The Evolution and Visual Application of Chinese Characters 4

肆, modern graphic design

The design style and content of each era reflect the social life of the time. In today's society where people live in affluent, technologically advanced, and well-developed information, the most representative of these phenomena is leaflets that are readily available and posters that can be found everywhere. Because of its commercial purpose, in the layout, special attention is paid to the readability and visual attention of the text to attract consumers. In the era of Western power, it dominates the development of the global political and economic situation. In the face of such strong media dissemination in the West, it has a far-reaching impact on the design of the domestic modern plane.

First, the visual application of modern graphic design

(1) The principle of composition for pursuing balance is automatically adjusted psychologically due to the position of various objects on the object, the change in weight, the position of the horizontal and vertical axes. In the technique of graphic design, all elements such as graphics or color, text, etc. are mixed so that they can be expressed on the same plane in a balanced manner. Attention must be paid to specifications, shapes, colors, positions, distances, areas, and other aspects. Visually or psychologically balanced. Such as the Swiss designer aunt. Armin Hofmann was designed in 1963 by William. "Tel" outdoor performance posters, with backlit apples and projection images, and gradient fonts constitute a strong contrast (Figure 29). In Chinese painting and calligraphy art, attention was also paid to the balance, such as Ni Kuang's tolerance for kuzu (Figure 30), and the left-leaning arrangement was used to achieve the balance of the picture.

(Figure 29) (Figure 30)

(B) Severity Principle 1 Severity The more serious the distance from the center point on the screen is, the heavier it is. 2 emphasis on the principle of light weight. 3 left heavy right light. 4 far and near weight. 5 The bright color of the same area is lighter than the dark color. The area that is noticeable in the 6 screens is small but heavy. 7 Simple rules are more important than simple irregularities. Eight separate things are particularly heavy. The straight type is heavier than the horizontal type. 10 Dynamic scenes are heavier than static scenes. Joseph Müller-Brockman's [Protection of Children] poster, designed in 1958, used the principle of heavy emphasis on the left and right, to strengthen the contrast between the locomotive and the child with a large tilt and to show the child's weakness (Figure 31). For China’s Ni Kuang’s works, the distant mountains of the fishing village Qiu Jin’s map (Fig. 32) are more severe than those of trees.

(Figure 31) (Figure 32)

(3) Grouping principle The principle of grouping includes similar principles, the principle of proximity, length, blocking, visual rhythm, symmetry, common destiny, and the principle of good consecutive performance... in order to seek the unity of the picture. In Xu Beihong's group music, the so-called common destiny principle is also used to express its theme (Figure 33). Figure 34 unifies the picture with a similar color or brightness.

(Figures 33, 34)

(d) A method used to convey information for the purpose of conveying information when the line of sight is used as a poster or introduction. Use images or text to guide the viewer's line of sight. As shown in Figure 35, the sketchbook of the Badashan Mountains, the sight of the birds in the map will guide the viewers. In order to be able to understand its content at a glance, it is often guided by large, eye-catching colors. As shown in Fig. 36, the line of a text line along S has both visual inducing effect and recognition.

(Figure 35) (Figure 36)

Second, the use of text in the layout

Text is written in different ways. The font can be divided into writing and printing.

(1) The typeface of this type of writing has its own style and unrestrained atmosphere, and it can express the basic character of the typeface, such as the hand-painted body (Figure 37), calligraphy, and handwriting. It is usually used as a prefix or a title, or combined with an illustration. Figure 38 is a unified music fund poster designed by Saul Bass in 1983. A rainbow umbrella is painted depicting handwritten text. It is concise and very humane. Figure 39 is one of the series of posters for the invitational exhibition of the theme of Chinese characters designed by Zang Qiang. He expressed his love for cursive expressions and design creators and pursued a cultural realm of cleanliness.

(2) The printed fonts are therefore quiet and moderate, suitable for use in the context of the text, making it easier for the viewer to read. Figure 40 is by the American-American designer Hubert. By Herbert Bayer, designed by Hans in 1926. Prof. Xi Xi established a photography lecture. The posters, with their rational geometry, constitute the layout design of space and fonts. They all create a concise and easy-to-read style, with no serifs and few shapes.

(Figure 37) (Figure 38) (Figure 39) (Figure 40)

The changes in fonts bring people different feelings and fun. However, if it is used in the use of leaflets and posters, in times of speed, the words must be quickly identified and understood. Therefore, it is concise, elegant, and beautiful. If the design is beautiful and it causes difficulty in identification, it violates the mission of the text. The basic text is used in the copy and the title, but with the innovation of the design concept, the use of the text in the modern plane is no longer as simple as copywriting and title.

The use of modern text can be summarized as follows:

(1) Using words as an image As shown in Figure 41, the English letter B on the layout is actually a chair carefully, keeping the original appearance of the text and changing it, which is similar to Figure 6 on the previous page. This use of text as an image, the text itself has a dual identity of text and images, can be applied to the Logo design.

(Figure 41: Logo, basel Museums, 1980)

(b) As the name implies, text is presented as a pattern and becomes part of the image. Figure 42 is a CalArts Spring Dance poster designed by Deborah Littlejohn and Shelley Stepp, using computer graphics and typesetting software to "DANCE" This single word, as a visual effect of rotation, shows a sense of dance. Another type of textualization is to increase the similarity between text and decorative objects and confuse the visual sense.

(Figure 42) (Figure 43: Design in 1982)

(3) Arranging words into figures: A pattern consists of a single letter or a letter. As a whole, it is a figure, but an individual is an article. As shown in Figure 44, the ancient Chinese language of exhorting and killing cows' songs was turned into a cow-shaped body, which is quite interesting. Figure 45 is designed by Dana Lytle, using letters to form a human form. This method of arranging text into graphs becomes less important for the order of textual content.

(Figure 44) (Figure 45)

(d) Use text related to the relevant image to decorate the text. As shown in Fig. 46, Yang Shengxiong designed the Chinese Folk Night Poster in 1991 to embellish the title texts with Chinese traditional dolls. FIG. 47 is also a common situation. Using an image as a body of text is most often seen in the design of English letters.

(Figure 46) (Figure 47)