 |
customer@davidpublishing.com |
 |
3275638434 |
 |
 |
| Paper Publishing WeChat |
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License
The Inheritance and Application of Chinese Reverse Contrast Typeface Style
Suimeng Qin, Albert Young Choi
Full-Text PDF
XML 321 Views
DOI:10.17265/2159-5542/2024.02.004
Hanyang University ERICA, Ansan, South Korea
This paper discusses the inheritance and application of Chinese character reverse contrast typeface style. It begins by analyzing the visual features of Western reverse contrast typeface styles, with a focus on Caslon Italian and French Clarendon, providing a Western perspective reference for subsequent Chinese character reverse contrast typeface style designs. The paper then traces the origins of the Chinese reverse contrast style, from the calligraphy style "Lacquer Script" to the earliest printing type "フワンテール形", exploring the historical background and cultural significance of the Chinese reverse contrast style. In the methodology section of Chinese character reverse contrast typeface style design, the discussion is conducted from two dimensions: inheritance and application. In terms of inheritance, through an in-depth analysis of "Lacquer Script" and "フワンテール形" typeface style, the paper summarizes three basic theories for modern Chinese character reverse contrast typeface style design. In the application section, it examines in detail the two most influential recent typeface styles, "Ribaasu" and "Basic Artistic", outlining three directions of application: extreme horizontal stroke variations, exaggerated contrast, and diverse decorative strokes, showcasing new directions and possibilities for Chinese character reverse contrast typeface style design. This paper not only reviews the developmental history of the Chinese character reverse contrast typeface style but also analyzes the design methodology of Chinese character reverse contrast typeface style through specific case studies.
reverse contrast fonts, Chinese character font design, design method
Psychology Research, February 2024, Vol. 14, No. 2, 70-80
Abel, N. (2016, October 3). The chosen contrast. Alphabettes. Retrieved from https://www.alphabettes.org/the-chosen-contrast/
Barnes, P. (2021, November 19). Caslon French antique collection. Commercial Type. Retrieved from https://commercialclassics.com/catalogue/caslon_italian
Barnes, P., & Schwartz, C. (2015, August 10). Type Tuesday. Eye Magazine. Retrieved from https://www.eyemagazine.com/blog/post/type-tuesday13
Challand, S. (2015, August 13). Know your type: Clarendon. IDSGN. Retrieved from http://idsgn.org/posts/know-your-type-clarendon/
Chen, L. (2021). An exploration of reverse-contrast Chinese typeface design. Popular Literature and Art, 66(1), 67-68. Retrieved from https://doi.org/CNKI:SUN:DZLU.0.2021-01-033
De Vinne, T. (1902). The practice of typography, plain printing types (2nd ed.). New York: The Century Co.
Frere-Jones, T. (2015, October 23). Scrambled eggs & serifs. Frere-Jones Type. Retrieved from https://frerejones.com/blog/scrambled-eggs-and-serifs
Gomez-Palacio, B., & Vit, A. (2012). Graphic design referenced: A visual guide to the language, applications, and history of graphic design. Gloucester, MA: Rockport Publishers.
Gray, N. (1938). XIXth century ornamented types & title pages. London, UK: Faber and Faber Limited.
Hansard, T. C. (1825). Typographia. London, UK: Baldwin, Cradock, and Joy.
Heller, S. (2017, June). The birth of a wood type. Print. Retrieved from https://www.printmag.com/daily-heller/birth-wood-type-brylski/
Hu, Y., & Zhang, P. (2024). Design and extended application of Jin Nong’s “Lacquer Script” font library from the perspective of heritage and innovation. Packaging Engineering, 45(2), 241-251. Retrieved from https://doi.org/10.19554/j.cnki.1001-3563.2024.02.026
Johnson, A. F. (1934). Type designs, their history and development. London, UK: Grafton and Co., Coptic House.
Li, G. (2023, August 2). The non-calligraphic factors in the formation of Jin Nong’s “Lacquer Script”. Calligraphy Newspaper, p. 24.
Lupton, E. (2014). Thinking with type. New York: Princeton Architectural Press.
Mackellar, S., & Jordan Co. (1885). Eleventh book of specimens of printing types and every requisite for typographical use and adornment. Philadelphia.
Nomura, S. (1903, November). Specimen book of Tokyo Tsukiji type foundry. Tokyo Tsukiji Type Foundry. Retrieved March 3, 2024 from https://dl.ndl.go.jp/pid/854017
Provan, A., & Lawson, A. S. (1983). 100 type histories (Vol. 1). Arlington, VA: National Composition Association.
Shaw, P. (2010, October 5). Arbor, a fresh interpretation of Caslon Italian. Print. Retrieved from https://www.printmag.com/paul-shaw/arbor-a-fresh-interpretation-of-caslon-italian/
Shaw, P. (2017, April). Revival type: Digital typefaces inspired by the past. New Haven, CT: Yale University Press.
Shinn, N. (2015, October 25). Karloff review. Typographica. Retrieved from https://www.paulshawletterdesign.com/2010/01/caslon%E2%80%99s-italian-by-james-clough/
Thibaudeau, F. (1921). La lettre d’imprimerie. Paris, France: Bureau de l’Édition.
Tracy, W. (1986). Letters of credit. Boston, MA: David R. Godine Publisher.
Yuki, S. (2019, July 16). Van Lan—“Shaken” logo characters. Retrieved from https://news.mynavi.jp/article/font-history-33/
Zhang, B. (2022). A study on the visual redesign of artistic fonts in Republic of China publications (Master’s thesis, Shandong University of Art & Craft, 2022). Retrieved from https://kns.cnki.net/KCMS/detail/detail.aspx?dbname=CMFD202301&filename=1022614925.nh
3type. (2020, November 21). Guai wu zi ming. Retrieved from https://mp.weixin.qq.com/s/qJTRTJmOT6lXy6AHzF8YVg