本文選題：漢字設(shè)計(jì)　切入點(diǎn)：完形　出處：《湖北工業(yè)大學(xué)》2017年碩士論文

【摘要】：本文通過對(duì)漢字設(shè)計(jì)實(shí)踐中引入“完形”思維的研究,分析人的視知覺偏好與漢字構(gòu)形的完形特征之間的關(guān)系,從科學(xué)心理學(xué)的角度發(fā)現(xiàn)漢字設(shè)計(jì)表現(xiàn)形式中的潛在規(guī)律,并以此來拓寬漢字設(shè)計(jì)的創(chuàng)作思路,采用了一種跨學(xué)科的研究方法�！巴晷巍崩碚摰暮诵氖菑挠^察視知覺的現(xiàn)象出發(fā),分析人類的視覺偏好,研究眼和腦的交互活動(dòng)規(guī)律,對(duì)視覺傳達(dá)設(shè)計(jì)的影響非常深遠(yuǎn)。漢字設(shè)計(jì)中“完形”理論的應(yīng)用研究為漢字設(shè)計(jì)創(chuàng)作提供了一個(gè)全新的思維角度。漢字設(shè)計(jì)不是圖形、符號(hào)的簡(jiǎn)單堆積,也不是對(duì)漢字筆畫、形態(tài)機(jī)械的加減與裝飾。本文從思維上對(duì)“視覺”的理解重新定位,在分析的基礎(chǔ)上把視知覺的這些規(guī)律與漢字設(shè)計(jì)的創(chuàng)作思路聯(lián)系起來,將漢字的構(gòu)形特征與格式塔對(duì)于“完形”的研究有機(jī)結(jié)合,從而得出“完形”原則在漢字設(shè)計(jì)中的六種表現(xiàn)方式和造型手段,并實(shí)際運(yùn)用這些方法進(jìn)行創(chuàng)作,取得了良好的效果。本論文首先闡述了研究的目的與意義,結(jié)合國(guó)內(nèi)外基于漢字與“完形”的設(shè)計(jì)研究現(xiàn)狀,確定了研究?jī)?nèi)容與方法。緊接著敘述“完形”理論的來源,對(duì)“完形”理論引入其他學(xué)科進(jìn)行了基本闡述。然后立足漢字設(shè)計(jì)引入“完形”思維的作用,由漢字識(shí)別上的“完形”特征獲得啟發(fā),從漢字構(gòu)形的“完形”重新看待漢字設(shè)計(jì)。進(jìn)而試圖以“完形”視角來看漢字設(shè)計(jì)的演變與發(fā)展,由漢字書法中的“別字”現(xiàn)象為引,構(gòu)建出一條隱形的時(shí)間軸尋找漢字設(shè)計(jì)與“完形”潛在的聯(lián)系和規(guī)律,探討現(xiàn)代漢字構(gòu)形中的“完形”,以及結(jié)合漢字的基本構(gòu)成體系梳理漢字結(jié)構(gòu)與“完形”之間的關(guān)系。結(jié)合當(dāng)下最新的漢字設(shè)計(jì)案例,重點(diǎn)歸納了六種漢字設(shè)計(jì)中應(yīng)用“完形”思維的創(chuàng)意表現(xiàn)方法:漢字筆畫、模塊的減省與融合;輪廓變形與夸張的合體字設(shè)計(jì);圖形化漢字的圖底共生與選擇;漢字低識(shí)別性部件的形象替換;漢字架構(gòu)的拆解與重組;筆畫疊加與延伸的漢字似動(dòng)。根據(jù)“完形”思維對(duì)漢字設(shè)計(jì)的啟發(fā),論述了關(guān)于漢字設(shè)計(jì)應(yīng)符合受眾的心理特點(diǎn)和以信息傳達(dá)為核心的漢字設(shè)計(jì)趨勢(shì)的兩大需求,并結(jié)合畢業(yè)設(shè)計(jì)“么么鏡”的漢字標(biāo)志設(shè)計(jì)進(jìn)行“完形”思維啟發(fā)下的設(shè)計(jì)實(shí)踐。最后是主要結(jié)論與展望。
[Abstract]:Based on the study of "Gestalt" thinking in the practice of Chinese character design, this paper analyzes the relationship between the preference of human visual perception and the gestalt characteristic of Chinese character configuration, and finds out the potential law in the expression form of Chinese character design from the angle of scientific psychology. The core of Gestalt theory is to analyze human visual preference and study the law of eye and brain interaction from the observation of visual perception. The application of "Gestalt" theory in Chinese character design provides a new thinking angle for Chinese character design. Chinese character design is not a simple accumulation of graphics and symbols, nor is it a stroke of Chinese characters. This paper reorients the understanding of "vision" from thinking, and on the basis of analysis, connects these laws of visual perception with the creative thinking of Chinese character design. Combining the configuration characteristics of Chinese characters with the study of Gestalt on "Gestalt", six ways of expression and modeling of the "Gestalt" principle in the design of Chinese characters are obtained, and the practical use of these methods to create works. In this paper, the purpose and significance of the research are first expounded, and the research contents and methods are determined according to the present situation of design and research based on Chinese characters and "Gestalt" at home and abroad. Then, the origin of Gestalt theory is described. The theory of "Gestalt" is introduced into other disciplines, and then, based on the function of "Gestalt" thinking in Chinese character design, it is inspired by the "Gestalt" feature in Chinese character recognition. From the view of "Gestalt" of Chinese character configuration, this paper attempts to look at the evolution and development of Chinese character design from the angle of "Gestalt", which is cited by the phenomenon of "other characters" in Chinese character calligraphy. Construct an invisible timeline to find the potential relationship and regularity between the design of Chinese characters and the "gestalt". This paper probes into the "Gestalt" in the configuration of modern Chinese characters, and combs the relationship between the structure of Chinese characters and the "Gestalt" in combination with the basic constitution system of Chinese characters. The creative expression methods of applying "Gestalt" thinking in the design of six Chinese characters are summarized emphatically: Chinese character stroke, reduction and fusion of modules, conjoint character design of contour deformation and exaggeration, symbiosis and selection of graphic Chinese characters; Image replacement of low recognition components of Chinese characters; disassembly and recombination of Chinese character structure; Chinese character similarity of superposition and extension of stroke; inspiration to Chinese character design based on "Gestalt" thinking, This paper discusses the two major demands of Chinese character design, which should conform to the psychological characteristics of the audience and the trend of Chinese character design with information transmission as the core. Combined with the Chinese character logo design of the graduation design "Mo-Mirror", the design practice inspired by "Gestalt" thinking is carried out. Finally, the main conclusions and prospects are given.
【學(xué)位授予單位】：湖北工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J524

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