| The Central Symposium on Xinjiang Work proposes to strengthen interactions and exchanges among ethnic groups,deploy and carry out various forms of joint construction work,promote "bilingual" education,and promote the establishment of social structures and community environments in which ethnic groups are embedded.In the promotion of "bilingual" education,it is feasible and necessary to study the bilingual arrangement of Chinese and Kazakh scripts.In the context of Xinjiang’s pluralistic history and culture,it is necessary to analyse and study the development and current situation of the Chinese and Kazakh scripts,review the tradition of writing,sort out and pass on the traditional rules of typography,construct the aesthetics of typography,and awaken the aesthetic self-reflection of multi-script typography.In order to better promote "bilingual" education,the aim is to find and provide a set of reasonable and reliable cross-context multi-script typographic solutions,with a view to filling the lack of traditional typographic theories and rules in the era of desktop publishing,and to make bilingual Chinese-Hanban typographic design more in line with the aesthetic standards of contemporary visual communication.Through the collection of relevant historical documents and research,the author has comparatively analysed the evolution,current status and characteristics of Chinese and Kazakh printing fonts,and summarised the similarities and differences between the two scripts in various aspects.Through a comparative analysis of the structure,centre of gravity and baseline of the Chinese and Harapanese printing fonts,I analyse the differences in the structure of the Chinese and Harapanese printing fonts,and then analyse their impact on typography from ’font’ to ’overall text layout’.In the later stages of the theoretical study,the author used the previous theoretical guidance to move from ’typography’ to ’book design’ and carried out the design of the book ’The Story of the Lena Fox’(a Chinese-Khanic reading book).Through understanding the temperament of different fonts,we chose the right font and font size for the layout,adjusted the appropriate word spacing,line spacing and overall grey scale,chose the right typography and alignment according to the content of the text,and finally adjusted the overall rhythm and rhyme of the book according to the spatial relationship of the book.These are the keys to the good expression of the content in Chinese and Harlem book typesetting.Designers need to put themselves in the shoes of the reader and keep ’easier to read’ in mind in order to do a better job of designing books. |
