1 IntroductionThere are countless percussion instruments passed down from generation to generation in China. Drum music has a history of nearly four thousand years, from the earthen drums unearthed from the ruins of the Xiangfen Tao Temple in Shanxi to the various forms of drums that are widespread in modern times (Yueshi and Mingan, 2001). The rhythm of drums is fresh and vivid, and the drums of different regions and ethnic groups have their own characteristics that are rich in local cultural flavors. Looking at villages and towns, every festival, temple fair and wedding celebration uses drums and gongs to add to the atmosphere of the event. The Han have long been China's largest ethnic group. The Han not only gave birth to thousands of years of history and culture but also created a unique writing system—Chinese characters. The system uses a syllable text wherein one character represents one syllable in the language. Chinese is dominated by monosyllabic morphemes, so Chinese characters are uniquely adapted to recording the Han (Chinese) language, and each character has its specific sound and meaning.

The drum is an important cultural asset, and the various scripts of Chinese characters are important elements of Chinese culture. According to the history of the evolution of Chinese characters, the writing forms of Chinese characters can be generally classified into five more common writing scripts, such as Zhuan script (篆), Li script (隸), Cao or cursive script (草), Xing or semicursive script (行), and Kai or regular script (楷). Different Chinese characters also appear in different structures and styles. As an independent art, calligraphy has special art forms and rules similar to music, with distinct tempos and rhythms (Jixiang, 2013). However, Chinese characters not only transform auditory signals into visual symbols but also extend and expand the language.

Text not only conveys certain information, but it also expresses characteristics through the form of the character. The form of Chinese characters has evolved over time, has combined with Western design aesthetics to develop different styles of writing and is widely used in various artistic creations. For example, "Analysis of the World", a work by contemporary artist Xu Bing, deconstructs the Chinese character radicals and then reorganizes them, breaking through the original reading of a text and resulting in experimental forms of writing. The drama of the Cloud Gate Dance Theatre of Taiwan, "kuangcao", uses the dancer's body movements to emulate the rhythm of cursive writing and the sensory experience of combining words and dance. The abovementioned creative performances are all influenced by using the characteristics of the writing structure of Chinese characters to reveal artistic behavior surrounding the subject of the words. Using the perspective of design creation, this study attempts to combine Chinese character calligraphy for the word drum with the design of the image of a drum, in addition to understanding the shape, sound and meaning of the character for drum, re-deconstructing and combining the dot and line themes of writing strokes, adding to modern shape design and opening up the visual expression of design aesthetics. In view of this, the specific purposes of this study are as follows:

(i) Understand the skill and style of image text through a case study of the subject as a reference for creation;

(ii) Designing a visual image of "drum" and "music" through the comparison of associative and empathic creations with the different writing styles of the character for drum (鼓);

(iii) Combine digital drawing tools to construct the static and dynamic expression of visual design. This study aims to make traditional calligraphy become a type of design work that uses both visual and aesthetic thinking, extending the methods of modern calligraphy art creation.

2 Percussion instruments and the structure of drum (鼓)The drum is a membrane percussion instrument. A drum is formed by leather that covers both ends of a round frame (drum chamber) (Figure 1), and the sound is similar to thunder during the spring equinox, which includes drumming, tapping, vibrating, and shaking. The drum is a percussion instrument, and the sound quality is relatively low and thick.

Figure 1. Lobby drum. Source: Photo from this study.

The Zhongzheng Comprehensive Dictionary of Shape, Sound and Meaning records the characteristics of ancient Chinese calligraphy, comprehensively explaining the evolution of the shape, sound and meaning of Chinese characters and tracing the origins of the text. The record on (Table 1) the drum (鼓) states that the textual components of oracle bone script (a) and Xiaozhuan script (b) are slightly similar; in the pictogram (b), the structure of the drum is on the left side, while the right side is the symbol of the hand-held stick and the action of holding the stick to hit the sound-producing section of the drum, which is slightly similar to the structure of the Jinwen script (b). The 鼓 drum (鼔, 皷) character is structured with both a left and a right side; the left is 豈, and the right is 攴. As seen in the oracle bone script (a), Jinwen script (b), and Xiaozhuan script (b), the right represents the person hitting the drum. The left is 壴, and the right is leather (皮), as seen in the Lishu script, in which the leather material used for making drum symbolizes the drum itself. After the development of the Lishu script, the appearance of Chinese characters changed, changing Chinese characters into abstract marks and implementing comprehensive symbolization. This was undoubtedly a major evolution in the development history of Chinese characters. From the structure of Chinese characters, one can understand the pictographic origin of the text as symbolic marks used to describe a person or as a tool for identifying various characteristics Ledderose (2001) mentions that the purpose of the text is to convert words into graphics and record them; thus, the language becomes a medium that appeals to vision rather than

to hearing. In summary, design practice will help us understand how the design of the character for drum was modeled on the characteristics of the drum itself.

Table 1. Script of the Chinese character for drum (鼓).

Script

Oracle bone script (a)

Oracle bone script (b)

Jinwen script(a)

Jinwen script(b)

Jinwen script(c)

Source

Oracle bone‧1164 Preceding 1‧4

Jugong Wangzhong邾公望鐘

Qihou pot齊侯壺 Yunerzhong沇兒鐘

Script

Xiaozhuan script(a)

Xiaozhuan script(b)

Xiaozhuan script(c)

Xiaozhuan script (d)

Lishu script

Source Script radical 立 Script radical 攴 Script radical 鼓 Script radical 鼓 Sun Shuao monument

Source: Compiled from Shufan (1971: 2263).

3 Communication of image and imageryA visual description of an individual idea is often referred to as an "image". The image is a simulated reproduction that produces a true symbolic system, not just a symbolic gathering (Barthes and Baudrillard, 2005). Image thinking is limited only to images. It is the appearance of things. It does not involve connotation. Thinking about images and imagery forms the meaning of the image (for example, ⊙ represents a sunrise from the horizon), developing the image into a sound and making the meaning of the character clear (Songbo, 2007). On the one hand, an image might, in a traditional sense, be considered a supplement to text and language used to visualize points and metaphors (Christensen, 2016).

"Imagery" means a profound image that represents a spiritual or psychological meaning. Many ideas are visually expressed in the form of dynamic images (movies, animations) and static works (paintings, sculptures, etc.); through the medium of art, the subconscious mind produces different degrees of artistic text, such as visual images, shapes, structures, visual rhythms and psychological reaction. Regardless of artistic creation or visual design, art is inseparable from its form. Only form can truly convey the visual meaning of an idea. Jianqi and Fei (2009: 35-36) noted that "imagery" is the fusion of "meaning" and "image"—the unity of external vision and the inner feelings of the designer. "Ideas" not only contain emotions but also contain rationality; "images" include all objects in the objective world. Imagery is formed in the mind of the designer, who

instills a certain image of thought and emotion—that is, the image of intention, the meaning of image, and the image of creation are "concrete feelings".

Image thinking and logical thinking guide design creation. When the designer involves each proposed step, it is impossible to use all the images and simply or abstractly engage in reasoning or just base the design on an understanding of the abstract concept. The brain will definitely suggest images related to the proposed step (Zhiyu, 2007). Harland (2011) argues that image design requires a unified mindset, and activities in the process include concept generation and image creation. Ying (2002) also explains image design. Through complex psychological activities, the "form" uses formal law to create a visual image. This image directly or indirectly expresses or symbolizes the "meaning". The association mechanism is triggered by the image, and the "meaning" is obtained. This process generates an image from its meaning and expresses its meaning from the image. Wilson and Landon-Hays (2016) argue that different orientations in images are characterized by different epistemologies or stances toward what constitutes legitimate knowledge.

Through the real form, an image can convey another virtual and real image implied by the physical form. This skill of expression is also common in Chinese landscape painting. The artistic conception of white space in a painting is the creation of another space. For example, in painting, the moon is often used to symbolize the night, as in a separation of day and night, the image of the moon naturally becomes the symbol of the night. In addition, leaving a blank space in calligraphy art creates a sense of density in that plane of space. The layout of the font and the layout of the character creates density, and visual changes can thus be made on the spatial level, which in turn constitutes a certain rhythm. Baihua (1980) further notes the importance of the structure of a character, also known as leaving blank space, because a character is formed by dots and lines, and the blank space in a painting is like the combination of the characters with the real and the virtual to complete a work of art. Therefore, the blank space should be included as part of the shape of a character.

4 Abstract expressionism and calligraphy artAbstract expressionism is an art movement that began in the American art world in the late 1940s. Because of the importance of creative behavior itself and the automatic painting advocated by surrealist automatism, it is bestowed the title of action painting. American art history theorists generally believe that it is an art without image, and it is anti-form, complete with improvisation, dynamics, vitality, and skill freedom, which are used to stimulate observation rather than satisfy traditional appreciation of art (Dazhen, 2001). The origin of nonfigurative art gradually emerged after expressionism. At present, all histories on abstract art can be summarized into the schools of outburst expressionism, calligraphy expressionism, mark expressionism, monochrome expressionism, geometric expressionism, and music expressionism (Zuomin, 1993). Among them, the calligraphy expressionism school, which incorporates the modern requirements of new expressionism, partly incorporates Chinese calligraphy techniques. Representative painters in this school include Hyrlogink, Schneider, Pierre, and Kline.

Calligraphy can also be interpreted as the skill of writing. The body of the text is both the written form of the text and certain feature characteristics. The evolution of Chinese characters is an expression of the personal writing style of the ancient literati. Different writing scripts inadvertently play a key role in the transformation of Chinese characters. Fang (2000) believes that calligraphy art is a modern Expressionist art inspired by Chinese character culture. Modern calligraphy art inherits the basic methods of traditional calligraphy art and combines font design, abstract painting, graphic design and the processing techniques of art. It is both calligraphy and painting, and it has become a manifestation of Chinese characters with modern style and charm. In each design, shape (diversification, simplification, exaggeration, deformation), pen and ink (stroke, ink rhyme), texture, color, composition, materials and decorative treatment are all important elements of the variation and creation of the design. Zhenlian (2000) also mentions that Chinese calligraphy uses dots and lines as basic units. The established form of artificially reorganized Chinese characters constitutes an incredibly rich and varied spatial form that is ordered by "row" and "column". The body of Kaishu (regular script), Lishu script, Zhuan script, etc., completely destroys the composition of the rules of "row" and "column", and, like the Kuangcao (wild grass), different writing styles have different spatial structures. Even if they are the same writing style, they show different spatial morphologies from different calligraphers. The boldness, fineness, weight, length, and height of dots and lines, coupled with the writing speed of the calligrapher, the dryness or moistness of the ink, and other subjective and objective factors that vary from person to person, results in endless visual variations. In general, calligraphy is an art of abstract expression that contains deep consciousness in the abstract form and is based on the language of words; calligraphy belongs to the category of the art of creation. The form itself directly reflects the life experience and emotional expression of the calligraphers (Hongjian, 2010).

In comparing abstract expressionism and calligraphy art, the former consists of abstract painting by the painter, while the latter consists of the calligrapher converting writing into painting, completely departing from a traditional reading of text, and using the form of abstract expressionism. Whether it is defined as painting or writing, the art of calligraphy clearly uses Chinese characters as the material, and the dots and lines in the structure of the character are regarded as creative elements. Through emotional expression, composition layout or creative experience, the calligrapher may use a free form, geometric shape or splashing technique to create a design that is different from Western abstract expressionist works and to express the artistic aesthetics of the oriental Zen.

5 Digital technology and plane principlesWith the popularization of computers and the diversification of digital drawing tools, the artistic expression of art and design take on a completely different form of visual effect. In the mid-1970s, "fractal art" originated as a branch of modern mathematics. Currently, fractal art designers need to understand both mathematical concepts and programming languages to create unique fractals. Due to notable developments in digital technology, the filter function of the drawing software can create unique forms. Joye (2005) argued

that there is a particular urgency for exposure to fractals in art and design education because this can lead to more psychological receptivity for adopting rich formal grammars. Creative thinking that was difficult to achieve in the past can now be interpreted differently by digital media in order to create another visual image. Regardless of the advancement and development of digital technology and art, including visual interfacing, installation art and interactive experience, design methods are more common.

Plane-shaping calligraphy methods, such as dots, lines, and planes, are the basic elements of various calligraphic forms. When considered as part of a "composition", the dots, lines, planes, and solids and the spaces formed by them elicit different feelings in each viewer. In the composition of a design, the composition principle and combination of elements, in addition to the dots, lines, and surface features, are shaping skills that create light and dark tones, materials, visual taste and, ultimately, the meaning of the shape. In different configurations, images can also produce many meanings (Chonghong, 1997). After being simplified, extracted, and regularized, the basic shape of a figurative object can still be found or naturalized. The basic composition still belongs to dots, lines, and planes. Therefore, design creation should not prohibit the changing of the concrete object. In a nutshell, "dots, lines, and planes" are the basic elements of all "forms" regardless of abstraction or figuration (Dongpo, 2007). The constituent elements of graphic design, although not separated from the dot, line, plane and conformity of aesthetic principles, include the comprehensive application of text, shapes, and colors, as well as the editing and layout of drawings and texts. Visual design with textual theme usually occupies most of the layout, and it constitutes the visual center of gravity.

In summation, the graphic design of a plane is vivid, lively, interesting and emotional. The design not only has an atmosphere that touches people's hearts, but it also uses Chinese character writing to process imagery. The design becomes another kind of visual design creation. Despite the continuous evolution of digital drawing tools, the idea of supporting the visual expression of science and technology is still based on the basic principles of design. This is one of the reasons why design aesthetic education focuses so much attention on the teaching of composition.

6 Design creation method

6.1 Design concept

Design activities are a research process based on the discipline and regularization framework. The research knowledge should be defined by the elements of the proposition, including strategy, function, structure, skill, meaning, and literature. This process emphasizes objectivity and logic (Lixin, 2009). Through the discussion of the relevant literature and works in the previous chapter, the concept of design and creation has been established. Design and creation can be divided into the following three stages of thinking (Figure 2): The first stage is the copying of the writing of the character for drum (鼓), especially in combination with today's calligraphy. The second stage is the analysis of the symbols of the drum itself, such as the transformation of appearance and

imagery. The third stage is the presentation of the works—that is, the combination of the two previous stages. The abovementioned creative process of design activity is in line with Eisner's (2002) design practice in that it needs to reflect the technical level of the work, use creative thinking or methods, and show the overall expressiveness of the work.

Figure 2. Concept of design and creative thinking.

Chinese characters are like the symbol system formed by the law of form formation; the communication of ideas and communication of messages is the purpose of text symbols. Chinese characters are similar to the elements of basic formation. The design of planes formed by dots and lines can also be regarded as the law of form formation. Yufu (1998) also believes that the creation of vision is based on the conversion of ideas to images and the combination of ideas and forms. Therefore, this study uses the theme of the "drum" as the material of the different writing styles on drums. The study was created based on the concept of semiotics in terms of the appearance of the drum, the characteristics of temperament and the transformation of imagery (such as drum nails and drum leather). To create meaningful visual images, expressions create images with abstractions and symbols and then use digital art to express planes and animations, conveying the practice of modern calligraphy combined with visual art.

6.2 Principle of creation and design steps

First, the drum calligraphic style, the complete font type, the stroke component and the ink dots are regarded as the design theme. The round appearance and the other features of the drum are integrated, and the abstract dots, lines and planes are combined with textual components to create the visual image of a drum. The creative thinking involved draws on the related literature, such as that about "abstract expressionism and calligraphy art", and supports the drum design. The specific steps are listed below.

Design theme: Theme 1 is the “Rise and Fall” and the continuous expansion of the drum sound, as well as the deconstruction and reorganization of the character for drum, which results in the visual image of a drum. Theme 2 is "Roaring Drumming", which describes the sound of the music as very loud and lively and compares its sound rhythm to the composition of dots and lines.

Design steps: (i) Refer to the description of the "Zhongzheng Comprehensive Dictionary of Shape, Sound and Meaning", and write the character "drum" in a calligraphic style such as Jinwen script, Xiaozhuan script, Lishu script, Kaishu (regular) script, Weibei script, or Caoshu (cursive) script (Table 2); (ii) Specifically draw ink dots with different shades and layers (Figure 3); (iii) Use Adobe Photoshop software with an Epson Perfection 1270 scanner to capture text and ink dots and adjust the color shade with a high resolution; (iv) In addition to the aforementioned drawing software to create graphics, use CorelDraw drawing software to convert the bitmap image into a vector image to create layout design that follows the theme of the creation; (v) Create the graphic design, mainly using Adobe Photoshop software with the Hyper Tiling filter function of KPT Effects, which displays the visual image of Chinese characters combined with ink dots, presents visual effects such as fractal art, and achieves repeated image details; (vi) Create the animation design using the theme completed in the previous step, Adobe Flash animation software to make 2D interactive images, and the animation source code module (http://www.levitated.net) as an expression of design.

(a) (b) (c)

Figure 3. Ink dots. Source: Drawings from this study.

Table 2. Calligraphic expression of the character for drum (鼓).

Calligraphic style

Jinwen script(a)

Jinwen script(b)

Xiaozhua script Lishu script(c)

Lishu script(d)

Kaishu(regular script)

Weibei script Caoshu(cursive style)

Source: Provided by Fuqiang calligraphy. Reproduced with permission.

7 Design creation expressionContinue the calligraphic fonts and ink dots completed in the above steps and import them into the application that constitutes the design. Although the design topic has been established, since the theme contains complex content such as traditional culture, image processing and aesthetic features, it involves a wide range of aspects and needs to be

translated into specific and clear image texts. Hence, the derivative works can be presented in two parts. Theme 1 is "Rise and Fall" and theme 2 is "Roaring Drumming", which are detailed in the following sections.

7.1 Title of the theme: “Rise and Fall”

The design theme includes images of Jinwen script, Xiaozhuan script, Lishu script, Kaishu script (regular), Weibei script, Caoshu script (cursive), ink dots and drums. The design can be described as follows: Both works use the drum as the visual focus. The center of the picture is the visually important focus, and the center is also a convergence point. The surrounding elements can be positioned to create stability and surround the visual experience. In addition, the Chinese character form can be categorized as block text. Therefore, when designing the layout, the square shape is taken into consideration. The character for drum is placed in the center of the picture. There is a natural side rim in the structure—that is, there is an external limit, rim and boundary that attempts to ensure that center of the entire picture matches the rim, front and rear. Furthermore, the combination of the ink dots with different degrees of shading and the partial images of the drum, such as the object components (e.g., the drum leather, nails and body) symbolizes the outward appearance of the drum.

In summation, the multilevel overlay is combined into a depth of space with an image so that one detail of the picture covers another detail, resulting in a gap between the foreground and the background. To create a gradual feeling of space in the plane, intertwine the use of translucent processing techniques and then apply abstraction, thereby setting off the drum calligraphic style. In terms of conception, the cursive script portrays the fine sound of the drum in a smooth scenario like passing clouds (Figure 4). The Lishu script, with a stable artistic conception, is as strong as Tai Mountain (Figure 5). Through the composition of abstract expressionism and the structure of simulated fractal art, the dots and lines of Chinese characters are regarded as design themes, matching the staggered and repeated arrangement of various calligraphic scripts with images crisscrossed in a plane of space and ultimately composing an extremely rich and rhythmic image in which the near and far radiating dots create a "rising and falling" visual effect.

Figure 4. Work titled: “Rise and Fall”.

Figure 5. Work titled: “Rise and Fall”.

In short, using the drum calligraphic script combined with the visual vocabulary of the symbol for drum forms a unique visual touch, especially with the addition of the symbol shape, the texture element above the shape that is added by the ink, which can clearly highlight the position of the line texture, and the clustering of ink dots. The seemingly complex texture serves to make the visual image more plentiful and the connotation of the symbolic form more lucid.

7.2 Work titled: “Roaring Drumming”

The design theme includes Jinwen script, Xiaozhuan script, Lishu script, Kaishu script, Weibei script, Caoshu script, and ink dots. The design can be described as follows: The image deconstructs the object of the drum using black drum nails and a red drum body to express abstraction and matching the red picture design with ink dots that symbolize the abstract form of the drum. The picture consists of various elements of different sizes, such as dots and lines appearing in different shapes, colors, contrasts, positions and structures, and the original basic elements are abstract and are combined into a meaningful image through the appearance of the drum. Through the design theme of the animation, the ink dots are shaped to match the gradual displacement of different distances so that the ink dot or dots can create a spatial feeling floating on the screen. The creation of repetitive drum sounds, the size of the temperament characteristics, and the combination of the ink dots with the overlapping, repetitive and linear forms of the text allow the dynamic effects of the elements in the picture to attract the viewer's attention and present the visual experience of the roaring drum (Figures 6 and 7). This stage in the process is mainly to continue the work of "Rise and Fall" in trying to combine the elements of graphic works with the visual representation of animation to create a design that is different from static design. This work is ultimately based on visual and auditory appeal, with an image design that is closer to audio and video content.

(a) (b) (c)

Figures 6. Description of interactive film and alternative screens. (a) Using red as the base color to symbolize the lobby drum, this image sets off the ink dots of the black drum nails and combines them with the character for drum in Lishu script. As the drum sounds repeat over and over, they are expressed in differently sizes ink dots on the screen. (b) In sync with the drum sound effect, the ink dots emerge repeatedly. An increasing number of irregular ink dots are left on the screen, and different levels of ink dots are produced. (c) With the drum sound and the appearance of the ink dots synced, the drum sounds constantly rise and fall, and the ink dots and characters for drum become larger and clearer, creating a visual image of a roaring drum.

(a) (b) (c)

Figures 7. Description of interactive film and alternative screens. (a) Deconstructing the figurative shape of the lobby drum, with the red base color symbolizing the red drum body, and sequentially arranging the dots of the black drum nails into a regular circle, thereby mimicking the appearance of the drum. (b) By clicking on the dots on the screen, the drum sound and the calligraphic script and ink dots are immediately generated. The ink dots appear simultaneously with the drum sounds, and as the sounds rise, different sizes of ink dots and calligraphic scripts are produced. (c) As the drum sound and the size of the ink dots are scattered, rapid drum sounds begin, the ink dots continuously appear in different sizes, and different calligraphic scripts of the character for drum randomly appear.

In summary, this creation attempts to express ideas in life through visual design, especially by using modern design thinking, embodying the interpretation and exposition of traditional culture with scientific value, and conveying image and text through digital media. Currently, a design method based on visual culture already embodies the diversity and culture of the source of information for the design. In the creative process, digital tools are used as a supplement, combining the value of design education and artistic expression from the West in order to show the expression behind different visual connotations. For example, from the perspective of design concept, the cultural materials are applied to the creative expression but not to the creators themselves. One can feel the rendering power of culture and incorporate one’s own cultural background or life experience into a cultural communication. However, this is also the way to distinguish and communicate with different groups, and it is the most basic aesthetic quality of developing science and technology. In choosing traditional Chinese culture as the element and theme for design creations, we must consider the overall style of presentation (rather than over-relying on the functional effects of digital tools) and use tools to create a visual feeling that conforms to the cultural atmosphere.

8 Conclusion

Basic shape is one of the most important components of the learning design process. Using Western design thinking to understand shape, color and composition layout and attempting to reinterpret the application of traditional calligraphy from a design point of view—whether it is the expression of form or the meaning of content—are both important aspects of design thinking. The writing patterns of traditional calligraphy and the design creation of modern experiments may have different biases. If the artistic value of "the brush and ink of the time" is compared to the science and technology of innovation as the main appeal, the expressiveness of the traditional writing mode is obviously difficult to achieve. Using science and technology as an option for design creation is a difficult way to proceed; however, technology, ideas and thinking can still be in sync with the cultural issues of an entire era. This is also the test of the times to which contemporary creations are subjected. There are infinite possibilities for development, and it is worthwhile to explore these possibilities together with artistic aspirants. On the other hand, if we follow the well-beaten path of the status quo, the creativity of traditional calligraphic art will wither, it will deviate from the larger environment of the era in which it operates, and it will inevitably be neglected and pushed out by other art categories.

The design and creation process uses the traditional calligraphy characters and drums as the theme, assisted by digital tools in the creation, and finally transforms the traditional calligraphy visual form into an expression of the art of science and technology. Some experiences are summarized below.

The use of digital drawing tools can enhance the pioneering nature of the creative process, but the development of traditional calligraphy writing skills is still important. Digital tools are only used for assisting design execution. It is imperative to first survey the past literature and design concept and then introduce digital tools for postproduction. Only in this way can we realize the formation of design thinking, refrain from blindly applying the special effects function of the drawing tool, and avoid becoming a mere formality.

Due to the development of computer graphics computing technology, the effect of algorithm processing of visual images has been greatly improved, and the traditional calligraphy form has been transformed into a planar visual image. The success of the assistance of digital tools depends on the creator's learning and knowledge of design. The concept of design creation can be further implemented through theoretical citation and practice verification. This part is another important achievement of this study. I hope that the creative process can form paths and systems for subsequent creators to reference.

The creative process in this work uses traditional calligraphy characters combined with the theme of the drum, as well as Western design thinking to deconstruct and reorganize calligraphy in the combination of the text modeling and geometric process. All of this is done while simultaneously integrating traditional elements with graphic design and even returning the results of the design form to the traditional artistic atmosphere, which in turn creates a design and creation experience and provides another direction of thinking about traditional calligraphic expression.

The final creation comprises not only the thinking of the transformation of traditional calligraphy fonts but also the practice of basic modeling design. It is hoped that the combination of the two can create another modern calligraphy art form. However, the final issue is the traditional calligraphy theme and an overall consideration of relevant aspects related to visual imagery, morphology, color, and technology. In the future, if we continue to combine traditional Chinese cultural themes with the techniques of modern design, we believe that we can create visual aesthetics that are different from Western styles.

FundingThis research received no specific grant from any funding agency in the public, commercial, or not-for-profit sectors.

Declaration of conflicting interestsThe authors have no conflicts of interest to declare.

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