浅析多媒体界面中的字体设计与编排简

多媒体设计遵循视觉形式美法则,汉字与拉丁字母这两大文字体系特色各异：汉字分宋体字、黑体字和书写体,字形设计更注重形意结合,拉丁字体分为线饰体、无线饰体和装饰体,字形各异,富于变化。字体设计时字形要正确、风格要统一、字体表情要适合文字内容;文字编排时要易读,要符合整体需要并传达美感,字体设计编排时既要注意汉字与拉丁字母的不同特点与要求,又要根据所设计页面的主要功能选择设计思路,进而发挥文字设计的功效,恰当、唯美地表达设计意图。     

论勃朗特文学创作的视觉艺术渊源

从故乡荒原风光的长期潜移默化、维多利亚时期绘画艺术的熏陶以及三姐妹不同风格的绘画实践三方面的影响，分析探讨影响勃朗特姐妹文学创作的视觉艺术的渊源，以有助于读者更好地欣赏勃朗特文学作品的审美价值并理解三姐妹创作风格的异同。     

Multimodal texts in Higher Education and the implications for writing pedagogy

Although studies on writing pedagogy and academic literacies have examined changing genres in tertiary education, there has not necessarily been an emphasis on how a range of modes and media have influenced texts in various disciplines. This paper explores the influence and incorporation of the visual into student texts in Higher Education, looking at the semiotic weighting of modes, conventions and functions of images, visual / verbal linkages and visual composition. These aspects of multimodal texts have implications for the ways in which we teach ‘academic literacies’ practices and writing as multimodal composition to students.     

Experimenting with Visual Storytelling in Students' Portfolios: Narratives of Visual Pedagogy for Pre‐Service Teacher Education

This article interprets the repercussions of visual storytelling for art education and arts‐based narrative research and, particularly, it approaches visual storytelling as a critical tool for pre‐service teacher education. After reinterpreting storytelling from the perspective of visual critical pedagogy, I will narratively reconstruct the use of visual storytelling in three learning stories taking the form of students' portfolios. As a visual narrative researcher, I will examine the tactics for writing and reading that these students have developed in creating visual stories: the first narrative analyses the role of art during the reconstruction of the learning process by incorporating autobiography and reflexivity (Tanit's portfolio); the second narrative reflects on deconstruction and intertextuality in a multimedia portfolio, which mainly interrelates opera and cinema (Eulàlia's portfolio); and the third narrative introduces virtual storytelling and connects self‐awareness/meta‐awareness with multi‐literacy in narrative learning (Sonia's portfolios). This article also views improvisations, attempts, drafts and interactions in the process of writing and reading portfolios as part of visual experimentation to fabricate learning stories, in order to analyse the opportunities that visual storytelling offers for visual narrative pedagogy.     

Feedback Analysis of the Movement Mechanisms of Handwriting

To extend the feedback analysis of legibility in handwriting, a coordinate force transducer has been devised that makes possible the separate sensing of the right-left and near-far directions of writing motions and the converting of these movements to their electrical analogs. This method of transducing handwriting motions made possible systematic measurement of the effects of feedback displacement and delay of the visual feedback of writing movements and of analyzing the types of variation in legibility related to variable feedback factors. Results showed that differential directional defects and general disturbances in legibility and timing of writing movements occurred in relation to both visual feedback displacement and delay of writing motions. The findings give added support to the view that writing is not a form of discrete stimulus-response behavior or stimulus tracking, but consists of self-generated forms of response comparable to steering, in which accuracy, legibility, and learning are directly determined by feedback time factors and directional specificity of particular right-left and near-far coordinates of movement that dynamically control and project visual input in the writing act.     

Text as design, writers as designers

Acknowledging the changing nature of writing in the 21st century, particularly the increasing significance of visual characteristics in written texts, this paper explores the implications of multimodality for the pedagogy of writing. It considers the potential disjunction between children's life experiences of written texts and the demands of the writing curriculum, particularly in the secondary phase, and whilst arguing for greater recognition of the role of the visual, the paper also notes the importance of ensuring all children also have access to powerful verbal texts. Drawing on two separate research studies, the paper demonstrates how visual characteristics of written texts influence readers' responses to texts, but also how writers are aware of some of the choices they make in shaping verbal texts. The paper argues for a reconceptualisation of the writing process as a design process, and for a pedagogy of writing which encourages, supports and enables writers to become confident and effective designers of texts.     

东西方画家在“书写”表现形式上的差异研究——以赵无极为例

赵无极绘画中"书写性"语言出现在其转折期的作品中,他绘画中的"书写性"表达形成了他独特的抒情抽象画风。与此同时,在西方特别是美国的抽象表现主义也兴起了一场"书写热"。但是赵无极的"书写式"语言更加东方化。本文试图通过阐述赵无极绘画语言中所表达出的东方气质的"书写性",与西方绘画在视觉上的书写形式和书写意境上的差异,从而探讨了"书写性"语言在现当代艺术中的体现和发展。     

Handwriting isolated cursive letters in young children: Effect of the visual trace deletion

This study assesses the handwriting of isolated cursive letters in five-year-old children and the effect of a modification in visual feedback. Sixty-four children copied twelve cursive letters with an inking pen and a non-inking pen. Reducing visual feedback decreased the mean number of penlifts, and increased mean velocity and fluency. However, it increased the size of the letters (trajectory length) and reduced their quality. We suggest that processing visual feedback of the emerging visual trace may interrupt the fluency of the movement, while writing without seeing the trace may place greater emphasis on motor control and the use of somatosensory feedback. This study supplies reflection about sensory feedback and the moment when it should be provided in handwriting instruction. Practitioners should be aware that variation in the writing environment (surface, tools …) modifies sensory feedback and affects handwriting learning (gesture and outcome) in different manner.     

Photo-Booklets for English Language Learning: Incorporating Visual Communication into Early Childhood Teacher Preparation

Teachers can integrate discussion and writing about photographs into the early childhood curriculum to build speaking, reading, and writing skills in any language. Although little available research focuses on photography and early childhood education as related specifically to English Language Learners, several current teacher resources do focus on uses of photography in classrooms for young children. What is lacking, however, is substantial reference to the planned use of language along with image creation through photography for the language development of English Language Learners (ELLs) in the early childhood classroom. Teacher training, too, devotes insufficient attention to either visual literacy or visual communication. This article provides a discussion of the role of the visual in English language development as a basis for a sample photography project that can be incorporated into a course for pre-service teachers in methods of teaching ELLs. Pre-service teachers thus experience the project first-hand in terms of image creation and the planning of appropriate content, language, and visual literacy objectives. The resulting visual products then function as teaching resources themselves; however, effective visual learning for ELLs requires that teachers possess such an informed understanding of the techniques that structure and assist language development.     

象形文字的视觉传达功能

象形文字是一种古老的文字。而几乎所有的古人类文化遗迹中所发现的文字都是从最直接的视觉传达方式开始的。拟形和拟意是象形文字的两大表现特征。作为一种视觉符号，象形文字的视觉传达方式对于现代视觉传达有着重要的参考价值。     

关于“同字”的认定

汉字的字形十分复杂,字形不同的几个字有可能是同一个字,而字形完全相同的有可能不是同一个字。因此,有必要对"同字"做一个界定。本文提出了以音义为基础的方法来界定"同字",认为凡是字音字义完全相同而字形不同的两个或两个以上的视觉符号均可视作"同字",并在此基础上以几种典型的字际关系(如异体字、繁简字、假借字、同形字及同义换读)为材料来论证这个定义。     

从中西思维差异看唐诗英译中意象意境翻译

西方语言为字母文字,因而英关人长于语言思维;汉语书写符号是方块汉字,音、形、意互相联系使中国人长于形象思维。思维模式的差异导致英关人无法正确理解和把握富于视觉经验的中国诗歌,尤其是诗歌的意象和意境。在翻译过程中,如何调动英美人的形象思维成为化解障碍的关键。绘画作为一种介于文字与视觉之间的叙事形式可以对原诗视觉经验进行有效还原,使英关译者形成特定的心理图像,完成词汇与图像的对应,帮助英关译者形成对原诗歌的形象思维,作为一种有效的跨文化符际翻译方法辅助语言翻译,从而达意传神,以达“等效”。     

Resource discovery in distributed digital libraries through visual knowledge navigation

INTRODUCTION In this paper, we present our work in the Strand Map Service (SMS), which provides concept map based browsing interfaces for resource discovery in a library independent manner within American Na- tional Science Digital Library (NSDL). As critical components of digital libraries, dis- covery systems provide interfaces that support user to search and browse for resources in digital libraries (Hall et al., 1999). The effectiveness of discovery systems has big impact on the…     

Grassroots: Supporting the Knowledge Work of Everyday Life

This article introduces a simple mapping tool called Grassroots, a software product from a longitudinal study examining the use of information communication technologies and knowledge work in communities. Grassroots is an asset-based mapping tool made possible by the Web 2.0 movement, a movement which allows for the creation of more adaptable interfaces by making data and underlying database structures more openly available via syndication and open source software. This article forwards three arguments. First is an argument about the nature of the knowledge work of everyday life, or an argument about the complex technological and rhetorical tasks necessary to solve commonplace problems through writing. Second is an argument about specific technologies and genres of community-based knowledge work, about why making maps is such an essential genre, and about why making asset maps is potentially transformative. Third is an argument about the making of Grassroots itself; a statement about how we should best express, test, and verify our theories about writing and knowledge work.     

Cognitive constraints and the early learning goals in writing

This study examined the relative importance of a number of cognitive factors (i.e. working memory, vocabulary knowledge, general cognitive ability and reading skills) in accounting for differences in the rate of progress made by children in the development of emergent writing skills. Sixty-seven children were assessed on tasks measuring the visuospatial, phonological and central executive components of working memory. The children's written texts were analysed according to the assessment scale for writing from the Early Years Foundation Stage Profile. The results indicate that reading performance and visuospatial memory skills are crucial to determining whether or not children aged 4–5 years are able to meet the UK government's prescribed educational standards for writing. The importance of visual skills in the acquisition of orthographic knowledge and writing conventions gained through reading is discussed in relation to current instructional strategies within schools.     

Visual Communication in the Workplace: A Survey of Practice

This article reports the results of a survey of professional writers about the nature and importance of visual communication in their work. The results confirm the suggestions in the field's literature that visual communication is important to workplace practice and that the role of the professional writer has expanded beyond the domain of the verbal. Visual communication responsibilities are complex and varied, but the practitioners surveyed typically engage in substantial amounts of design-related work and value visual communication abilities. The data suggest that visual communication should be a curricular priority in professional writing programs.     

Teaching Visual Literacy - Some Reflections on the Term

The statutory Order for art in the national curriculum identifies visual literacy as an essential aim of contemporary art education. In the Order visual literacy is located in the second attainment target. This paper suggests that, since the concept of literacy embraces reading and writing, the term visual literacy might be more usefully employed as an overarching concept embracing both attainment targets. This suggestion draws upon some of the extensive work carried out into literacy within the discipline of English. Further, the paper suggests that the ambition of the Order for art must be weighed against the dominant practices of art and design education and asks whether a curriculum which centres on painting and drawing can realistically be considered to be providing an adequate education for visual literacy in the 1990s.     

Bridge or Barrier? Writing in Secondary Art & Design Education in the UK

What role does writing play in secondary art & design education? In the context of current debates on access and participation in the visual arts, the nature of art discourse and the value of creative subjects within the curriculum, what impact do the existing requirements have on students, teachers and the broader arena of the visual arts? This article presents the findings‐to‐date of an ongoing pilot study which set out to explore these questions. Drawing on interviews with teachers and exam board representatives, and a review of student texts and exam board documents and resources, the study found that even though writing is only a minor part of what is an essentially practice‐based subject, it was a source of significant concern and confusion. A marked disconnect was revealed between intent and practice, which in turn highlighted a series of underlying values and beliefs that seemed to further drive this disconnect. The study calls for a wider discussion of the way writing is framed, used, supported and assessed in the art & design classroom, and the need to ensure that any pedagogy and resources developed align with the values as well as curriculum of art & design. It also previews how strategies created in the context of developing more inclusive and flexible writing skills among curators and other art museum professionals may offer a useful model. The study is part of a larger investigation into the discourse/s of the visual arts, with a focus on issues of access and participation.     

Visual Communication in the Workplace: A Survey of Practice

This article reports the results of a survey of professional writers about the nature and importance of visual communication in their work. The results confirm the suggestions in the field's literature that visual communication is important to workplace practice and that the role of the professional writer has expanded beyond the domain of the verbal. Visual communication responsibilities are complex and varied, but the practitioners surveyed typically engage in substantial amounts of design-related work and value visual communication abilities. The data suggest that visual communication should be a curricular priority in professional writing programs.