The Evolution and Visual Application of Chinese Characters 5

(5) Text geometry, whether it is Chinese characters or Western languages, is composed of dots and lines. For the style of text structure, it has quite a lot of changes. Figure 48-50 has a high degree of height. Conformity. Fig. 48 is a combination of several letters directly into a letter; Fig. 49 and Fig. 50 are the points where the text itself is turned directly into water chestnuts or arcs, each with a different style.

(Figure 48: Designed in 1957) (Figure 49: Designed in 1955) (Figure 50: Designed in 1954)

Third, the impact of computerization layout

After the computerization, the layout of the text is more convenient. The designer can rotate, distort, zoom in and out, change the texture of the text on the computer, etc. The entire layout can also be modified numerous times. Unlike in the past, as long as one word was written one word, one would have to come back. The computer can be said to be a universal design tool, and it also has a significant influence on the layout of the modern layout.

(1) The visual effects presented are more lively As the city launches a number of software programs, the computer image processing techniques are varied, extending the creative space of the creators and making the visual effects of graphic design more lively (Figure 42).

(b) Combination of composite media Due to the development of scanners, the materials around the living, whether plane or three-dimensional, can be combined with a scanner, combined with images and text (Figure 51). Can also create a lot of slides overlap effect, can be considered a "new style montage" (Figure 52).

(3) The flat style has a sense of sci-fi. Because the computer provides a lot of skills, coupled with the designer's imagination, the creation space is infinite, so the works designed are deeply sci-fi visual.

(4) Text changes are more abundant. It is possible to directly make stereoscopic, gradient, etc. effects on texts, and there are more restrictions on changes (Figures 53, 54). In the 40 years to 50 years of the Republic of China, because the computer hardware and software in the early days of Taiwan had not yet matured, the text was relatively unchanged at the time of layout design. The actual images were used less often, and most of them were done by hand-painted methods. (Figure 55). In the 50 years since the Republic of China, the use of video in advertising space has slowly increased, and the text has changed at the same time (Figure 56).

(e) Colors are more colorful The computer's color wheel is made with a color rendering table, which provides the user with a rich selection of colors. Compared with the general graphic design, the colors of computer plane images are much more varied (Figure 57).

(six) the development of the sense of space Computer graphics have a feature, is the development of a sense of space. The plane image has a realistic three-dimensional space (Figure 54).

(Figure 51) (Figure 52)

(Figure 53)

(Figures 54, 55)

(Figures 56, 57)

Similarities and Differences between Chinese Painting and Modern Graphic Design in Wu and Calligraphy

In the introduction of the evolution of Chinese characters, we can see that Chinese characters are highly artistic in nature. The composition of Chinese characters is nothing but "integrity" and "fitness." Both are "integrity," and the organization of each word is like a small structure: balance, symmetry, harmony, and Western languages. The letters of similarities are completely different. Calligraphy is the best way to express the unique art of Chinese characters. However, the application of calligraphy in modern design was only gradually introduced back to the concept of Western design, but it has been used differently from traditional painting and calligraphy in visual use.

(A) The purpose of different calligraphy in traditional painting is to show that the people, events, times, places, things, or played the role of "transmitting feelings" (Figure 27). On the other hand, modern design is mainly based on "decoration," and it conveys ideas with images.

(II) Different media In Chinese traditional paintings and calligraphy, their characters and images are expressed in ink on ink and ink, and are presented directly on the viewer's eyes. Today's design products are all arranged by computer design, and finally printed on paper, so no ink on the paper texture.

(III) Contents The contents of different traditional Chinese paintings and paintings mostly describe landscapes, flowers, birds, portraits, and statues of Buddha and the life conditions at that time. However, modern design content focuses more on the function of advertisements because of its design needs.

(4) The form of the text requires different expressions, and the relative form of the text is also different. The author of Chinese painting and calligraphy will, depending on the mood of writing, arbitrarily waver, and the readability of the text is not so particular. On the other hand, the modern design emphasizes on the function of advertisements, and on the requirements of the form of the text, the readers are preferred for the good readability (except decorative text).

(5) The composition of the blanking effect on the screen. If it is filled in full, it will make people feel breathless and unorganized. The greatest role of blanks is to attract attention, and its reason is the same as the appropriate white space in Chinese traditional paintings. It stresses that "actually it is empty and emptiness is the same."

(6) Text Design Chinese characters have evolved over the course of three or four thousand years and have produced many different styles of fonts. Although these fonts are “deformed” in response to the needs of the times, there are also some that embellish decorative book bodies. The insect book is. It is a special mark of the ancient noble class with super-language symbolic functions. It serves as an ideal sustenance and imaginary fulfillment, and is often used as the name of the self-made weapon of the royal family (Figure 58: The part of the bird's worm on Wu Jizi’s son’s sword). ). This kind of font can be regarded as the earliest decorative text in China; Figure 59 is the oracle of worshipping the gods, its rich flow of words, coupled with the decoration of other lines, brings out the solemn and mysterious world of ghosts and ghosts; and modern Decorative texts are even more numerous (Figure 37).

(Figure 58) (Figure 59)

Comparison of Land and Midwest Graphic Designs

In the book Comparison of Chinese and Western Painting Compositions, it is mentioned that the cultural achievements of any ethnic group are all affected by the natural environment and humanistic thoughts, and they are all different. Due to the development of information technology, we are constantly influenced by the West in terms of design theory, but the style expressed in graphic design is still different from that of the West.

(1) In terms of characters, we have had a richer appreciation of the Western alphabet than Chinese characters. The main role of the characters in the layout design is to show the theme. Therefore, the typefaces are required to be clear and distinct. In the West, there is often a large number of articles in the text, which are directly based on text and bold in their creative techniques.

(2) In the case of layout design, the West usually uses illustrations as part of the “map” of the layout, while in Taiwan, the image is often used as the “map”, and the ratio of use is higher than that of the West.

(3) Western colors are bold in color, and the colors of the same layout are abundant. The colors used in the same format in China are relatively conservative.

(4) In terms of form, the Western graphic design tends to be exaggerated and interesting. In contrast, China's graphic design can be considered as “realistic”.

柒, conclusions and recommendations

The first Chinese international graphic design master reluctantly stated in the celebration of Prof. Wang Jianzhu’s commemorative seminar organized by the Fine Arts Department of the National Taiwan Normal University for 50 years. “Each time has its own time spirit and style characteristics. Each era must also continue to innovate, and human development has its own heritage...modernization does not mean westernization... The Chinese should think about the development of the future world with a more macro perspective and an international perspective. Mo will fall in the face of the future only with Chinese, Eastern, even mainland, Hong Kong, or Taiwan...etc. Responding to national sentiments and regional perspectives... At this crucial moment in the turn of the century, Respect for local culture will be a more important issue.... How to continue your own life and cultural development will be the responsibility of every person with knowledge, because this is something that others cannot replace or help. The above passage helps us to understand more clearly how to use the deep Chinese culture in graphic design instead of As a result, the precious assets left behind by ancestors are left behind. Before writing this paper, the field of Chinese characters and traditional paintings was less interested in Western languages ​​and arts, and it was a kind of “relaxation of foreign moons” mentality. However, after studying the collected references, it was completely felt that Chinese art is a profound knowledge and is worth studying.

references

1. Chen Zhaofu, 1987/4, Chinese Painting Research, Danqing Books Co., Ltd.

2. Zhang Shudong, Pang Duoyi, Zheng Rusi, Li Xingcai, review, 1998/10, General History of Chinese Printing, Printing and Propagating Culture Foundation

3. 1989/8, Application of Chinese Character Shape Design and Application, Beixing Book Business Unit Co., Ltd.

4. Zhang Guangbin, “Forgetful” Forget “Shaping”—Talking about the Change of Chinese Paintings, The First Quarterly Journal of the Imperial Palace Academic Quarterly, PP.15 ~ 29

5. Cong Wenjun, Bird Fenglong Insect Book Examination, The Imperial Palace Academic Quarterly Volume IV, PP.99 ~ 119

6. Chinese Souvenirs - The Selected Works of Ancient Masters, 1978/9, Nanjing Publishing Company

7. Li Tianlai, 1995/4, Text Media Application, Beixing Book Business Unit Co., Ltd.

8. Wang Qingsheng, 1992/9, painting—the collision of eastern and western cultures, Shuxin Publishing House