Visual Design Research On Designability And Ideography Of Chinese Characters

This thesis analyses the relationship between the visual design of Hanzi and the ideographic role of Han characters from a design perspective.In the context of focusing on the visual semantic design of glyphs in the information age,it analyses and addresses the problems encountered in the process of communicating Chinese character visual design today.Firstly,the ideographic features of ideographic characters are analysed to examine the key factors that play a role in the ideographic function of Hanzi.The key factor that influences the ideographic function of Hanzi is the rationale relationship between character form and meaning,and the rationale relationship is further sorted and integrated into a system and pattern of rationales.The paper then takes the results of ideographic tracing into the visual design of Hanzi and divides the visual design of Hanzi into two paths,one being ideographic and the other being stylistic.The focus of stylistic design is not on the rationale between form and meaning,but on the matching of form and application in the visual design of Hanzi,and the stylistic component of design in terms of recognisability,readability and stylisation.The composition of the form and the stylistic It is clear from the comparative study of composition and style that these two paths are one and the same,and can only be discussed separately and not in isolation.Therefore,the main study in this paper focuses only on the rationale for the relationship between morphological and meaningful characters in the context of construction.Since the evolution of Hanzi,their morphological characters have changed to a large extent,and the rationality between morphology and meaning has gradually declined.In modern visual design,design practitioners have established a design method that uses the meaning symbols as the primary means of communication,combined with other visual components to generate the form symbols.The reconstructive rationale is an open-ended design approach in which the designer can combine Hanzi with any visual element for the purpose of communication,and therefore cannot be classified in an exhaustive manner.By combining the ideograms with the compositional properties of the Hanzi,the reconstructive rationale can be sorted out in a deeper way to avoid exhaustive generalisation.In this way,reconstructive rationale can be broadly divided into two categories: mimetic and ideographic.Although flexible,these design approaches share the commonality of constructing clear morphological-meaning rationale relationships,and designers see reconstructive rationale as a way of relating word form and meaning in Chinese visual communication.The reconstructive rationale approach is essentially a design approach that skips the morphological part of the character and uses the meaning to drive the form.This emphasis on ideograms rather than forms stems from the excessive abstraction of modern Hanzi.This paper brings the factors affecting the ideographic role of Hanzi into the context of different periods of time,and a dynamic analysis reveals that the pictorial nature of ideographic components has gradually become an abstract referential role in modern Hanzi.Due to the existence of the denotative role,there is still a pathway for recovering the rationale between character form and meaning,and this pathway for giving meaning to the form is known as visual transliteration design.On the premise of maximising the rationale of Chinese character formation,this paper finally deduces that the design of visual translation is accomplished by combining the meaning of the Chinese character itself with the meaning of the text and other auxiliary forms of visual language.Through the design and layout,the viewer is able to understand the meaning of the abstract symbols of modern Hanzi through the comparison of different characters,and to establish a systematic interpretation through the design method.The analysis of the new construction of meaning and the abstraction of the morphological symbols shows that the ideographic nature of the visual design of Hanzi can only be effectively brought into play through the dual path of meaning and morphological symbols.By enhancing the ideographic role of modern Hanzi,a more diverse platform for content creation can be created for visual design.By examining the ideographic qualities of Hanzi,design methods can be used to take advantage of ideographic characters in a global design context and develop a design language that is more culturally appropriate to Hanzi.In addition,the ideographic nature of Hanzi plays an important role in the scientific transmission of Chinese culture for both social and school aesthetic education,and a benign approach to ideographic interpretation can lead to innovation in heritage.