تحلیل و بررسی نقش رویکرد احساس گرا در طراحی تایپ فیس فارسی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تایپفیس ها ابزاری کاربردی و فراگیر هستند. کارکرد اصلی تایپفیس ارتقای خوانش و بهبود روند انتقال اطلاعات است. ظهور سیستم فونت سربی و دیجیتال سبب ایجاد شکاف عمیقی میان زیبایی شناسی حروف فارسی در خوشنویسی کلاسیک و تایپفیس مدرن فارسی شده است. با این وجود حقیقت غیرقابل انکار این است که حتی جنبه های زیباشناسانه تایپفیس مدرن فارسی نیز باید الهام گرفته از هویت نوشتاری خط فارسی باشد تا همسویی بیشتری با زیبایی شناختی مخاطب ایرانی داشته باشد. طراحی احساس گرا با تأمین نیاز احساسی خوانندگان، تجربه بصری مطلوب تری از خواندن را برای آنها فراهم می سازد. در این مقاله تحلیل مختصری از نقش دوطرفه خط و احساس و تاثیر آن بر طراحی قلم فارسی ارائه شده و همچنین به ارزش های بصری نستعلیق و نسخ ایرانی و کارکرد آن در طراحی تایپفیس فارسی پرداخته می شود. بعلاوه نقش میانجی تایپفیس در خلق ارتباط احساسی مثبت میان متن و خواننده بصورت جزئی تر مورد مطالعه قرار می گیرد. و سرانجام با بررسی شباهت های ساختاری عناصر بصری که تداعی گر احساسات مثبت در طبیعت هستند و با بهره گیری از ارزش های ساختاری و بصری مثبت در خط نستعلیق، تجربه مطلوب تری از خوانش متون معاصر فارسی منطبق بر هویت خوانندگان ایرانی ارائه کنیم.An Analysis and Investigation of the role of emotional approach in designing Farsi Typeface
Typefaces are very widespread and functional tools. The main function of typeface is to improve the readability and enhance conveyance of information. The emergence of metal and digital font systems has led to a considerable cultural gap between the aesthetics of Persian calligraphy and its modern typeface. However, the undeniable fact is that the even aesthetical aspects of Persian modern typeface should be inspired mainly by the writing identity of Persian culture, so that it can be more aligned with the cognitive needs and aesthetic expectations of Iranian audience. Emotional design creates a more pleasant visual experience of reading through meeting the emotional need of readers. Accordingly, emotional design can be a great asset for Persian typeface as it may provide a positive emotional interaction between the text and audience. Such positive emotion is the result of years of experience of reading and watching Persian texts, all stores in the from of visual schema in the mind of Iranian audience, increasing their willingness to watch Persian typeface and read the content of such materials. A very brief survey of recent aesthetic trends and approaches shows that those which have been more compatible with the cultural and emotional structure of Iranian thought processes have successfully passed the test of time and have been widely accepted by their Iranian audience. Literature and more specifically poetry has always been an indispensable part of Iranian cultural identity and writing has long played a vital role as the major medium for conveying such rich cultural heritage. Naturally writing had to be in accord with the poetic delicacies of its content. Emotional design could be of a huge help to recreate such emotional facets in modern Iranian typeface. From a transactional point of view, the major role of language is to carry meaning and convey information. But from a more interpersonal view, language is supposed to create emotional connection and interaction between people and emotional design can contribute a lot to this undeniable role of language and writing. Emotional design can contribute a lot to this undeniable role of language and writing by creating the most convenient tools for the writer to encode his feeling and emotions and for the reader to get a clear picture of emotional nuances buried in the text. In this paper a brief analysis of reciprocal the role of writing and culture and their effect on design of Persian font is presented. The visual values of Nastealiq and Naskh and their function in the emotional design of Persian typeface are also dealt with. In addition, the mediatory role of typeface in creating an emotional connection between the reader and text is studied in more details. Finally the by investigating the structural similarities of visual elements which recall good emotions in nature and by applying positive structural and emotional values in Nastealiq, it is shown how we may be able to deliver a more pleasant experience of reading Persian contemporary writing in accordance with the writing identity of Iranian readers.
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