平面设计毕业论文.doc

【摘 要】 图形设计作为视觉空间设计中的一种符号现象，起着沟通人与文化、信息的作用，这一点与文字的作用相通。汉字是代表中国文化的具有很大涵盖性的符号文字，因此，我们应该去研究与认识它，从而发掘更多的造型方法，更深入地利用汉字来进行平面图形设计。汉字是世界上最古老的文字，有悠久的历史，它是中国文化的载体，记载着中华民族的文化和历史。在整个汉字的构建体系中，是以人为中心的，体现了一种以人为立足点的人本精神。汉字不仅是表达和记载的工具，它更是中国几千年文化和精神的积淀，任何一个对中国文化关心的人，都会对汉字感兴趣。而作为反映社会现象和向公众传达重要信息的平面设计，更应该以艺术的眼光发现和开拓汉字的美，很好的利用汉字这一优秀的设计元素，做出更具艺术性的作品，使更多的人认识到我们每天书写的不再只是简单的符号，而是在书写延续了几千年了的伟大的艺术。【关键词】 平面设计 文字 汉字 联系目录引言.1平面图形设计与汉字的本质联系.1更多的发掘汉字的特征 更准确运用汉字承载的信息.4结论.9参考文献.10引 言 在日本设计师白木彰先生的作品中，展示出一个活生生的汉字的世界。不是简单的文字符号的堆积，每个字仿佛从符号世界中还原了出来，带着它们来自远古时代的神秘气息。这样的文字形态，引起我对汉字的新的认识。汉字是唯一富有生命力的表意文字，是用点画记录人类理念的平面设计。利用文字来进行平面设计，我们所要利用的不光是它的形，更重要的是它的意。目前日本人似乎比我们更懂得怎样利用汉字，他们用汉字的造型原理去设计图形，在他们的设计作品中，汉字不仅仅是符号，是装饰，而且具有了图形设计的表形性思维，使汉字真正活了起来。利用汉字，日本人传达出他们的本土文化，而我们为什么不能利用汉字传达我们的文化？这一点令人深思。一、 平面图形设计与汉字的本质联系汉字的起源关于汉字的起源，一直以来就众说纷纭，但是最主要的一种说法是：汉字的创造者为黄帝的史官仓颉。他所处的社会是距今四千多年前的父系氏族社会的早期阶段。在那之前的文字都是象形字，也就是是可以用来记事图画，称为文字图画。据古籍记载，说仓颉生而能书，又受河图录书，于是穷天地之变，仰视奎星圜曲之势，俯察鱼文鸟羽，山川指掌，而创文字。1. 汉字的价值汉字是世界上最有魅力，最具艺术感的符号！它是表达语言的工具，也是文化的重要载体，它因适应人类生活的需要而产生，同时也丰富和升华了人们的生活。在中华民族历史文化的开创上，汉字的出现具有划时代的意义。人们因为掌握了它，就可以隔千里之遥而互通信息，距千载之后而传授经验，从而把人类的智慧累积为历史，一代一代的通过汉字相传，使中华民族的文化香火不断。从文化学的角度来看，汉字是文化的一种载体，因为它记载了中华民族文化发展的历史轨迹和丰富成果。一切先人的智慧和创造性成就，依靠汉字的记载才得以永久流传；一切后人的聪明才智，也从汉字记载中得到进一步的启示和提高。因此，汉字不但是中华民族进入文明世纪的曙光，而且是文明得以长传并继续发展的继承性工具。2. 汉字的特点分析在众多的平面设计作品中，越来越多的设计师们开始运用汉字作为设计元素。这不仅是因为汉字本身的形式美，也是因为汉字所代表的中国传统文化，越来越受到人们的关注。2.1 汉字构字的人本精神汉字被充分利用在平面设计中的原因，除了汉字本身就极具艺术观赏性外，还有一个原因我认为就是汉字的构字方式中蕴含了人本精神。在汉字的造字机制中，处处体现了中国历史文化的丰富信息。汉字的构造方法，是以人为中心的，处处体现了一种以人为本的精神。这种人本精神在字的偏旁和部首中可见一斑，如保护的保，就是借用一个人抱着幼子的形态，企望的企，就是借用人踮起脚直立的渴求姿态，字形和字意之间相互联系，形象的表达出字的本意。还有很多字的构形都是以人为出发点，都带有很强的象形和人本特征。运用在平面设计中时，先天就是一个非常简练、非常写意的抽象艺术形，因此设计师们对汉字的竞相引用，也就不足为奇了。在中华民族的传统观念中，敬老爱幼是一种美德，人由年轻变衰老是自然规律，无法抗拒，所以早在战国时期的孟子就曾说过老吾老以及人之老，幼吾幼以及人之幼的经典名言。1汉字本身即是一种平面图形设计从平面设计来讲，汉字是人类社会有史以来最伟大最成功的设计。它以最为简单的设计元素，运用最丰富而复杂的设计手段，设计出了一件又一件恒定而单纯的产品，并使这些产品的内涵丰富，构架完美，用途广泛，影响深远。同时，这些单元产品又具有无穷的联络方式，具有开放而递增的同构能力。 早在春秋战国时期，庄子在庄子外篇中就已指出：言者所以在意，得意而忘言，即：在语言和事物之间存在着表征物与被表征物的关系，语言是事物的表征物，事物是语言的被表征物，语言的任务是事物信息的被传达，语言的角色是传达信息的媒体。文字正是利用语言来代表或者指示某一事物的东西。2平面图形设计与汉字构成学原理A平面图形设计是一个特殊的思维过程人类的意识过程，其实是一个将世界符号化的过程，而思维无非是对符号的一种挑选、组合、转换、再生的操作过程。因此可以说，人是用符号来思维的，符号是思维的主体。平面图形设计，是以信息传达为目的的，在二维的空间中对物象的位置、比例、相互关系的筹划，无疑，这也是一个思维过程。但同时，它又不是一个通常意义上的思维过程。这是一个开始于设计者，延续到受众心理活动的思维过程，而这种延续正是依赖于作为思维主体的图形。B汉字是经过设计的图形汉字的目的是承载信息，而汉字本身即是中国人在二维空间中对点画挑选、组合、转换、再生，使之代表一定信息的产物。从符号学原理分析，汉字是一种符号，是一种特殊的平面图形设计。由于汉字演变至今已变得十分抽象，洗练，所以将汉字承载着的原始信息还原出来的过程本身，即是一种特殊的思维过程，一种特殊的平面图形设计。这种还原的结果不是文字，是一种加入人的思维的奇妙产物，一种特别的平面图形。二、更多地发掘汉字的特征 更准确地运用汉字承载的信息设计师借平面图形设计向受众传达自身的思维过程与结论，以达到其指导或是劝说的目的；换言之，受众也正是通过设计者的作品，与自身经验加以印证，最终了解设计者所希望表达的思想感情。美国设计师普罗斯说过：人们总以为设计有三维：美学、技术和经济，然而更重要的是第四维：人性。人性的概念在今天已经广义化，如何使我们的本土文化得以体现？还原汉字的原始信息应该说是一条捷径。在追寻汉字本源的过程中去体会中国文化，其本身就是在提高设计师文化修养。这样，我们在作品中体现本土文化就不是一件难事了。1使汉字不断地深化 A.运用汉字来发掘本土文化，是一个抽象难懂的说法，那么，让我们看看日本人是如何做的吧。 七世纪时，日本引进中国的表意文字，称为汉字。日本人快速地消化了中国的汉字文化，之后又把汉字迅速地加以改造，日本称为大和民族的本土文化其实都来自中国，而中国当代的设计为什么还不及日本呢？我们可能过多地强调了形式的方面，而忽略了设计作品本身应透露出来的内容和意境。日本人以纤丽纤小、简约淡泊作为其审美的意趣，形成了物哀、空寂、风雅、幽玄等审美理念。汉字被日本的设计注入无限的遐想，成为他们在作品以外的思维空间留白的有力武器。喻物于意则乐，留意于物则病。汉字作为抽象图形的魅力在乎似与不似之间。读卖新闻中曾登载过一位日本小学三年级女生写的诗：港这个字真像美人鱼共是头巳是尾三水是浪花你看像吗？这就是汉字的魅力，几乎是独一无二的魅力，没有哪种文字可能引发人这种美妙而大胆的联想的。正是汉字在人思维空间里的留白，使汉字具有了无限的生命力。 现代图形设计是对文化的认同，而不是简单的对符号或图形的认同。探索本土文化的内涵，找出传统文化与自己个性的碰撞点，形成自己的设计风格，这才是运用汉字进行图形设计的精髓所在。日本许多著名设计师，几乎都是汉字学的专家，他们在作品中巧妙地将汉字作为抽象画看待，取得了意想不到的效果。日本书籍设计大师杉浦康平先生就是一个执著的汉字迷。他在活字礼赞一文中提出汉字造型的直角思想，其起源为中国天圆地方的宇宙学；日本另外一位汉字迷设计师白木彰先生，更是巧妙地将汉字作为图形运用到了平面设计中。日本设计运用传统的理念，现代的元素和构成手法，并赋予民族情感的内容，走在了设计的前沿。这值得我们青年设计师们学习和借鉴。B我们的先民如何利用汉字设计生活我们的前人在书写汉字的过程中，逐渐上升到一种审美阶段-融入了创作者的观念、思维、精神，并能激发审美对象的审美情感，于是形成了书法这类二阶意义上的艺术门类。书法艺术是抽象符号艺术，它靠单纯的线条架构演绎出千变万化、千姿百态的视觉艺术形象。在文人士大夫创造了优秀的书体与书法作品的同时，民间艺人也以他们的聪明才智设计出无数巧妙而极富视觉意趣的字体图形。如用来招揽顾客的幌子、节庆与民俗活动中的吉语，吉祥纹样中的连笔字等。这类反映日常生活形态的杰作具有浓郁的装饰性和强烈的民族特色。2用中国人独特的宇宙观理解汉字因为中国自古就有天人合一的观念。即人类并非宇宙创造的中心，而是自然中次要的部分，能否符合大自然的韵律是衡量一切的标准。世界上没有哪一种文化如此强调自然的形态与模式，汉字的创造无疑也遵循这一法则，即模拟自然，将物的形简化地融合于方正的字体符号之中。A神来之笔古人对于神的信仰，主要表现在占卜和祭祀上。最早的汉字其实是占卜的记录，上古文字的笔划结构，用今天的眼光看去，充满了神秘的色彩，是古人对自然、对生命的一种诠释。这种记录占卜结果的文字，来源于远古的文字画（近似文字的图画）。汉字是表意文字，象形性是汉字的主要特征之一，汉字是反映自然造型的。汉字在反映自然造型的同时，还具有深奥的构成原理，而这种原理就来源于中国人独特的世界观。设计在线.中国B汉字中有大智慧易曰：自天佑之，吉无不利。子曰：佑者助也。天之所助者，顺也.中国人信仰上天潜在的超越之力，这种超越之力即自然规律。观察汉字的构成，更多的是揭示自然中蕴含的深刻哲理。在汉字发展的早期阶段（西周以前），象形程度较高，体现出对书写的简化和易识别的趋势。而汉字在发展为记号文字体系的过程中，则体现出了古人独到的智慧。在汉字的创造过程中，古人很注重形与意的结合，简单摹仿不是文字。在初中时，语文老师对于牧字、采字的解释，引起后来我对汉字中蕴含的先人智慧产生了浓厚的兴趣。前有牛而后面有一个人持木棍趋赶，这样便组成了牧字。在汉字的造型原则里，我们可以发现许许多多这样有趣的例子，只要我们耐心品味，其中奥妙无穷。结 论在世界经济一体化环境下，我们如何运用文字进行平面图形设计?汉字不是世界普及的文字，但是汉字字符本身代表一种或多种意义，这一点，拉丁字母却无法完成。面对全球经济一体化进程，我们将汉字直接用于标志显然行不通，这样只能使我们的作品显得腐朽而庸俗。但是在了解汉字的意义和构成法后，我们把汉字精辟总结物象特征的方法运用到平面图形设计中，却未尝不可。例如，中国邮政的标志，来自于中字的古形中。其意义指一面有长穗的旌旗随风飘动。邮政的标志将它赋予了新的涵义，一方面保持中字的古意，象征中国邮政旗帜性的作用，在公众中一直保持着良好的形象；另一方面，将中字变形，像一双手托起一封信件交给收件人的形象，寓意着中国邮政以服务为本，快捷、安全、礼貌。发掘汉字中蕴含的深层文化积淀，在现代设计中的应用有着广泛的前途。除了标志设计，无论是装饰、书籍、招贴、广告还是环境艺术设计，都应当充分发掘汉字中包含的中国哲学，从事设计工作的我们应当重视这方面的学习和修养，让抽象的汉字艺术在现代设计中产生更大的魅力。参考文献：南鹤溪（日），文字的魅力，上海古籍出版社杉浦康平（日），造型的诞生，中国青年出版社顾音海，甲骨文发现与研究，上海书店出版社裘锡圭，文字学概要，商务印书馆朱熹（宋），周易本义，上海古籍出版社梅格斯（美），二十世纪视觉传达设计史，湖北美术出版社巴尔特（法），符号帝国，商务印书馆Abstract graphic design as a symbol of the visual space design, it plays a role in the communication between people and culture and information. Chinese character is a symbol of Chinese culture. Therefore, we should study and understand it, so as to find more ways to make use of Chinese characters to graphic design.Chinese character is the worlds most ancient text, has a long history, it is the carrier of Chinese culture, Chinese culture and history. In the construction system of Chinese characters, it is a human centered, which embodies the spirit of people based on human. Chinese character is not only the expression and record of the tool, it is Chinas culture and spirit of thousands of years of accumulation, any one of the people who care about Chinese culture, will be interested in Chinese characters. And as a reflection of social phenomena and to convey important information to the public the graphic design, more should be the art of vision and explore the beauty of Chinese characters, very good use of Chinese characters this excellent design elements, make a more artistic work, so that more people realize that we are not just a daily book written symbols, but in the writing of the great art.CatalogThe introduction of. 1 of.,.Graphic design and the nature of the nature of Chinese charactersMore to explore the characteristics of Chinese characters more accurate use of Chinese characters to carry the information.4The conclusion is that. 9 of the.References. 10. To.,.,.Lead languageIn Japan, Mr. White Muzhang designer works, showing a vivid Chinese characters of the world. Is not a simple accumulation of text symbols, each word seems to have been restored from the world of the symbol, with them from the mysterious atmosphere of the ancient times. This form of writing, causing a new understanding of Chinese characters.Chinese characters is the only full of vitality of the ideographic characters, with graphic design drawing record of human philosophy. Using text to carry out graphic design, we should not use the light is its shape, but more importantly, its . The Japanese seem to than we know how to make use of Chinese characters, they used the modeling principle of Chinese characters to graphic design, in their design works. Chinese characters are not only the symbol, is decorated, but also has the shape thinking of graphic design, character truly alive. Using Chinese characters, the Japanese communicate their local culture, and why cant we use Chinese characters to convey our culture? This is a thought-provoking.One, graphic design and the origin of Chinese charactersOn the Chinese character origin, has been controversial, but the main argument is: Chinese characters of the creator of the Yellow Emperor historiographer Cangjie. The society is the early stage of dating back four thousand years ago in the patriarchal clan society. Before that the characters are pictographic characters, which can be used for drawing, called text picture.According to ancient records, said Cangjie born to books, but also by the riverside record book, so the poor world, looking up Kuixing won song, see fish finch feather, mountains and palm, while a text.1 value of Chinese charactersChinese characters are the most charming and artistic symbol in the world! It is a tool for the expression of language, but also an important carrier of culture, it is adapted to the needs of human life, but also enrich and sublimation of peoples lives.In the history and culture of the Chinese nation, the emergence of Chinese characters has the significance of the epoch. People to master because it can be separated by thousands of miles away and exchange of information, from thousands of years and teaching experience, thus the accumulated wisdom of human history, from generation to generation through Chinese character according to legend, the Chinese nation culture incense continuous.From the perspective of culture, Chinese character is a carrier of culture, because it records the history of the development of Chinese culture and the rich achievements. All ancestors wisdom and creative achievement, rely on the records of Chinese characters was able to spread of permanent; all descendants of wisdom, from the Chinese character record get further revelation and improve. Therefore, the Chinese character is not only the Chinese nation into the dawn of the century civilization, and civilization can be long ball and continue the inheritance of development tools.2 characteristics of Chinese charactersIn many graphic design works, more and more designers begin to use Chinese characters as design elements. This is not only because the form of the Chinese characters themselves, but also because the Chinese characters on behalf of the Chinese traditional culture, more and more peoples attention.2.1 Chinese character constructionChinese characters are fully used in the graphic design, in addition to the Chinese character itself is very artistic appreciation, there is a reason I think that is the Chinese characters in the form of a human spirit. In the formation mechanism of Chinese characters, embodies rich historical and cultural information Chinese.The construction method of Chinese characters is the artificial center, which embodies the spirit of a people-oriented. This kind of person this spirit in the word radical and radical is evident, such as the protection of keeping, is the use of a man holding a son of morphology and hope for the enterprise, that is, to borrow the attitude of people stand on tiptoe to erect the craving, inter linkages between the grapheme and meaning, word image expression of intention. There are also many words in the form of the starting point, with a very strong character of the. In graphic design, it is a very simple, very simple and very concise abstract art form, so the designers of the Chinese characters are competing to quote, it is not surprising that. In the traditional concept of the Chinese nation, the respect and care for the young is a kind of virtue, by the young of aging is the laws of nature, could not resist, so early in the Warring States period of Mencius once said my old old and old person, young I young and the young classic sayings.1 Chinese character itself is a kind of graphic designFrom graphic design, the Chinese characters are the greatest and most successful design of the human society. It is the most simple design elements, the use of the most rich and complex design tools, design a and a constant and simple product, and make these products rich in content, structure, perfect, extensive use, far-reaching influence. At the same time, these unit products also have the infinite contact way, with the same ability of opening and increasing. Early in the spring and Autumn period and the Warring States period, Zhuangzi in the Chuang Tzu text has pointed out that the speaker so care about, proud and forgotten words , namely: between language and things there is a characterization and relationship between characterization, language is the representations of things, things is the language of the characterization, the task of language is the object information is transmitted, the role of language is the media to convey information. The word is the use of language to represent or to indicate something.2 graphic design and the principle of Chinese character formationA. graphic design is a special thinking process.The process of human consciousness is a process of the worlds symbolic, but the thinking is a kind of choice, combination, conversion and regeneration of the symbols. Therefore it can be said that people are thinking of using symbols, symbols are the subject of thinking. Graphic design is the message for the purpose, in the two-dimensional space on the images of the position, scale, mutual relationship planning. No doubt, this is a thinking process. But at the same time, it is not a normal thinking process. This is a thinking process that begins with the design of the designer, and continues to the psychological activity of the audience, and this kind of continuity is dependent on the graphics as the main body of thought.B. Chinese characters are a graphic design.Chinese character is to carry information, and character itself is on behalf of the Chinese people in the two-dimensional space of stippling selection, combination, transformation, regeneration, so that a certain amount of information products. From the analysis of the principle of the symbol, the Chinese character is a kind of symbol, which is a special kind of graphic design. Due to the evolution of Chinese characters has become a very abstract, succinct, so will restore characters bearing the original information out process itself, which is a special kind of thinking process and a special graphic design. This reduction is not a word, it is a wonderful product of the human mind, a special graphic.Two, more to explore the characteristics of Chinese characters more accurately the use of Chinese characters bearing informationThrough graphic design, graphic design to convey their own thinking process and conclusions, in order to achieve its guidance or persuasion purposes; in other words, the audience is through the designers work, with their own experience to confirm, and ultimately understand the ideas expressed by the designer. American designer Pulos said: people always think that the design has three dimensions: aesthetics, technology and economy, but more important is the fourth dimension: human nature. The concept of human nature has been generalized today, how to make our local culture to reflect? To restore the original information of Chinese characters should be said to be a shortcut. In the process of pursuing the origin of Chinese characters, to understand Chinese culture, which is to improve the designers culture. In this way, it is not a difficult task to reflect the local culture in our work.1 make the Chinese characters continue to deepenA. use Chinese characters to explore the local culture, is an abstract and difficult to understand, then, let us look at the Japanese is how to do it.In seventh Century, Chinese ideograms introduced in Japan, known as the Chinese characters. The Japanese quickly digest the Chinese character culture, and then the Chinese character to be transformed rapidly, Japan, known as the big and national culture are actually from China, and Chinas contemporary design is not as good as Japan? We may have too much emphasis on the form of the aspect, and neglect the content and artistic conception of the design work itself. Japanese to Li fiber slender, simple indifferent as the aesthetic charm, forming a Mononoaware and empty, elegant, mysterious aesthetic idea. Chinese characters by Japanese design into the infinite daydream, and