Abstract
In the first part of my study, the book “Nian” explores the visual language of Chinese New Year, examining the cultural significance of this festive occasion and its various customs and traditions. Focusing on how graphic elements can tell a story and convey meaning through their visual representation, the publication investigates the meaning and usage of pictograms, icons, and silhouettes, in addition to the photography, handwriting and calligraphy, and how they can be effectively used/used in combination to communicate identity, ideas and emotions.
To build on the first part of my project, the second part aims to investigate the legibility of pictograms and the factors that influence their legibility. Pictograms are graphic symbols used to convey information quickly and effectively, particularly in public spaces where language barriers may exist. However, there is little research on the legibility of pictograms, particularly in different contexts and populations, as well as examine the recognition threshold and boundary of pictogram.
Factors that will be investigated include the design elements of the pictograms, such as shape, color, as well as the context in which they are presented. The results of this study will provide insights into the legibility and recognition of pictograms and the factors that influence their effectiveness, which can inform the ethics and design of pictograms for different contexts and populations. This research will contribute to the development of cultural design insights for pictograms, and ultimately enhance communication and accessibility for diverse audiences.
Context
The visual language of Chinese New Year is a fascinating topic to explore, given the cultural significance of this festive occasion and its various customs and traditions. This work is a two-part study that explores the visual language of Chinese New Year and the legibility of pictograms. The book “Nian” delves into the different graphic elements that make up the visual representation of Chinese New Year, including pictograms, icons, silhouettes, photography, handwriting, and calligraphy. This publication aims to investigate how these elements can be effectively used or used in combination with indexes and catalogues to communicate identity, ideas, and emotions.
The book “Nian” is composed with 168 sets of photographs, pictograms, and calligraphies about how people are celebrating the Chinese New Year. In Chinese culture, number 6 and 8 are considered as luck and wealth. The photographs are collected from the audiences. The pictograms are abstractions and simplifications of the Chinese New Year element from each photograph in the book. The calligraphies are the character “Nian(年)” (it means year, but Chinese people often refer it as the Chinese New Year) written in different fonts.
The book’s square shape is a reflection of Chinese culture, which emphasizes propriety, norms, and etiquette, rather than flamboyant displays. It adheres to a set standard, yet maintains its own boundaries and edges. Additionally, the square shape represents the fundamental form of ancient Chinese architecture, reflecting the societal rules represented by the ethical principles of tranquility, stability, security, and equality. The significant use of red color symbolizes luck and auspiciousness. Red is also the color of celebrations and prosperity in China. The calligraphy is in center position to create a focal point that draws attention. It also creates a color balance with the left spread. Then the attention will be led to the pictograms on the left that guide readers to contemplate the silhouette. The repetition of photographs, calligraphy, and pictograms in same topic illustrate indexing and cataloging culture.
The book also aims to showcase the power of Graphic Communication Design in communicating cultural and social themes, and its ability to evoke emotions and memories through visual representations. In addition to the visual elements, this publication highlights the importance of cultural heritage and the need for intercultural dialogue. By investigating the true meaning of “Nian”(Chinese New Year), the project seeks to uncover the deeper significance of this festival and its role in shaping Chinese culture and traditions.
Building on the first part of the project, the second part is a video that extracts and eliminates the details of each pictogram, and investigates the recognition boundary and threshold of the pictogram in the information transition. It aims to investigate the legibility of pictograms and graphic symbols that are used to convey information quickly and effectively, particularly in places where language barriers may exist.
The design elements of pictograms, such as shape and color, can significantly influence their legibility. From my experiment, I have learnt that simple, symmetrical shapes are more easily recognized than complex or asymmetrical ones. Similarly, high-contrast color combinations are more legible than low-contrast ones, particularly when viewed from a distance. The change in colors can also create context to the pictograms that make them more recognizable to the audiences. The scale of each pictogram and its context in where it will be present can also influence the design choice in the level of details needed. For example, when the pictogram is used in small scale like web icon, the design of the pictogram needs to be less complicated compare to when it’s used in large scale like signs.
The recognition threshold of a pictogram refers to the minimum amount of visual information required for a person to recognize it. I have learnt from my studies that recognition thresholds vary depending on factors such as culture, and language proficiency. For example, people who are familiar with a Chinese culture are more likely to recognize the pictograms I have designed, and can understand the reason why such pictogram or object is associated with the Chinese New Year. The recognition boundary of a pictogram refers to the point at which it is no longer recognizable as a specific symbol but rather as a general shape or pattern. This boundary can vary depending on factors such as complexity, context, and familiarity.
Inspired by Ellen Lupton’s essay Critical Wayfinding (1993) where Lupton introduce the idea “semiological organization”, which is the process through which signs are given a cultural value. The pictograms that I have designed in this project are very exclusive to the Chinese culture, which is a reflection of this “semiological organization”.
It is also important to note that the ethnic stereotype is itself a kind of hieroglyphic form, consisting of a set of conventionalized, exaggerated features. Stereotypes can be used as a shorthand to communicate complex cultural identities, but they can also be limiting and harmful. The study of visual language and pictograms can help to create a more nuanced and accurate understanding of cultural identity and representation.
Project Contributions
The question of investigating the legibility of pictograms and the factors that influence their effectiveness is of great significance to graphic communication design both practically and theoretically.
Practically, the project’s findings will contribute to the development of cultural design insights for pictograms. These guidelines will provide designers with a better understanding of the design elements that impact the legibility and effectiveness of pictograms, such as shape, color, and context. It can help designers create more effective and culturally appropriate communication tools that are relevant to the specific target audiences. As a result, this project will contribute to the enhancement of communication and accessibility for different populations and contexts. Theoretically, the study of the legibility of pictograms adds to the existing research on visual communication and graphic design. It provides a deeper understanding of how visual elements can communicate meaning and how cultural context plays a crucial role in interpreting signs and symbols. This project will contribute to the theoretical framework of graphic communication design by providing insights into the process of semiotic organization and its impact on communication.
Culturally, this project can be a great way to promote Chinese traditional culture. By expressing the inheritance and understanding of Chinese traditional festivals by modern people under the cultural diversity of the times, the audience can re-understand and appreciate the essence of Chinese traditional culture and engage in the intercultural dialogue.
Beyond the limits of the course, this project will contribute to my practice as a graphic designer by providing me with a better understanding of the design elements that impact the legibility and effectiveness of pictograms. This will inform my design decisions when creating communication tools for different audiences and contexts. Additionally, the project’s findings can be shared with other designers and practitioners in the field of graphic communication design, contributing to the development of practices and insights for designing communication tools that are effective and culturally appropriate.
Reference:
Lupton, E. and Miller, J.A. (1993). “Critical Wayfinding.” In S. Yelavich (Ed.), The Edge of the Millennium (pp. 220-232). New York: Whitney Library of Design