doctrine of linearity between pictorial writing and alphabetic-based writing. The exploration initiated with an examination of how Latin characters could emulate the construction of Chinese characters while preserving legibility. Additionally, Chinese characters were rendered using an alphabetic presentation. The focal point was the Taoist phrase "Let It Be Still" (让之静止).
The initial approach involved experimenting with English characters following the standard Chinese writing structure in a rigid square form. Subsequently, a shift to free-form writing occurred, though inadvertently, the alphabetic characters retained a degree of rigidity reminiscent of standard written Chinese characters. To bridge the visual gap between Chinese and Latin characters, an intention was set to present Chinese characters in a more curved format, akin to the appearance of Latin characters.
To achieve this, unconventional tools such as a thick calligraphic pen, finger, and a scrap tool derived from a Coca-Cola can were employed, deviating from the conventional Chinese calligraphy brushes. The choice of non-traditional writing mediums, especially the use of the "Coca-Cola can," facilitated a more adventurous and uninhibited approach, eliminating the constraints imposed by habitual writing tendencies.
Transcending conventional experimentation on a table, the research extended to writing on an easel, an unconventional method. This departure from tradition fostered an environment of increased freedom and expressiveness in writing, leveraging both traditional and non-traditional tools.
The research findings indicate that, in the realm of gestural writing freedom, both pictorial and alphabetical writing converge. The heightened fluidity in the research process led to a harmonization of symbolic meaning and visual interpretation in characters across both forms of writing. This suggests that the unconventional methods employed played a pivotal role in minimizing the effort required to make the linearity of Latin and Chinese writings visually similar. The exploration of alternative tools and methodologies offers promising avenues for further research in understanding the interplay between cultural writing traditions and visual representations.