Inscript
a generative art project inspired by traditional Chinese characters, typography, and the aesthetics of ink rubbings and printmaking.
Earlier this year, I went to visit the Ri xing type foundry in Taipei.
I've long been familiar with this place and finally got to visit recently. I instantly fell in love with the myriad of small types there. My affection for Traditional Chinese characters has been strong for some time, sparked initially by the stunning use of them in the famous anime, "Neon Genesis Evangelion."
There are some fantastic articles discussing the use of fonts in this anime.
The serif and bold fonts left a lasting impression on me. Even after many years, I'm still inspired to recreate their impact through coding.
Later, I discovered a magnificent poster design by HUANG Hua-Cheng (黃華成) from the 1960s. It had a slightly different font, but the same serif and boldness, creating an impressive visual impact. I was particularly drawn to the first image in the series, where each layer's colour is slightly offset, adding depth and richness to the design.
From Foundry to Canvas
I couldn't resist and started playing with this idea and having a lot of fun with it :
In my experiments, I thought it would be interesting to remove the thinner parts of the strokes. This led me to an idea: first blur the text, then apply a threshold. This technique not only achieved what I intended but also added something extra to the art.
This technique effectively replicates the appearance of old text printing, which I find fascinating. The blurred strokes mimic the effect of ink excessively bleeding out, adding a unique charm to the artwork.
Inscript Evolves : an interactive work
I'm intrigued by the contrast between simple and complex characters, which, when ordered by complexity, almost form a gradient. This inspired me to sort characters based on their complexity. To do this, I draw each character on a small canvas, read each pixel, and then count the number of transparent pixels. This process helps in quantifying the complexity of each character.
And here is the code snippet for sorting an array of characters using this approach : ( or you can find the gist here )
By arranging characters from simple to complex, I create a dynamic visual gradient. I then place these characters on a grid, overlaying a map. The underlying map's shading guides my choice of characters: darker areas get more complex characters, while brighter spots are matched with simpler ones. This method creates a nuanced interplay of character complexity and underlying map tones.
To enhance the project for the Taipei event, I integrated a fluid simulation that creates a density map in black and white. This map is then used in the previously mentioned method to form a grayscale image by placing characters based on the map's intensity.
The final step involves using tensorflow.js to capture body movements, allowing interaction with the fluid simulation, making the artwork not just visual but physically interactive as well.
Ink Rubbing and unexpected shapes
As I continued working on the piece, my interest in developing a generative version grew. This led me to seek further inspiration, aiming to expand the project's scope and deepen its artistic expression.
In Eastern culture, ink rubbing from stone tablets is a traditional art form. Renowned calligraphers would carve their works onto stone, allowing others to create prints from these engravings. This process involves placing paper over the engraved tablet and gently rubbing ink onto the paper's surface, transferring the inscribed artwork or text. The result is a detailed print, preserving the original calligraphy or images, reflecting the depth and precision of the engravings. This technique has been historically significant for preserving and sharing cultural and artistic works.
Over time, the stones used for ink rubbings start to develop cracks. These cracks can sometimes form interesting shapes in the prints. For instance, during a visit to the Palace Museum in Taiwan, I photographed an ink rubbing where the cracks resembled a mountain. This observation inspired me to incorporate or simulate such cracks into my artwork, adding an intriguing and organic dimension that echoes the aging and transformation of historical art pieces.
The outcome was striking. Up close, the artwork closely resembled actual stone cracks. But when viewed from a distance, these intricate details blended together, revealing the shape of mountains. This duality in perception added an unexpected and captivating layer to the work.
A finishing touch of sound
I'm a big fan of Kazu's work, and was thrilled when he agreed to join Volume Dao's fx2.0 curated series. His audio effects in "Memories of Digital Data" are particularly engaging. I proposed a collaboration to add ambient sound to my project. Kazu graciously agreed, and inspired by the mountain theme, created two wind sounds: one depicting strong winds over a mountain peak, and the other simulating wind through woods. These additions significantly enhanced the mountainous feel of the artwork.
And that's the whole journey of this project. It all started with the love for the traditional Chinese characters. As you may have noticed I later added the Japanese characters (Hiragana) to the mix when Kazu joins the project.
I really enjoy designs that draw inspiration from Chinese and Japanese characters, a vital part of Eastern culture. The entire journey of creating this work was a lot of fun, and I'm pleased that I could integrate these elements into my work.