汉字在当代设计中的语境

发布时间：2018-03-30 13:06

本文选题：象形　切入点：笔画　出处：《吉林大学》2009年硕士论文

【摘要】： 自创意产业发展以来,设计已经慢慢走入我们的生活,平面广告、视觉图像充斥着我们的眼球。当世人鉴证了以四大发明为主题的2008奥运会开幕式时,汉字——作为记录汉语的书写符号以其多姿的形态展现在世人面前。随着今天读图时代的到来,以文字为代表的汉字图像越来越被抽象、简约的图形符号所取代,以至于出现更多的视觉编排方式和多层面的立体式变化设计手法,不禁使我思考,众多的视觉形式来源于哪?是远古的图腾,还是自然规律使然?与此同时,设计形式里出现了汉字的形象,并利用汉字进行解构、拆分。但是,单一的汉字设计仅局限于汉字元素自身的整合,却忽略了汉字意义背后所带来的形式语言。我们可以这样来看待汉字:汉字是最初构成记录人类理念的平面设计,是供书写或类似方式处理的视觉信息符号。汉字在今天设计中的意义,已经远远超出了作为文字识别和美观修饰的作用。我们知道各类平面设计中,无论招贴海报、标志图徽、包装还是书籍设计,汉字正如索绪尔论述的那样,他以其语言声音、知觉音像和在接收者心中的心理概念、意念这一双面性,传达着特定的意义和价值。就这一点,汉字的功效其实和在文学中的一样,都是起着含义传达作用的符号,视觉设计也是如此,在不断地发现与创造过程中,不难发现包括汉字等一些平面设计元素在内都遵循着某些内在的规律,他根植于“以形为本”的思维理念。本文试图探讨由汉字产生的视觉意向,从而转化为视觉符号,导致思维产生的特点和重要意义。这为平面设计语言形式的多样化提供了有利条件,并形成多维的创造空间。
[Abstract]:Since the development of creative industry, design has gradually entered our lives, print ads, visual images filled with our eyeballs. When the world verified the opening ceremony of the 2008 Olympic Games with the theme of "four inventions" as the theme, Chinese characters-as a written symbol for recording Chinese, it is displayed in the world in its various forms. With the arrival of the era of reading pictures today, Chinese characters represented by characters are more and more abstracted and replaced by simple graphic symbols. So that there are more visual layout and multi-dimensional three-dimensional design techniques, can not help but make me think, many visual forms from where? Is it the ancient totem, or the laws of nature? At the same time, the image of Chinese characters appeared in the design form, and it was deconstructed and split by using Chinese characters. However, the single design of Chinese characters was limited to the integration of the elements of Chinese characters themselves. But we ignore the formal language behind the meaning of Chinese characters. We can look at Chinese characters like this: Chinese characters are the original graphic design that records human ideas. It is a visual information symbol for writing or similar processing. The meaning of Chinese characters in today's design has gone far beyond the role of character recognition and aesthetic decoration. We know all kinds of graphic design, whether poster, logo, packaging or book design, Chinese characters, as Saussure argues, with his language sound, perceptual audio and video, and psychological concepts in the heart of the recipient. The twofold nature of the idea conveys a particular meaning and value. On this point, the efficacy of Chinese characters is, as in literature, a symbol of meaning communication, and so is visual design, in the process of constant discovery and creation. It is not difficult to find that some graphic design elements, such as Chinese characters, follow some inherent laws, and he is rooted in the thinking idea of "taking form as the basis". This paper attempts to explore the visual intention produced by Chinese characters, thus transforming them into visual symbols. It provides favorable conditions for the diversification of graphic design language forms and forms multi-dimensional creative space.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J524

【相似文献】