西汉字东字母

【作者】 克里斯朵夫·施塔勒；

【导师】 王敏； 黄克俭；

【作者基本信息】 中央美术学院 ， 视觉传达， 2010， 博士

【副题名】文字设计中汉字与拉丁字母的混合使用

【摘要】 设计的目的是为人服务,就像任何其他艺术形式一样,设计与文化和社会是相关的。观察一个时期内的设计,人们可以得到关于这个时期的社会的推论。为什么汉代的雕像偏瘦,而唐代的则丰腴一些?这告诉了我们什么?任何种类的设计,不管是平面设计、产品设计、建筑、服装,或者更近一些的新媒体,都是担起塑造社会之责的先行者。与其他艺术形式不同,文字的设计与思想联系紧密,因为任何被记载的内容都需要通过某种形式的书写被记录下来。因此,人类思维的进化发展映射到文字的设计之中——从刻在墙柱上的古埃及象形文字,到周朝铜器上刻铸的汉字,到现代风格高雅的霓虹灯广告。在当下,全世界的一切事物都已经被连结起来。从来没有像今天这样,国家之间以及文化之间交流的努力有如此之多的可能性。这种进展的两个重要方面是国际互联网和全球化经济形态。如果有什么是可以从2008年的经济危机中可以学到的话,那就是世界各地之间的交流已是如此空前的密切。文化之间更加紧密的联系导致了文化的混合,从而也导致了语言的混合。当笔者走在北京的大街上,不但能看到汉字,也看到拉丁文字、韩语文字、日语文字、阿拉伯文字、西里尔字母,有时候甚至是蒙文和藏文。文字和文字系统的混合只是全球化的性状之一,出版物,包括以互联网为媒介的出版物中,出现两种或两种以上文字的现象也就越来越普遍。仔细考量的话就会发现,很多时候,这些文字放在一起并不“快乐”；外部原因是,大多数情况下是商业方面的需要使它们同时出现。当笔者看到这样的情况时,不管是在德国还是中国,都会想：如果我们找不到一种让彼此的文字系统融洽相存的办法,那是不是也反映了这个世界在我们的思维甚至是心里,还没有变成我们自己所理想的那种全球多元文化交融的社会。拉丁字符在中文文字中不妥当的处理,或是汉字在英文中不妥当的处理、甚至完全被抹煞,是不是也揭示了我们对彼此的真实看法?我不敢回答这个问题,但是我认为这代表了国际交流中的一个严重问题。因为与书写的紧密关系,文字的设计与思想的关系也有千丝万缕的联系。文字的设计也可以承载人的感受,任何受过良好教育的设计师都清楚地意识到这一点。那么如果代表文化的文字系统看起来是微不足道或是“不快乐”的,岂不是会让人不悦?如果可以把不同的文字系统放在一起,同时保持它们各自的特点和个性,又对其他的文化表现出认同和理解,不是很好吗?对此笔者深信不疑。不幸的是,在过去,语言和文字常常体现为某种形式的压迫——某个民族在征服了其他民族后,会迫使其他民族接受他们的文字系统,或禁止其他民族使用本民族的文字系统。直到今天的欧洲,拉丁字母会取代世界上其他国家的文字系统这种想法仍屡见不鲜。而在之前的年代,欧洲人也并没有为尊重其他的文化而著称,尤其是那些他们认为低级的文化。拉丁文字系统在世界范围内的传播不但是凭借知识和智慧,同时也通过帝国主义和殖民。欧洲人对于汉字的认知的历史很清楚地说明了对待文字系统的态度可以折射出对待文化态度。历史上来说,汉字和拉丁字母和谐共存的条件从没有像今天这样良好,因为中国和欧洲第一次能够互相平视。让人们意识到双语排版设计中明显存在着一些问题,这是非常重要的,尤其是在混合排版以及双语并列排版中。有些平面设计师能够意识到这个问题的存在,但是对于写作者、出版商、软件开发人员来说,由于没有被充分改进,因而似乎对此仍然一无所知。提高对此类问题的认识也是为了进一步加强在该领域的研究。这篇论文的一个重要目标是之处中文与拉丁文字排版设计中最亟待解决的问题,并提供建议,比如如何使用现有的字体和软件来加以改进,以及如何改进软件与字体以从根本上进行改善。通过本人的分析,笔者希望揭示,取得良好的汉字和拉丁文字母双语并用或混合排版样式不仅仅是处于意识形态方面的原因,也能够改进可读性,提高设计的功能性。更多还原

【Abstract】 The purpose of design is to service people. Like every other art it is linked to culture and society. By viewing the design of a certain period, one can draw conclusions to their society. Why are the statues produced in the Han dynasty slim and those produced in the Tang dynasty chubby? What does it tell us about those ages? Any kind of design, whether it be graphic design, industrial design, architecture, fashion and most recently, new media, is always in the vanguard of shaping society.Unlike any other art form, typography is close to the mind, because everything that’s written is taken down in one or another form of writing, therefore, the development of thought, the way people think is mirrored by typography. From the wall-filling hieroglyphs of ancient egypt and the Hanzi inscribed on Zhou-dynasty bronze ware to the high style neon advertisements of our modern age.In our age, everything becomes interlinked worldwide. In no other age known to man before, the possibilities and attempts of exchange between nationalities and cultures has been greater than today. Two important aspects in this development are the Internet and globalist economy. If there is one thing to be learned from the financial crisis of 2008, it is how much intertwined the different parts of the world already are.The closer connections between cultures, result in the mixing of cultures and therefore in the mixing of languages. When I go out to the streets of Beijing, I see not only Hanzi, and I not only see latin characters, but also korean characters, Japanese characters, arabian script, cyrillic letters, sometimes even mongolian or tibetan script.The intermixing of languages and writing systems is but a symptom of globalism. On closer examination, something falls into mind:In most cases, they don’t really look "happy" together; only external reasons, in most cases commercial interest, brought them together. When I see this kind of thing, whether in Germany or in China, I wonder:If we couldn’t find a way to let our writing systems look decent together, doesn’t that mean that, in our minds and maybe even in our hearts, we have not yet become the globalist multicultural society as which we like to see ourselves? Does the way in which latin characters often look misplaced in chinese texts, or how Hanzi look misplaced in english texts if not even omitted altogether, does it unmask our true thoughts about one another? I dare not answer that question, but I believe that it represents a severe communication problem of international scope. Due to it’s connection with writing, typography is close to thought, but it can also convey feeling, as any well-schooled designer knows. So won’t it let someone feel displeased, if the writing system, which identifies with the culture he was born into, looks diminished or "unhappy", and wouldn’t it be good, to try to bring together different writing systems while sustaining their uniqueness and character, to express respect to those who identify with them via their culture? I believe so.Unfortunately, in the past, language and writing have too often been also a way of oppression, by some nation trying to force their language on others or trying to forbid the writing systems of those conquered. Until today it is no uncommon notion in Europe that the Latin Alphabet will sooner or later replace every other writing system in the world, and in former ages Europeans have not been exactly known for having to much respect for other cultures, particularly those they deemed inferior. The Latin writing system owes its worldwide spreading not only to knowledge and wisdom, but also to imperialism and colonialism. The history of the perception of Hanzi by the Europeans is very telling about the way the treatment of a writing system can mirror the treatment of a culture.In history, the prerequisites to find a good co-existence of Hanzi and Latin Letters has never been so good as today, because China and Europe are at eye level for the first time.It is important to let people be aware of the obvious problems of bilingual typography, in both intermixed use and side-by-side use. While some Graphic Designers are aware of the problem, others, like writers, publishers and software developers seem to be still ignorant about it, because little is done to improve it. Raising awareness of the problems is also meant to foster additional and ongoing research on the problems. One main goal of this thesis is to point out the problems of bilingual typgraphy, which are to be considered the most urgent, and to give suggestions, on what can be done to improve them with the existing fonts and software, as well as how software and fonts can be improved to improve the problems at the root. Through my analysis, I shall demonstrate, that achieving a harmonic intermixed and bilingual usage of Hanzi and Latin letters is not only good for ideological reasons, but also improves readability and functionality.更多还原