Value the cultural value of Chinese characters
Zhou Chen: As a unique piece of graphic design, Chinese character typeface art design has been continued and developed in Hong Kong and Taiwan. What impresses people most is the envelope of some movie posters and discs. It is full of personality and appealing. Japan, which faces us across the sea, has created designers who are famous for their typeface design, such as the 50-inch Wei Chang and Xiao Lin Zhang. In 1996, you were invited to the Aichi Prefectural Art University in Japan for an exchange visit to give lectures on font graphic art design. In conjunction with Mr. Bai Muzhang, he organized the "Cao Fang Bai Muzhang Font Design Exhibition." In the design circle of the Mainland, with the prosperity of the cultural industry and the rise of graphic design in recent years, font design has been revisited.
Cao Fang: The cultural traditions of the Hong Kong and Taiwan regions have not been or are less damaged by the "Cultural Revolution" and other movements, so they can be continued and developed. In addition, the active performance of a group of well-known designers like Zhang Qiang, Liu Xiaokang, and Chen Youjian in the graphic design field has a certain influence on the font design. In addition to part of the Chinese characters, the Chinese characters are also used in the form of Chinese characters or words and sounds, as well as in the form of transcription and expression. This is the formation of the pseudonym and symbolization of Japanese characters in Japanese. Great progress. Bai Muzhang, as the facilitator of the subject, paid much more attention to the study of Chinese characters than we did. It was evident from the large number of graphic works he designed for posters and collections that his design ideas were based on absorbing Chinese culture. Combining modern and Japanese characteristics to form their own style, that is, concise shape, reduced strokes, and some almost to the edge of indistinguishable. He wrote: "China invented great Chinese characters, and Japan had the privilege of inheriting it. We cherish this kind of writing and keep it until today..."
Since I joined the International Graphic Designers Association in 2004, I have participated in the annual conference and exchanges of the International Graphic Design Alliance every year. I have witnessed the design of the world’s national designers who have worked hard and creatively in their own language and have a strong vitality. Design, more reason to glow the eye-catching glory of the era in the hands of contemporary Chinese designers. We should think more about how the Chinese character arts in the contemporary world cultural vision will cast new life in the collision and integration of oriental culture and retain its cultural spirit. Through various means of design art, we can further realize its cultural value.
Pay attention to the exploration of diversity in the computer age
Zhou Chen: Due to the development of computer software technology, there are many fonts available for designers to choose from in the field of book binding. However, everyone uses these fonts and it is inevitable that they will have thousands of books. However, contemporary young designers are too dependent on computers and lack traditional hand-drawing training. Chinese character writing opportunities are greatly reduced. Font design is actually a manifestation of designer's comprehensive quality, which reflects the designer's ability to grasp the meaning of graphic culture, the ability to express the structure of the font structure, and the aesthetic ability of combination of fonts and graphics.
Cao Fang: With the development of computer software technology, in the field of book design, the type of fonts available to designers is actually very small, because unlike the countries like Japan, which pay attention to development and research, the Chinese fonts are either too fancy or not standardized enough. , seldom able to choose rigorous, beautiful, full of personality fonts for publications. The magical effects of computer technology have made the design more and more abundant. Therefore, the designer does not seem to deliberately pursue a certain set of effects, but obedience to the accidental and random nature of computer software, such as some good-looking disorder and confusion, the wrong version of the overprint effect, some are considered It is not in accordance with the rules of the layout, but also in the visual effect of "unexplainable" sense of hop, murmur and sense of space and so on.
At present, the design of computer-encoded fonts in our country is still on the starting line. We should use its characteristics to find differences in the visual effects and ink printing fonts, due to brightness, shine, light color, click, alternation, movement, interaction, speed, etc. The difference in aspects to create a special type of montage effect. Text design requires explorers.
Text design into real life
Zhou Chen: Regardless of whether it is an important aspect of contemporary graphic design or an important tool for book binding, font design has many articles that can be used for type design in paper publishing, electronic publishing, or poster and other packaging design fields.
Cao Fang: Font design does have a broad prospect. The diversified development of contemporary graphic design provides a broad platform for the redesign of Chinese characters. In the process of designing the modern appearance, the impact of foreign design techniques and the design of foreign fonts on the design of Chinese character fonts are important factors that cannot be ignored. The decorative treatment or graphical means of Chinese character fonts in Japanese graphic design (rather than general patterning techniques) give us great inspiration. In the style of Japanese typography, the use of calligraphy and the way it was built on less digital calligraphy, modern calligraphy, and katakana writing methods reawakened Chinese designers' passion for calligraphy. When Japanese designers used Chinese characters to draw reference to the layout structure of Latin texts, they gained a modern visual communication structure. This gave a clear reference to the arrangement of Chinese characters in Chinese graphic design. American designers have enriched the reading function of texts, started the design of text design into real life with humanity, life, and popularity, and given the text a commercial culture.
Modern text design draws on many techniques of modern art, design fonts and graphics, and inspired the artist's inspiration. This is an art subject with infinite possibilities. After the combination of figurative readability and non-figurative constitution, Produce magical interest. Reluctantly use Chinese characters written with Chinese ink brushwork as the main graphics, and in a clear and elegant style, people get natural intimacy and cultural identity, which are both very appropriate and “Chinese-likeâ€.
In the people's visual memory, such classic works are firmly stored: the "decoration" word designed by Zhang Guangyu, which gives the palindrome a modern sense, has a circle in it, and realizes the semantic isomorphism in the twists and turns; Lu Xun The "scream" of the design is still the most commonly used example of the art of Chinese characters. It is wonderfully conveyed in casual images. It has both tension and insignificance. The reluctant Chinese bank logo integrates graphics and fonts in minimalism. As one.