Unlike traditional calligraphy, Korean calligraphy has pictoriality and creative formative beauty, and is naturally encountered in our daily lives, and its base is rapidly expanding. In addition, along with the recent global Hallyu craze, it has come to be regarded as a method of expressing Korean identity that highlights the uniqueness of Hangeul.
Calligraphy has been developed in earnest in the West since the 14th century, and in the East, it occupies a firm position as an important culture and art in the Chinese character culture, centering on China. Calligraphy, which occurred in different cultures of the East and the West, is developing into a genre of formative art as a common denominator of beautiful letters. Hangeul calligraphy, which has been developed as a traditional calligraphy method since the invention of Hangeul, has come to modern times and has a formative feature that is distinctly different from existing calligraphy, and the purpose of this study is to analyze this modern formativeness.
Through the works of modern and contemporary calligraphers, the infinite scalability and diversity of Hangeul calligraphy were examined, and the works that showed various expansion possibilities of calligraphy influenced by modern design and the works that showed the uniqueness of Hangeul were analyzed.
First of all, the characteristics of Korean calligraphy are defined as traditionality, convergence, and expandability. Hangeul calligraphy is creating an expansion of formative expression through new attempts based on the succession of traditional calligraphy, and expressing creative formative beauty that encompasses genres by integrating poetry, calligraphy and painting. In addition, it created an open and free formative beauty through free materials and techniques.
The formative characteristics of Hangeul calligraphy are modern transformation through transformation that crosses the boundaries of dots and lines in terms of form, free creation of figurative shapes in non-geometric forms, spatial beauty through processing of blanks and black lines, and breaking away from simple ink colors. It also can be found in the texture according to color, strength and speed of brush strokes, and various geology and harmony. In addition, in terms of structure, the overall beauty of balance and the arrangement of pictures and writings are maintained by changes in the size of initial consonants and neutrals and horizontal strokes of vowels, etc., while changing the brushwork and balance gives liveliness to the work. And in expression of the lines, it expresses the rhythm in a formative way by creating the beauty of rhyme with various techniques.
The modern formativeness of Korean calligraphy is defined as cultural characteristics, instrumental characteristics, and characteristics according to the uniqueness of Hangeul. As a formative feature that has gained popularity in terms of artistry, it is possible to increase readability, recognition, and differentiation by applying Korean calligraphy to product design. In addition, by breaking down the boundaries of paper, brush, and ink, and using various objects to create unique forms of Korean calligraphy through design and mutual exchange, digital formative beauty for modern design was secured. Lastly, Hangeul calligraphy, which best represents the uniqueness of Korean culture, has created a new visual identity for Hangeul, and is securing a Korean identity through various experiments and expressions.