Recreating "Shape" and "Ideas" in Chinese Character Design

As a rich design, open content, and ever-changing design language and visual form, Chinese character design is very important for graphic design. Understand the basic mainstream and development of the 5,000-year-uninterrupted study of Chinese characters, analyze and study the ideology of Chinese character design, and have practical applications for modern Chinese characters design, modern visual design thinking, and the enhancement of design culture connotations that meet modern consciousness. Positive significance. The design of Chinese characters constitutes a search for forms and modeling theories of Chinese characters, strokes, and structures. The process of Chinese character design is also a process of visualizing and symbolizing creativity. Thinking is based on design images to select, transform, and combine visual elements. Chinese character design can also use graphical symbols as a means to convey information. The overall structure of the information consists of two different structures. The symbols carry, that is, text and graphics are all in one. These two structures usually appear at the same time, complement each other, and derive the advantages of information transmission and interpretation. Today, the visual communication of Chinese character design needs to break through the general visual habits, strive to express the most profound and rich content in the form of intensive and symbolic, and convey the intended meaning through highly refined visual graphic language and an easy-to-understand order.

First, shape "shape", "have generalized and narrow sense of cognition, generalized 'shape' refers to the collective name of all visual forms related to form; narrow sense 'shape' refers to specific figures, shapes, etc." "Shape" is mainly through visual perception. Vision is the perception of an objective object in a specific time and space through a person's visual organs. Visual language is a means of visually expressing thoughts and feelings. It is expressed through styling media and language techniques. "The modern design theory first focuses on the vision." 1 For the grasp of the object of Chinese character design, the research consciousness based on the visual language more concentratedly reflects the pursuit of an immediate visual effect, "is in the sense of life The quintessential cross-section of the stream is a condensation of wisdom and emotion." The study of Chinese character design is based on the "shape" visual language, which is based on a better understanding of how Chinese character design can achieve accurate performance and visual communication. Smooth.

Deformed variation

The first nature of the text is to convey, and change is the inevitable trend in the design for the purpose of communication. The morphing variant here is a design that distinguishes the character from the computer's printing specification by giving it a distinct personality. The design of such Chinese character fonts is often based on the structure of the computer print specification fonts to make strokes "articles." The design is basically the reconstruction of the form and structure of the Kanji printing standard body, moderate expansion or contraction, intentional pros and cons, additions to provinces, disconnects, and links to achieve uniqueness. In practical Chinese character design, in order to meet specific environment, product characteristics and positioning needs, or to pursue special performance interests, express personal characteristics and clear styles, it is often done in a special design that is different from computer font fonts. With the aid of the structure of computer printable fonts of Chinese characters, strokes are re-edited, regularized, skewed, curved, blank, cut, and deformed on the segmentation or given certain features, so that the original Chinese character forms a special and novel new shape. In addition, the special fabric has also become a means of visual language expression of Chinese characters. Specificity is a common form of plane composition language. It also becomes one of the methods of Chinese character design.


2. Grafting

The relationship between things in life and their development and change are often based on certain logic. The combination of logic and common sense is often considered an illusion. However, the complexity of the world lies in the fact that the interrelationships between things are not all in people's experience. The potential relevance underlying the logic theorems often leads to the birth of new things. Just as new combinations in the material world create new things, this kind of creative association gives great inspiration to design creation, prompting people to actively develop memories and associations, start with the appearance of things, and process designs. New Chinese character image. The isomorphism isomorphism of Chinese characters means that the two different font parts form a complete word or word group at the same time, which will produce the effect of isomorphism and heteromorphism. The method of isomorphism is similar to that of two or three glyphs when dealing with a font image. For example, the black body part is cut off and the librarian body is isomorphic. By this method, the common print Chinese character font image can be made bland. Change, release the unexpected potential of the original meaning. Displacement isomorphism is the expression of another visual language in the transition. Replacement refers to the change or transformation of a character's structure and shape or a character or word; while isomorphism is to find the same relationship within a thing's internal structure, so that it maintains the exchange of information, that is, "communicating," thereby achieving fusion. purpose.

3. Reverse correlation

At the end of the map is not a strange term for graphic design. "Graphics and basement", "normal shape and negative shape", "real space" and "virtual space" in graphic design are the application of this kind of psychological law. That is, designers should consider the shape of the figure when designing, and also consider the negative shape. . In the study of contradictory reversal at the bottom of the map, it can be seen that the contours of the reversal and the bottom of the map are linked, that is, any one of the contours acting on the bottom of the map can form a solid image, that is, a common shape. Sharing a shape shows several shapes and borrows one shape to form a complete shape. Contouring has two-sided nature, as the gears intersect, tightly forming their respective complete forms according to a tight junction. This type of multi-purpose, infinitely limited creation method reflects the wisdom of the East, and often uses such visual expressions in the design of Chinese characters. Sharing a form as a reversal-related visual language has its limiting condition that the same set of radicals are used in the design of a set of Chinese characters so that it can be extracted and merged into one, around a common radical. , Reasonably place the rest of the text so that it can restore the original full shape of the Chinese characters. Sharing a Shape Because of the strokes and structure sharing of Chinese characters, the interestingness, symbolism, sense of synthesis, and popularity of the resulting forms have become widely used in the design of creative Chinese characters.

4. The virtual reality

The virtual space of Chinese characters is complementary to real space, and the virtual and real complement each other, constructing the effect of Chinese characters' compatibility and looming. Reducing strokes is the visual expression of virtual reality in Chinese character design. Since Chinese characters are stroke-type texts, stroke reduction is to start with the strokes, omitting a certain stroke or detailed strokes of the Chinese characters, and retaining the key part of the characters can trigger a complete feeling of the word, so as to achieve Part to perceive the overall visual effect. Throughout the history of the development of Chinese characters, the strokes of Chinese characters have been reduced to add aesthetic appeal to the art. In the lake heart pavilion of the West Lake, there are two strange words "two" written by Emperor Qianlong of the Qing Dynasty. In fact, these two words are the word “wind (wind) month” and the word “wind (wind) month” has removed the surrounding surrounding structure, implying “borderless”. This word means “wind and moon boundless”. , describe the scenery here is infinitely beautiful. This kind of metaphorical means of enlightening wisdom enables people to enjoy cultural pleasures, easily attract curious eyes, and has the function of transmitting information. It can be described as one stone and two birds.

5. Breakthrough

A normal and familiar image is difficult to arouse people's strong feelings. It is purposely destroyed, and the familiar things are brought to a strange place and re-examined. The stimulation brought about by the incomplete form will break the normal mentality of the person. Discover new visual forms and new visual impacts that were not felt before. The essence of this destruction is still creation. Its value lies in the birth of new life in the destruction. The disintegration of the original glyphs and the reorganization of the original structural relations are also the means of destruction created in the destruction, that is, decomposition and reconstruction. The modern Chinese character design deconstructs and reconstructs the strokes of Chinese characters in a deconstructive manner. It also draws characters and draws meaning. Decomposition is the decomposition of the strokes of Chinese characters, which are presented in the form of elements of points, lines, and faces. Refactoring is that Chinese characters are no longer focused on individual perfection. Each stroke is recombined according to the laws and spaces that meet the needs of the United States, or an unprecedented brand-new combination of lines reshapes the form of Chinese characters, resulting in the defamiliarization of Chinese characters. "In order to improve the visual impact of Chinese characters.

6. Exodus

The addition of Chinese character fonts to decoration is a way to display the mental appearance of Chinese characters by modifying and adding patterns. Adding a figure outside the strokes of a Chinese character, or connecting a stroke to a line, is like a branch, a fruit, or a root barb that grows on a tree, as if it were an "extract from a branch." Since adding graphics does not change the original shape of Chinese characters, if these graphics are deleted, people's reading will not be affected. The decorative graphics added break through the artistic conception space of the original text, allowing the viewer to communicate with the information conveyed by the shape of the extraneous images when reading the strokes, adding a decorative context to the original thin visual thinking and rendering the atmosphere. The addition of decorative processing highlights the sense of form and the language of the graphic language. In European medieval manuscripts, the initials of the words were written into complex ornamental patterns. People deliberately combined floral and alphabet writing forms, but they are difficult to identify. Later, in the European classical drama, novel cover, and hotel signboard, there was a similar use of floral ornamentation. The design used a hair-like form to wrap around. The lines were thin and thick, smooth and elegant, classical and exquisite. v. romantic feelings. With the addition of decorative lines, people have fully discovered and affirmed the abstract beauty of Chinese characters' strokes. At the same time, they extended the strokes and made them meandering, which became a rich method of decoration of Chinese characters. The addition of Chinese characters is like a tangible and silent movement, rendering the atmosphere of the text, making the Chinese characters rich and full-bodied, with more distinctive features, and allowing people to taste magical rhythms.

7. Map with words

Since Chinese characters originate from hieroglyphs, in terms of generalized visual effects, any form of Chinese character fonts has a graphical meaning. It can be said that it is both text and graphics, and is a kind of text and graphics with specific meanings and certain forms. In the graphic design, the Chinese styles of different styles are also the visual effects of the figures. They can be regarded as regular, standardized patterns and have the visual form semantics. The Chinese folk craftsmen will not give up the decoration within the literal surface. With the help of the pen shape of the calligraphy, they will change the black and white to the blue and green. They will define the figure within the range of the pen shape, and use the specific visual image as the stroke of the Chinese character. The meaning of the word and the figure will reflect each other. Or combine with each other to become a conformal expression in the pen. Word-drawing is also a very interesting design language. From a formal point of view, words, lines, faces, decorations, etc. are used to draw characters. The entire text is regarded as innumerable points. Specific graphics. In modern design, a single Chinese character is used as the element of the point, and the intensive form of the point constitutes a large and new Chinese character or figure of the plane. Just like a child playing hide-and-seek game, the original plain language is implicitly expressed. It can organize the most inflexible text into a new form of meteorology, creating a picture of meaning, and using the form of beauty to arouse the viewer's attention.

Each Chinese character design does not apply a kind of expression technique. The visual expressions of the above-mentioned listed Chinese character forms are often used and flexible. However, they are all information transmission services and pursue unique personality expressions in order to be unique or interesting.

Second, the meaning of "meaning" and "Shuo Wen Jie Zi" explains: "Ideas and Zhi also. From the heart of the words and knowing the meaning. From the heart, from the sound." 3 The use of "idea" in Chinese is widely used and Uniquely formed a system, from the perspective of design art, traditionally people tend to summarize the design connotation and design idea as "meaning." Professor Miyazaki Kisaka, president of the Japan Society of Design, believes that "meaning" formed by "tones" and "hearts" and "represents things that are created in the heart, such as sounds that people can feel." The word "design" is "the essence of the people." 4 "Ci Hai", "meaning", there is "meaning, meaning" and other explanations. 5 From this solution, the words of the meanings of intention, intention, imagery, meaning, meaning, meaning, meaning, and meaning are extended. Mr. Zong Baihua once quoted Jiang Shunyi's words: “Before the beginning of the country, the situation is also successful.

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