科技部專題研究計畫主持人
MOST 106-2410-H-224-021 –
歐陽洵《九成宮醴泉銘》應用於字體開發設計之研究
Yang-Xun Ou\'s “The Liquan Inscription in Jiucheng Palace” Corresponds To The Design And Research Of The Font
科技部
Ministry of Science and Technology
國立雲林科技大學
National Yunlin University of Science and Technology
胡文淵
HU, WEN-YUAN
雲林科技大學視覺傳達設計系
Department of Visual Communication Design, National Yunlin University of Science and Technology
胡文淵
助理教授
0988036511
huwy@yuntech.edu.tw
計畫執行期間起:2017-08-01
計畫執行期間迄:2018-07-31
2017-08-01
2018-07-31
九成宮醴泉銘全部文字共1049字
2
096
07
字型開發;九成宮醴泉銘;文字骨架;字面率
font development;Stele in the Jiucheng Palace;structure of characters;area ratio of characters
繁體中文字的歷史素材,蘊含豐富且深奧的文字知識,經常成為造字的參考來源。本研究基於比較華康歐陽詢體與歐陽詢《九成宮醴泉銘》楷書原文仍有諸多相異之處,故以歐陽詢《九成宮醴泉銘》楷書為研究對象,兼採拓本與復原字做為研究素材,主要目的在透過文字骨架提取,循佐藤敬之輔對文字造形與骨架關係的描述,重新植入筆畫,發展兼具現代感與書體韻味之字型開發工具。 研究展開首先對歐陽詢《九成宮醴泉銘》楷書與對照組華康歐陽詢體、文鼎標準楷書三款文字造形,進行筆畫數與字面率關係的探討,共計分析1,049字。分析結果確認筆畫與字面率間的相關性,並參酌書論對歐陽詢楷書的描述,解釋字面變化的關係。研究結果同時取得線性模式所產生的迴歸方程式,三款字型均可以透過筆畫數推算字面大小。 骨架研究部分,扣除拓本破損難以辨認以及重復的文字,共計提取625個文字骨架,重新植入明體後發展為實驗字型。以啟發式評估法,由香港蒙納字體公司設計師許瀚文與Justfont字體設計公司設計師曾國榕兩位專家進行評估,並依據專家建議進行修正,後續發展出修飾筆畫造形與字重加粗之兩款新字型。專家評估結果顯示在尚可至良好間,唯直接提取書體骨架作為字型開發工具仍有許多問題須要克服:(1)特殊寫法須制定規範 (2)為適應橫排編輯環境,重心位置必須重置 (3)中宮緊縮衍生的筆畫沾粘與灰度不均問題,須透過筆畫避讓與字重微調修正之。而關於缺漏字部分可循《九成宮醴泉銘》以外的其他歐陽詢楷書之書跡取得予以重建。
The historical materials of traditional Chinese characters are rich in esoteric knowledge of the texts and are usually reference sources for the creation of words. Based on the comparison between DynaFont Xun Ouyang and the original regular script of Xun Ouyang in the “Stele in the Jiucheng Palace,” there are still many differences. Therefore, this study selected the regular script of Xun Ouyang’s Stele in the Jiucheng Palace as the research object and selected the rubbed copy and restored characters as the research materials. The main purpose is to extract the structure of characters, re-implant the strokes according to Sato Keinosuke’s descriptions about the relationship between typography and structure of characters, and develop a font development tool taking into account both the sense of modernity and charm of script. Firstly, this study investigated the correlation between number of strokes and area ratio of characters for 3 typefaces - regular script of Xun Ouyang’s Stele in the Jiucheng Palace, DynaFont Xun Ouyang (control group), and Arphic standard kai - and analyzed a total of 1,049 characters. The analysis results confirmed the correlation between number of strokes and area ratio of characters. Moreover, this study referred to the descriptions about Xun Ouyang’s regular script in various books to explain the relationship of character changes. The regression equations generated by the linear model were obtained in the research results. The size of all these 3 fonts can be estimated according to the number of strokes. For the structures of characters, after the characters that are difficult to be identified in the rubbed copy and the repeated characters were excluded, this study extracted a total of 625 structures of characters and re-implanted the strokes to develop experimental fonts. This study used heuristics evaluation where 2 experts, Julius Hui, who is a designer at Monotype Imaging Holdings, Inc. Hong Kong, and Kuo-jung Tseng, who is a designer at Justfont Font Design Company, performed the evaluation. The fonts were amended according to the suggestions from the experts. Afterwards, two new fonts, a font with a modified stroke and shape and a bold font, were developed. The experts’ evaluation results of these fonts were between acceptable and good. However, there are still many problems required to be overcome in the direct extraction of the structure of characters as font development tools: (1) a special writing pattern must be standardized; (2) the center of gravity must be reset to adapt to a horizontal editing environment; (3) the issues of stroke stickiness and uneven gray scale derived from Zhonggong narrowing must be resolved by adjusting strokes and font weight. The missing characters can be reconstructed based on Xun Ouyang’s regular script in books other than Stele in the Jiucheng Palace.
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