本文選題：字體 + 漢字　； 參考：《中央美術(shù)學(xué)院》2014年博士論文

【摘要】：文字設(shè)計(jì)行為的基本目標(biāo)是建立一種文本的視覺秩序——具有勻整版面肌理的層級(jí)分明、詳略得當(dāng)?shù)奈谋拘畔�。換言之,文字排版設(shè)計(jì)要解決兩個(gè)根本問題,一、確保版面的齊準(zhǔn)、勻整,獲得疏密得當(dāng)?shù)陌婷婕±?保證文字的清晰易辨(Legible)美觀；二、締造有有嚴(yán)密邏輯的信息層級(jí),加強(qiáng)文本的可讀性(Readable)。信息的傳達(dá)、意義和精神的承載都是基于這兩者實(shí)現(xiàn)的基礎(chǔ)之上的。 文字版面的齊準(zhǔn)、勻整是任何文化、任何理性書寫行為都會(huì)導(dǎo)向的一種視覺形態(tài)和品質(zhì)。以手書文字作為主要記錄媒介的時(shí)代已經(jīng)離我們十分遙遠(yuǎn),而利用“預(yù)制”的文字(活字、數(shù)字字體)進(jìn)行“書寫”式的文字記錄和文字生產(chǎn)的行為越來越成為一種社會(huì)性的需求。通過制式化的文字形態(tài)和肌理勻整的印刷文字版面,人們努力追求一種視覺的理想化的書寫形式(Idealised writing)。這種幾乎純粹視覺的需求在當(dāng)今技術(shù)與媒介高度發(fā)達(dá)的情況下愈加強(qiáng)烈和顯著。 十九世紀(jì)開始的鉛活字排印時(shí)代以來的文字設(shè)計(jì)和版面肌理,是上承古典中文文字設(shè)計(jì)傳統(tǒng),下啟現(xiàn)代和未來文字設(shè)計(jì)實(shí)踐的重要中介。現(xiàn)代中文版面肌理的實(shí)現(xiàn)主要體現(xiàn)于標(biāo)點(diǎn)(Punctuation)、間空(Spacing)、字體(Type)、齊準(zhǔn)(Alignment)幾個(gè)方面。本文通過對(duì)中文版面肌理和排版學(xué)規(guī)范的剖析,提出了通過標(biāo)點(diǎn)后間空(Punctuation spacing,或標(biāo)點(diǎn)占寬)策略實(shí)現(xiàn)的現(xiàn)代中文版面肌理的排版學(xué)概念。 由標(biāo)點(diǎn)后間空主導(dǎo)的版面肌理的實(shí)現(xiàn)是鉛活字排印出現(xiàn)以來的現(xiàn)代中文排版學(xué)的重要傳統(tǒng)和規(guī)范�？疾旌头治銮迥┟癯跻越档你U活字印刷物版面、重新認(rèn)識(shí)和樹立活字時(shí)代以來的這種排印傳統(tǒng)和規(guī)范,對(duì)于現(xiàn)代中文的文字設(shè)計(jì)實(shí)踐和排版學(xué)在新媒介時(shí)代的進(jìn)一步發(fā)展有著重要意義。 文字設(shè)計(jì)是一種既包含微觀細(xì)節(jié)的把握,又需要中觀、宏觀設(shè)計(jì)策略制定與實(shí)施的設(shè)計(jì)行為。本文著力研究于一種微觀——中觀的文字設(shè)計(jì),即文字行的構(gòu)成(微觀)以及版面肌理的實(shí)現(xiàn)(中觀)。從微觀——中觀——宏觀的文字設(shè)計(jì),對(duì)于排版學(xué)規(guī)范的意識(shí),以及對(duì)標(biāo)點(diǎn)、間空、齊準(zhǔn)等文字設(shè)計(jì)基本原理的認(rèn)識(shí)和掌握,指向一種精確的、邏輯化的、可被進(jìn)一步發(fā)展的文字設(shè)計(jì)語言。
[Abstract]:The basic goal of the text design behavior is to establish a visual order of the text-a hierarchical and well-detailed text information with even layout texture. In other words, typography has to solve two fundamental problems: first, to ensure that the layout is accurate, even, and to obtain the proper texture of the layout, so as to ensure that the text is clearly and easily discernible; and second, to create a tight and logical information hierarchy. Enhance the readability of the text. The transmission of information, meaning and spirit are based on the realization of the two. The alignment and uniformity of text layout is a visual form and quality that any culture and any rational writing behavior will lead. The era of handwritten script as the main medium of recording is very far away from us, and the use of "prefabricated" text (movable type, The behavior of "writing" writing and writing production has become a social demand. Through the standardized text form and textured printed text layout, people strive to pursue a visual idealized writing form. This almost purely visual need is becoming stronger and more pronounced in today's highly developed technology and media. The text design and the texture of the layout since the beginning of the 19th century are the important intermediary of the classical Chinese character design tradition and the practice of the modern and future character design. The realization of modern Chinese version of facial texture is mainly reflected in punctuation, Spacing, typeface and alignment. Based on the analysis of the Chinese version of facial texture and typesetting specifications, this paper presents the concept of typesetting of modern Chinese version surface texture by means of the strategy of punctuation spacing or punctuation. It is an important tradition and norm of modern Chinese typography to realize the texture of the layout dominated by the space between punctuation. To investigate and analyze the layout of lead type printed materials in the late Qing Dynasty and the beginning of the Republic of China, and to re-recognize and establish the typography tradition and norms since the era of movable type. It is of great significance for the further development of modern Chinese character design and typography in the new media era. Character design is a kind of design behavior, which includes micro details, and needs meso-view, macro-design strategy formulation and implementation. This paper focuses on a micro-meso-text design, that is, the composition of text lines (micro) and the realization of texture of layout. From the micro-meso-macro text design, the awareness of typesetting norms, as well as the understanding and mastery of the basic principles of punctuation, space, alignment, etc., it points to a kind of precise and logical character design. A text design language that can be further developed.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2014
【分類號(hào)】：J524

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 劉元滿;近代活字印刷在東方的傳播與發(fā)展[J];北京大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2000年03期

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本文編號(hào)：1834663