Glyph trompe l'oeil. Two squares with exactly the same shape and area, placed in different directions, will give people different feelings, and visually present the illusion of small and oblique. And each word has its shape characteristics, in Chinese characters, glyphs have rectangles, squares, diamonds, trapezoids, inverted trapezoids, hexagons, etc., these shapes of the word description in the equal size of the square grid, in the visual will appear the illusion of size inconsistency.
Glyph adjustment. When different glyphs form words and sentences, they only have a sense of unity if they are visually consistent in size. Chinese characters generally use the adjustment of the length, width and size ratio of the geometry to obtain a sense of unity: rectangle up and down contraction, square overall contraction, diamond overall expansion, positive and inverted trapezoidal up and down contraction, positive triangle bottom up and down, left and right outward expansion, inverted triangle upper side down, left and right outward expansion, hexagon left and right contraction, up and down expansion. In this way, the proportions and sizes of various geometric shapes are visually equal, and the whole is basically the same.
Because Chinese characters have strokes and rich changes in structure, when adjusting the glyphs, you can start from the perspective of the spatial reality of the strokes. In the square word box, the fonts of the two sides of the real two sides of the virtual, the three sides of the real side of the virtual, the three sides of the virtual and the one side of the real, the four sides of the real, the four sides of the virtual, the four sides of the virtual are adjusted by the standard of "virtual release and real collection".
Stable center of gravity. The reason why an image is visually balanced and stable is that its center of gravity line is on a large support surface, support point, or vertical line with balanced left and right quantities. The center of gravity of the word is a visually stable balance caused by the overall appearance characteristics of the stroke side. The glyph where the center of gravity line deviates from the support point is not easy to grasp the center of gravity, and it is necessary to adjust the glyph, appropriately adduct part of the glyph, as close as possible to the center of gravity line, so that the amount of vertical line left and right is balanced.
The center of gravity of the glyph is also largely influenced by the structure of the strokes, and when the strokes in all directions are juxtaposed, their center of gravity must be aligned to the center of gravity of the glyph as a whole. Words with upper and lower structures, upper and lower structures should align the center of gravity of the structure to the center of gravity of the glyph. The left-right, left-middle-right structure of the word in the midline position of the left and right interspersed should be balanced.
The strokes are thick and thin at both ends. In two-dimensional space, two equally long "horizontal" or "vertical lines" are placed at the same time, with a group on the left, and the horizontal or vertical lines with decorative corners. We will find that in this group without decorative corners, the horizontal line feels thicker than the vertical line, and the single look at the horizontal line is thick in the middle and thin at both ends, while the vertical line is the opposite. The main cause of this phenomenon is caused by the dispersion of vision at both ends, compared to the more stable and powerful lines with decorative angles.
Horizontal and vertical thickness. When placing three straight lines of equal length, width, horizontal, oblique, and vertical, it is visually felt that the horizontal line is thick, the diagonal line is medium, and the vertical line is thin, which is a kind of "trompe l'oeil". Therefore, in the design of the font, it is necessary to appropriately thin the horizontal painting so that the vertical painting and the horizontal painting are visually consistent. In addition, the horizontal line of the same amount is visually longer and thicker than the vertical row as a whole, while the horizontal painting of Chinese characters as a whole is more than the vertical painting, so the processing of horizontal painting is conducive to the coordination of the overall spatial structure of the glyph.
Long, thick and short. Due to the different length of strokes, lines of the same width and different lengths are visually different in thickness, and the lines of long strokes appear thinner than short lines. In a font, when the long and short lines are juxtaposed, the short stroke should be thinned appropriately.
Stroke thickness and style. When the strokes are arranged, their thickness affects the style of the text. The font with meticulous lines gives people a slim, lean and relaxed feeling; the font with thick lines gives people a heavy, calm and serious feeling.
Stroke thickness and space. When designing two or more fonts, the visual space varies due to differences in the number and number of strokes of the words. If the relationship between strokes is not handled well, it will make the font structure blurred, and the distribution of black and white unevenly, affecting reading and aesthetics. Therefore, when the strokes are dense, the strokes should be appropriately thinned; conversely, when the brushes are evacuated, they should be thickened, that is, thickened and dense.
Stroke lengths are orderly. When there are two or more identical strokes in a word, the length and width of the drawing cannot be drawn, and the length should be adjusted in an orderly manner.
The connection of a slash to a line in a stroke. When a vertical or horizontal line is connected to a diagonal line, the illusion of a vertical or horizontal line tilting in the direction of a diagonal line is visually generated, and the vertical or horizontal painting with a diagonal connection must be processed in the opposite direction of abduction in the glyph.
Main and secondary strokes. Generally speaking, the "horizontal and vertical" stroke length in a word is the main stroke, generally the main stroke changes less, while the secondary stroke changes flexibly, the purpose is to adjust the space, so that the composition is free and compact.
Oblique painting becomes thinner. When the strokes and lines intersect and meet, many intersecting strokes are easy to make people feel that the font structure is bloated. In general, the intersection area of oblique strokes is the largest, and the oblique strokes are skimming, twisting and arcing in the text, according to the principle of "horizontal thin vertical thickness", when switching from vertical painting to horizontal painting, it should be adjusted to gradually thinner. In the text, when the oblique strokes meet and intersect, the intersection of the oblique strokes should be thinned, and the strokes of the apostrophe, stroke and arc are gradually thinned from the beginning to the end; the intersection and intersection of the horizontal and vertical paintings are not processed.
The structure is symmetrical. The symmetry of the structure shows the proportional relationship between the sides, according to the structural characteristics and proportions of each word, the size, space and position of various structures are arranged, so that the overall uniformity, coordination is reasonable, stable and beautiful. Regardless of the type of structure, it must meet the requirements of symmetry and balance, that is, a dynamic stability and balance, through which the text can better reflect its beauty while maintaining the unity of form.
According to visual experience, the shape of the upper small and the large below will have a stable and beautiful feeling, such as a pyramid. In glyphs, the upper and lower structure of the word needs to be properly treated as the upper part becomes smaller and the lower part becomes larger, and the characteristics of the upper and lower parts are maintained. In this way, the glyph will have a visually symmetrical and stable feeling. The principle of small and large can also be extended to the law of narrowness and width, length of length, left small and right large.
Tight up and loose. Because the visual center is slightly higher than the actual square center, in the glyph, the structure of the upper and lower loose makes people feel beautiful and stable, while the upper loose and tight structure makes people feel cramped, shaken, and nervous. In the specific design process, special attention should be paid to the "moderate" adjustment, and the "center of gravity" of the text should be intentionally adjusted to the position of the "visual center point" to form a stable and beautiful feeling of tightening up and down.
Interspersed with scrambling. Interspersing contending is to proceed from the whole, in the structural combination of words to achieve "contention and concession", that is, part of the strokes, structure occupies more glyph space for contention, the corresponding less strokes should give up space, in the scramble the strokes should be appropriately interspersed, so that the various parts of the glyph echo and coordinate, so that the entire word is stable, beautiful and generous.
It is necessary to pay attention to the internal relationship between their strokes, and deal with the parallelism, width and narrowness, length and shortness, height, tilt, connection, separation, space, size and other contending relationships of strokes. The purpose of contending is to make the whole echo, and when dealing with these relationships, some strokes can be appropriately contracted and expanded, so that the contending is coordinated and interspersed in an orderly manner.