书法的立体化设计探索
Exploration of Three-Dimensional Design of Calligraphy

目的：文章探索关于书法立体化表现的设计方法，寻找书法在二维图像空间之外的可能性，使书法这一最具有经典标志的民族符号更好地满足大众多样化的审美需求。方法：首先通过设计案例分析3种不同类型的书法立体转换，总结其设计形式与特点。其次将书法的形式语言提炼为符号、运动与情感三个层次，并以此出发深入分析书法中包含的设计转换要素，解构书法从形式到情感的立体化表现内容，推导书法的立体化表现维度。最后基于情感化设计的三个层次与符号学三分维之间的对应关系，对书法立体化进行设计考量。结果：从书法的形式元素出发，建立了书法立体化转换的对应模型。结论：该方法为书法的立体化表现提供一种新的设计路径，满足了书法在当代多元审美语境中保持创新性的需求。
Objective: The article explores the design methods for the three-dimensional representation of calligraphy, seeking the possibility of calligraphy beyond the two-dimensional image space, so that calligraphy, the most classic national symbol, can better meet the diverse aesthetic needs of the public. Method: Firstly, it analyzes three different types of calligraphy three-dimensional transformations through design cases, and summarizes their design forms and characteristics. Secondly, the formal language of calligraphy is refined into three levels: symbols, movements, and emotions. Based on this, a deep analysis of the design transformation elements contained in calligraphy is conducted, deconstructing the three-dimensional expression content of calligraphy from form to emotion, and deriving the three-dimensional expression dimension of calligraphy. Finally, based on the correspondence between the three levels of emotional design and the three dimensions of semiotics, the three-dimensional design of calligraphy is considered. Results: Starting from the formal elements of calligraphy, a corresponding model for the three-dimensional transformation of calligraphy has been established. Conclusion: This method provides a new design path for the three-dimensional expression of calligraphy, meeting the need for calligraphy to maintain innovation in contemporary diverse aesthetic contexts.