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ZHOU Zhen[a],*
[a]
AcademyofFineArts,ShandongNormalUniversity,Jinan,China.
*Correspondingauthor.
Received3May2015;accepted5July2015
Publishedonline26August2015
Abstract
GivennowthedesignswithChinesecharactersasamajor
elementbyChinesevisualcommunicationdesignersare
still not adequate, this paper focuses on the design of
Chinesecharactersandtriestoexplorethedevelopment
potentialsandnewideasonChinesecharactersincurrent
visual communication. The origins of the worlds
charactersshowallcharactershaveeverbeenrelatedto
pictures.AsChinesecharactersexpressbothmeaningand
pronunciation and their origins and composition are
closedrelatedtographics,thegraphicdesignofthemhas
agreatadvantage.Thispaperproposesthreeideasonthe
designofChinesecharactersgraphicsonthebasisofthe
studyofthedevelopmentandcompositionofChinese
characters, in the hope of obtaining a further
understanding of the traditional perception ways and
creative thinking methods of Chinese and continue to
developChinesecharacterculture.
Key words: Chinese characters Graphics; Visual
communicationdesign;Designthinking
Zhou, Z. (2015). Advantages and Thinking on Design of Chinese
CharactersGraphics.Studies in Literature and Language,11(2),82-87.
Availablefrom:http://www.cscanada.net/index.php/sll/article/view/7447
DOI:http://dx.doi.org/10.3968/7447
INTRODUCTION
Whenwereadforeignbooksandmagazinesondesign,
weusuallyfindexcellentdesignsfeaturingcharacters.
Charactersofdifferentstyleshaveappearednotonlyin
character designs in large quantities, but also in the
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ZHOUZhen(2015).
Studies in Literature and Language,11(2),82-87
simplevisualimage,becausetheyhavesimplestructures
and few strokes, while Chinese characters have
complicatedstructuresandmanystrokes;andbesides,
LatincharactersaremoreflexiblethanChinesecharacters
asthecontoursofChinesecharactersarelimitedtosquare
whilethatofLatincharactersincludesquare,circleand
triangle. This saying is truly reasonable to a certain
degree, but it does not necessarily mean Chinese
characters do not have any advantage in visual
communicationatall.
ThewriterbelievesthedesignofChinesecharacters
graphicshasagreatpotentialandsignificance.Firstofall,
Chinesecharactersoriginatefrompicturesandbelongto
pictograph.Theyaremorecloselyrelatedtographicsthan
letters, though they have experienced many years of
changesandgonefarfromtheoriginalconcretegraphics.
This constitutes the foundation of graphic Chinese
characterdesigninmodernvisualcommunicationdesign.
Second,afterthousandsofyearsofdevelopment,Chinese
charactershaveabsorbednumerouspeopleswisdomand
laborandintegratedtheartofcalligraphy,typefaceas
well as the forms and works of numerous character
designs. The unique cultural heritage may inspire our
designsinabeneficialwayandputtheminabackground
ofrichcultureandlonghistory.Third,thedesignsmainly
featuring Chinese characters are not only easier to be
understoodandacceptedbytheChinesegeneralaudience,
but can introduce Chinas long traditional culture to
foreign audience as well. All this shows the great
advantage and significance of the design of Chinese
charactersforgraphics.
earliestcharactersbecamemature5,500yearsago,when
agriculture and industry began to develop and the
charactersofMesopotamiaandEgyptfirstachievedthe
degreethatlanguagecouldberecordedcompletelyinthe
sequenceofwords.4,500yearsbetweenwritingembryo
of10,000yearsagoandtheearliestcharactersin5,500
yearsagobelongtoproto-writingphase.
Characters originate from pictures. Proto-pictures
have developed in two directions: They have become
either art-drawing or characters. Primitive people use
graphicstoexpresstheirmeaning,andthesegraphicsare
usually called pictographic writing. However, such
graphicshavenorelationshipwithlanguage,thoughthey
cancommunicateinformation.Anarrow,forinstance,
meansgoingforwardfromhere,andeveryoneknows
that.Butwhenthemeaningisexpressedinlanguage,it
will have various different ways of expression. These
graphicscanbesaidtobetheforerunnerofcharacters,but
theyhavealreadybecomerealcharacters.Thegraphics
thatexpresscertainmeaningshoulddeveloptosucha
degreethattheyarecombinedwithalanguageandcan
recordthelanguagecompletely.Onlyatthattimecan
theybecomeeffectiverecordsofthelanguageandripe
characters.
Manynationalitieshavecreatedproto-writing.But
only few nationalities writings have become mature.
Nowitishardtofindthetracksofproto-writinginareas
whereeducationisdeveloped.Onlyinregionswherethe
cultureneedstodevelopfurthercanproto-writingbeleft.
Some of it is still being used or recreated. Remnant
writingmaterialscanbefoundintheaboriginesinAfrica
andAmerica.Thehistoricalmaterialsonproto-writing
canalsobediscoveredinChinasethnicminorities.
Thediscoveriesbyculturalrelicarcheologistsandthe
researchresultsofhistoriansshowtheworldswriting
symbolsareverysimilarinappearanceanddevelopment
laws,buttheyhavetheirownqualitiesandfeaturesas
well.Thoughhumanityancestorsscatteredalloverthe
world, nor did they have communication tools to
exchangeinformation,thecharacterstheyusealloriginate
frompictographicwritingorpictographthatappeared
slightlylater.
Thedevelopmentofworldswritinghistorymaybe
dividedintothreephases,namely,proto-writingphase,
classical writing phase and alphabetic writing phase
(Zhou,2009).
2.1 Proto-Writing
Proto-writingincludescharactersembryobudandthe
immature characters with different degrees of
development.
Charactersappearedassymbolsandpicturesengraved
onrockstenthousandyearsagowhenagriculturestarted
to appear,and they are the embryo of characters. The
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AdvantagesandThinkingonDesignofChineseCharactersGraphics
ancestorsofChinesecharacters,werecreatedinShang
Dynasty in Chinas Huanghe valley. Later Chinese
charactersspreadtoChinasneighboringcountriesand
wereadoptedbyVietnam,KoreaandJapan.
At the early Christian era, cuneiform writing and
hieroglyphics,thetwoimportantcharactersthatrepresent
humanityearlyculture,disappearedoneafteranother.
However,Chinesecharactershavesurvivedandarestill
usednowadays.
Writingresearchershavestudiedtheabove-mentioned
threecategoriesofclassicalwritingthroughcomparison
and found that they are strikingly similar in internal
structure in spite of their quite different appearances.
Theyallbelongtologogramthatexpressesbothmeaning
andpronunciation,andtheprinciplesontheircoinageand
usage may be explained with Chinas traditional six
categoriesofChinesecharacters.Iwillclarifycharacter
coinage principles and the six categories of Chinese
charactersincoinageprinciplesofChinesecharactersin
detail.
pictureshavedevelopedintoearlycharactersafterthey
becomesimple,abstractandsystematicandcarrycertain
pronunciationandmeaning.Bytracingthefamilytreeof
writing, we will find that the worlds most ancient
charactersalloriginatefrompictures.Evenalphabetic
writinghasvariousrelationswithpictures.Nowthereare
hundredsofcategoriesofcharacterswiththeirownforms.
Buttheiroriginsshowmostofthemhavebeenderived
fromafewancientpictographs.Withthisinmind,we
willnotwonderwhytherearesomanyexcellentartand
design works at home and abroad which combine
characterswithgraphicstoaperfectdegree.
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ZHOUZhen(2015).
Studies in Literature and Language,11(2),82-87
4.
FORMATION
CHARACTERS
OF
CHINESE
TheformationprinciplesofChinesecharactershadnot
been summarized until the inscriptions on bones and
tortoiseshellstookshapeandwerewidelyapplied.They
firstappearinTheRitesofZhouandarecompletedby
XuShenofEasternHanDynasty.AnalyticalDictionary
of Characters is the first Chinese dictionary in China
whichiswrittenbyhandbyXuShen.Inthisdictionary,
hesummarizessixprinciplesfortheformationofChinese
characters,thatistheso-calledsixcategoriesofChinese
charactersinancientChina.
ThesixcategoriesofChinesecharactersincludeselfexplanatory characters, pictographs, pictophonetic
characters,associativecompounds,mutuallyexplanatory
charactersandphoneticloancharacters(Zuo,2005).
(a) Simple Indicativesthe general meaning of
Simple Indicatives characters can be recognized at a
glanceandtheirdetailedmeaningcanbediscoveredby
careful observation. The Chinese characters and
are such examples. By this method of coining
characters,symbolsareusedtoexpressabstractideas.
Thelonghorizontalstrokeinand,forinstance,
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AdvantagesandThinkingonDesignofChineseCharactersGraphics
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ZHOUZhen(2015).
Studies in Literature and Language,11(2),82-87
constitutesthebasisofthedesignofChinesecharacters
graphics.
NowChinesecharactersarewidelyappliedinJapans
graphicdesign,andinHongKong,TaiwanandSouth
Korea there are excellent apllication examples. For
Chinese graphic designers, they must use Chinese
characters to make designs. They can not avoid the
problem. For usthe descendants of the inventors of
Chinese characters, it is the historical mission of our
designerstodevelopChinesecharacterculture.
REFERENCES
Andrew,R.(1995).The story of writing. London,Thames&
HudsonLtd.
L, S. Z. (2001). Originality of Chinese character. China
YouthPress.
Qiu,X.G.(1988).A survey of Chinese writing.Commercial
Press.
Shirakawa, S. (2000). Chinese character I. Collection of
ShirakawaShizuka,Tokyo,Heibonsha.
Zhou, Y. G. (2009). A talky of world writing. Peoples
LiteraturePress.
Zuo,A.M.(2005).ParticularizationofChinesecharacter.Jiu
ZhouPress.
CONCLUSION
Throughtheaboveresearchintotheoriginsoftheworlds
writing and the origins and formation of Chinese
characters, we may see that the writing in the world,
especiallyChinesecharacters,hasevolvedgraduallyfrom
graphics.TherelationshipbetweenChinesecharacters
and graphics can not be broken, though Chinese
charactershaveexperiencedmanyyearsofchangesand
gone far from the original concrete graphics. This
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