从功能到形式——试论油墨陷阱在中文字体设计中的嬗变  

From Function to Form:On the Evolution of Ink Trap in Chinese Font Design

作　　者：刘畅 万千个[1] Liu Chang;Wan Qiange(Guangzhou Academy of Fine Arts,Guangzhou 510220,China)

机构地区：[1]广州美术学院,广州510220

出　　处：《艺术与设计（理论版）》2023年第5期56-59,共4页Art and Design

摘　　要：文章通过现有研究中对油墨陷阱(Ink Trap)的定义,依据历史记载和一手资料,从功能和形式两个角度研究油墨陷阱在中文印刷字体设计中的嬗变,探讨其来源和演变的过程,为屏显时代设计中文油墨陷阱字体实践给予理论指导。文章立足于印刷字体史研究,结合具体的时代背景和印刷技术,通过案例分析法、文献研究法和访谈法进行研究,肯定了在字体技术发展过程中的中文字体曾存在过类似于西文语境中的油墨陷阱形式,并进一步对其类别进行分析,其中包含“喇叭口”和“隅取”“角出”等现象。类似现象的出现遵循时间顺序和技术发展,理清了油墨陷阱在中文字体设计中从功能转向形式的转变过程。根据分析结果,试总结出一种新的归纳方式为新媒体时代下的油墨陷阱字体设计提供新的分析和认识视角。Based on the definition of"Ink Trap"and historical records and primary data,this paper studies the evolution of Ink Trap in Chinese typographic font design from two perspectives of function and form,and probes into its source and evolution process,providing theoretical guidance for the practice of designing Chinese Ink Trap font in the screen display era.This paper is based on the history of typography,combined with the specific background of The Times and printing technology,through the case analysis,literature research and interview method.On the one hand,it affirms that in the process of font technology development,there used to be Ink Traps in Chinese fonts similar to the Western context.And further from the category of analysis,including"Mouth of horn"and"Sumitori","Kadodashi"and other phenomena.The emergence of similar phenomena follows the chronological sequence and technological development,which clarify the transition process of Ink Trap from function to form in Chinese font design.According to the analysis results,a new induction method is proposed to provide a new perspective of analysis and understanding for Ink Trap font design in the new media era.

关 键 词：油墨陷阱 字体设计 印刷字体 屏显字体 

分 类 号：G23[文化科学] H024[语言文字—语言学]