9/05/2020跟鄧兆鴻老师學寫毛筆字，一點也不容易，由（一）字開始，真的考驗我的耐性！ #香港書法家協會主席 鄧兆鴻 #懸腕

看法＿有很多人問我到底為甚麼需要標題字設計跟正文字設計，這裡我舉個例子。 右手邊的「珍」是我頗喜歡的一個尋常楷書字，畢竟在路邊的閱讀距離，字的佈局相當平均，感覺清晰秀麗，富香港書法家佘雪曼的美學，所以可以確定寫的時候以路邊距離為設想。 然而當同一個字換成對面馬路看——像三文字的閱讀距離，則「珍」字的美感則難以維持，比例過窄，特別是三撇劃會顯得太短。所以要維持一個正確的「珍」字造型，就有了正文設計的出現。 如此類推，正文字型用在標題大小也會顯得呆板乏味。 Insight_Many people asked me why there should be display design and text face design for Chinese script. I simply put an example here. I quite like the ‘珍’ character at right side, because the space is intentionally balanced, having a dynamic yet rather modern appearance. When I see it aside the road, the perfect proportion tells you it was written for the exact display purpose. Interestingly, when walk to another side of the road, the 3 pie (left-diagonal) strokes is visually looking too short, the proportion is also too tight here, lost it’s perfect beauty before. So textface will look perfect here – the 3 pie strokes are definitely much longer and make the character much legible – that’s the purpose. In the same logic, text face will look dull and boring if see much closer. This trade-off set the value of both category of type.

香港書法家協会春茗结束，来张大合照。