Art and Design, Vol. 3, Issue 1, Mar  2020, Pages 53-60; DOI: https://doi.org/10.31058/j.ad.2020.31005 https://doi.org/10.31058/j.ad.2020.31005

The Application of Ambivalence in Font Design of Chinese Characters

Art and Design, Vol. 3, Issue 1, Mar  2020, Pages 53-60.

DOI: https://doi.org/10.31058/j.ad.2020.31005

Chen Yibing 1*

1 School of Literature, Nankai University, Tianjin, China

Received: 5 December 2019; Accepted: 10 January 2020; Published: 28 January 2020

Full-Text HTML | Download PDF | Views 182 | Download 109

Abstract

Chinese characters are not only a practical symbol to record language, but also an aesthetic carrier to transmit ideas. Chinese characters convey emotions through character forms and meanings. Generally speaking, fonts can only convey one or similar emotions. However, after the design and creation of Chinese characters by designers, they can create a variety of completely opposite emotional experiences according to needs. This strong sense of form will bring readers into another kind of emotional experience, giving people an unforgettable visual impression. This paper makes a comparative analysis and summary between the traditional Chinese character construction principles and the structural rules of modern font design and creative methods of font design, and tries to explore the expression of ambivalence in Chinese character font design by combining the analysis of relevant excellent design cases.

Keywords

Chinese Characters, Ambivalence, Font Design, Chinese Character Graphics, Text Game

Copyright

© 2017 by the authors. Licensee International Technology and Science Press Limited. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

References

[1]Li, Y.F.; Huang Z.X.; Chen, S.K. With a long history and rich connotations, Chinese characters have infinite charm. Confucian Academy, 2017, 4(4), 64-68.

[2]Wang, G.Y. On the influence of six books on the configuration of modern Chinese characters. Art Science and Technology, 2017, 30, 5, 192.

[3]Zuo, Z. Thoughts on typography and logotype,1st ed.; Publishing House of Electronics Industry, China, 2016; pp. 36-41; ISBN 978-7-121-30055-4.

[4]Shi, A.C. Misidentification and structure of Wu Ze-tians character making. Palace Museum Journal, 1984, 4, 84-90.

[5]Arnheim, R. Art and Visual perception, 1st ed.; Sichuan Peoples Publishing House: Sichuan, China, 1998; pp. 36-39; ISBN 7-220-03958-1.

[6]Zhu, Z.X. Dictionary of psychology. Beijing Normal University Press: Beijing, China, 1989.

[7]Zhao, X.L. Emotional analysis of font design. China Packaging Industry, 2015, 17, 55.

[8]Naito, T. Design Rules “Moji”, 1st ed.; China CITIC Press, Beijing, China, 2011; pp. 58-59; ISBN 978-7-5086-2991-9.

[9]Jing, Z.R. A study on the differences between ancient and modern Chinese partial meanings and complex words. Journal of Hebei Normal University, 2008, 4,153-154.

Related Articles