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Lost in translation: design in untranslatability

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Lost in translation: design in untranslatability

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LOST IN TRANSLATION:
DESIGN IN UNTRANSLATABILITY

by
Yixin Chen (Jenny)

A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS DESIGN

May 2023

Copyright 2023 Yixin Chen (Jenny)

ii
TABLE OF CONTENTS
Table Of Contents .................................................................................................................. ii
List Of Figures ...................................................................................................................... iv
Abstract ................................................................................................................................. vi
Introduction ............................................................................................................................ 1
Chapter 1: Introduction of Untranslatability .......................................................................... 2
Brief History of Translation ........................................................................................... 2
The Question That Persists: Untranslatability ............................................................... 4
Linguistic Untranslatability ........................................................................................... 5
Cultural Untranslatability............................................................................................... 5
Chapter 2: Design in Untranslatability ................................................................................. 10
Untranslatability with Identity ..................................................................................... 10
Design, Language & Communication ......................................................................... 10
The Sapir-Whorf hypothesis ........................................................................................ 11
Abbreviation ................................................................................................................ 12
Chapter 3: Creative Process ................................................................................................. 14
Project 1: Research ...................................................................................................... 14
Project 1: Process & Finals .......................................................................................... 17
Project Reflections, and Next Steps ............................................................................. 22
Project 2: Research & Process ..................................................................................... 23
Project 2: Project Reflections & Next Steps ................................................................ 31
Project 3: Research & Ideation .................................................................................... 32
iii
Project 3: Process ......................................................................................................... 33
Conclusion ............................................................................................................................ 37
References ............................................................................................................................ 39

iv
LIST OF FIGURES
Figure 1. Dragon inside Buddhist Monastery Thrangu Tashi Yangtse.
Photograph from Raimond Klavins, April 10, 2021, Unsplash.
https://unsplash.com/photos/WgFwcIozP-o. .......................................................................... 6
Figure 2. Dragon Harry Potter. Photograph from Aditya Vyas, April 20, 2021, Unsplash.
https://unsplash.com/photos/fJ1-5DLW9eM. Z ...................................................................... 6
Figure 3. Kutlug Ataman, English As A Second Language. Photograph from
Sperone Westwater, 2009, e-flux, https://www.e-flux.com/criticism/234059/
kutlu-ataman-s-mesopotamian-dramaturgies. ....................................................................... 15
Figure 4. Lost in Translation Note Cards 12 Note Cards of Untranslatable Words
from Around the World Photograph from Ten Speed 2014, booktopia,
https://www.booktopia.com.au/lost-in-translation-note-cards-ella-frances-
sanders/stationery/9781101906576.html. ............................................................................. 15
Figure 5, Process work from author's Project 1 ‘alphabet catalog’,
Screenshot from Yixin Chen (Jenny) 2022. .......................................................................... 17
Figure 6, Process work from author's Project 1 ‘Form A’,
Screenshot from Yixin Chen (Jenny) 2022. .......................................................................... 18
Figure 7, Process work from author's Project 1 ‘Form B’,
Screenshot from Yixin Chen (Jenny) 2022. .......................................................................... 19
Figure 8, Process work from author's Project 1 ‘special character’,
Screenshot from Yixin Chen (Jenny) 2022. .......................................................................... 20
Figure 9, ‘Lost in Translation’ Project 1 ‘Poster’,
Photograph from Yixin Chen (Jenny) 2022. ......................................................................... 21
Figure 10, ‘Lost in Translation’ Cards, Photograph from Yixin Chen (Jenny) 2022. .................. 21
Figure 11, Pinyin Alphabet Catalog ............................................................................................. 24
Figure 12, Project 2 Symbol brainstorm, Screenshot from Yixin Chen (Jenny) 2022. ................ 24
Figure 13, Process work from author’s Project 1 ‘Form A’,
Screenshot from Yixin Chen (Jenny) 2022. .......................................................................... 25
Figure 14, Alphabet Poster, Work from Yixin Chen (Jenny) 2022. ............................................. 25
Figure 15, Poster Equivocal, Work from Yixin Chen (Jenny) 2022. ........................................... 26
v
Figure 16, Poster Fuck, Work from Yixin Chen (Jenny) 2022..................................................... 27
Figure 17, Poster Water, Work from Yixin Chen (Jenny) 2022. .................................................. 27
Figure 18, Poster ‘Listen’ & ‘Silent’, Work from Yixin Chen (Jenny) 2022. .............................. 28
Figure 19, Poster komorebi, Work from Yixin Chen (Jenny) 2022. ............................................ 29
Figure 20, Poster culaccino, Work from Yixin Chen (Jenny) 2022. ............................................ 30
Figure 21, Poster Yisi, Work from Yixin Chen (Jenny) 2022. ..................................................... 30
Figure 22, 風薫る想, Photograph from Sisyu, 2017, e-sisyu, https://www.e-
sisyu.com/works/kazekaoruomoi .......................................................................................... 33
Figure 23, Komorebi Animation, Work from Yixin Chen (Jenny) 2022. ..................................... 34
Figure 24, Komorebi Animation iteration, Work from Yixin Chen (Jenny) 2022. ....................... 35

Abstract
As a designer who speak multiple languages, I have noticed asymmetries between them,
and the difficulty of expressing culture-specific content while switching tongues. The idea of
“lost in translation” intrigued me in attempting to understand the ideational and interpersonal
relationship between language and culture. As my research progressed, I realized what was
lost in translation was not just the meaning of the original text, but ineffable elements such as
empathy, density, and identity. The loss of information is an inevitable part of
communication, and for the sake of efficiency, content that is lost in translation is often
overlooked like zeros after the decimal point. I believe reading is personal—to comprehend
read material takes time. The process of reading is a response and a complex interaction.
Everyone will form different opinions given their perspectives because of their unique
upbringing. I wish to reveal those hidden context by reinventing the process of reading
comprehension. I am interested in building an experience in which reading becomes an
investigative game—one must decipher and tap into all of their senses in order to not only
understand but appreciate the all-encompassing beauty of language.

Introduction
Designers are experts in creating visual communication that speaks to an audience in a
compelling and effective way. Communication is a fundamental aspect of design, and
language is the primary tool used to convey meaning and connect with others. However, the
way we communicate goes beyond just spoken and written words. Designers use visual
language to convey messages, ideas, and emotions through the use of images, symbols, and
other visual elements. Visual language is a powerful tool that can communicate complex
concepts and ideas without relying on language and cultural barriers. In this way, designers
are not just designers, but they are also design communicators who use visual language to
create effective and engaging communication that resonates with their audience. My curiosity
had led me to explore the chemistry among visual language, language theory, and human
interaction. Visual language transcends signposts and symbols; rather, it serves as a powerful
tool that fosters connections among individuals from diverse linguistic and cultural
backgrounds.
My research focuses on exploring language properties and theory, beginning with my
daily experience of on the concept of untranslatability both within and between cultures. As
my investigation progressed, I utilized abbreviations as a foundational component for a visual
language system that would inform the tone and style of my interactive project. Through this
approach, I was able to create a range of works, including posters, postcards, interactive
experiences, and animations, that delve into the notion of 'lost in translation'. More
specifically, my works investigate language dissemination, intercultural communication, and
visual thinking.
2
Chapter 1: Introduction of Untranslatability

Brief History of Translation
Translation, as a widespread practice and a key tool for communication among humans,
has a rich history that spans almost as far back as the origins of language. In Louis G. Kelly's
A Concise History of the Language Sciences, the chapter titled "History of Translation"
provides a brief overview of the history of translation in the West. At the end of the fourth
century BC, with the decline of the Ancient Greeks, Rome gradually became more assertive.
However, Ancient Greek culture was still superior to Rome at that time, so it had a massive
attraction for Rome. The activity of translating and introducing Greek literature had begun in
this period. Many ancient Greek dramas were translated into Latin, which encouraged the
building of Roman literature and played an essential role as a bridge for Rome and the West
to inherit ancient Greek literature.
1

Kelly goes on to explain that, with the ascent of religious movements, a second phase
of translation surfaced from the late Roman Empire to the early Middle Ages. The Bible was
translated from Hebrew and Greek into Latin to be universally accepted by the Romans. As
religious beliefs and practices become more widespread across the globe, it is crucial to
ensure that they are understood and appreciated by people of all cultures and languages. This
requires the expansion of the scope of influence through translation, which helps to bridge
linguistic and cultural divides and facilitates the spread of religious teachings and ideas. By

1
Louis G. Kelly, “History of Translation,” A Concise History of the Language Sciences (CITY; Elsevier Ltd., 1999), 419–
430.
3
the beginning of the medieval period, this translation activity reached its climax, resulting in
the emergence of various translations. The Tyndale's Bible (made c. 1522–1536) is credited
with being the first Bible translation in the English language to work directly from Hebrew
and Greek texts.
2
Similar activities were found across the world as Buddhism was introduced
to Central Asia, Buddhist scriptures were translated from Sanskrit into Chinese.
Continuing her analysis, Kelly notes that from the 14th to the 16th centuries, the
Renaissance marked a great movement of intellectual and literary innovation; translation
activities reached an unprecedented peak. The art of translation spread into various fields
such as politics, philosophy, literature, and religion. Translators not only continued to
translate classical works, but also took great interest in poems, novels, and plays. The works
of Cervantes, Shakespeare, Balzac, Goethe, etc. have been repeatedly translated into different
languages.
3

As translation continued to play a crucial role in bridging linguistic and cultural divides,
it gave rise to various approaches and theories aimed at improving its accuracy and
effectiveness. In the beginning, as a tool of communication, translation has long been
"prescriptive": telling translators how to translate, word-by-word, and sense-for-sense. There
wasn't an academic discipline until the debate between linguistic and literary approaches to
translation reached a point where it was proposed that the best thing might be to have a
separate science that could study all forms of translation. In the last two decades of the
twentieth century, two broad lines of thinking came into prominence: one saw translation as

2
Ibid., 422
3
Kelly, “History of Translation,” 423
4
an intercultural transaction involving ideological questions about power disparities, while the
other moved right away from any consideration of linguistic equivalence and focused instead
on the function or aim of the text.
4

The Question That Persists: Untranslatability
Untranslatability is the property of content for which no equivalent text or phrase can be
found when translated into another language. ‘Translation fails—or untranslatability occurs—
when it is impossible to build functionally relevant features of the situation into the
contextual meaning of the target language text,’ argued J.C. Catford in 1965. He argued that
linguistic untranslatability and cultural untranslatability are causing the translation fails.
5

In addition, Eugene A. Nida presents a strong source of evidence about the problem of
‘loss of the stylistic flavor’ and ‘loss in meaning’ when a translator is encountering
untranslatability phrase. He argues that when translators encounter untranslatability, they are
faced with a difficult choice between sacrificing the stylistic flavor of the original text or
losing some of the meaning behind the untranslatable phrase.
6
This creates a challenge for
translators who are tasked with accurately conveying the message of the original text to a
new audience, while still maintaining the stylistic and cultural nuances that make the text
unique.

4
Susan Bassnett, Translation Studies (London, UK: Routledge, 2014), https://www-taylorfrancis-
com.libproxy1.usc.edu/books/mono/10.4324/9780203488232/translation-studies-susan-bassnett-terence-hawkes, 83.
5
J. C. Catford, A Linguistic Theory of Translation (London, UK: Oxford University Press, 1965), 94.
6
Eugene Albert Nida, Toward a Science of Translation: With Special Reference to Principles and Procedures Involved in
Bible Translating (Shanghai, Shanghai: Shanghai Foreign Language Education Press, 2004), 96.
5

Linguistic Untranslatability
Linguistic untranslatability, according to Catford, occurs typically in cases where an
ambiguity peculiar to the source language text is a functionally relevant feature.
7
Translation
struggles to reflect writing techniques such as structures, puns, and rhyme, the beauty of
words themselves, and the multiple meanings that a word can contain.
For example, consider a pun in a source language text that uses a word with multiple
meanings. If the translation of the pun is done literally, the multiple meanings may be lost,
resulting in a less impactful or less humorous translation. Similarly, if a source language text
relies on rhyme or other poetic devices to convey its meaning or aesthetic value, a literal
translation may fail to capture the beauty of the original.

Cultural Untranslatability
As Catford argued, ‘[c]ultural untranslatability occurs when a situational feature,
functionally relevant for the source language text, is completely absent from the culture.’ In
other words, cultural untranslatability is due to the absence in the target language culture of a
relevant situational feature for the source text.
8
To expand on this idea, Ke Ping suggests that
there are three types of untranslatability: referential, pragmatic, and intralingual.
9

7
Catford, Linguistic Theory, 94.
8
Ibid., 99.
9
Ke Ping, “Translatability vs. Untranslatability,” Babel. Revue Internationale De La Traduction / International Journal of
Translation 45, no. 4 (1999): pp. 289-300, https://doi.org/10.1075/babel.45.4.02pin, 294..
6

Figure 1. Dragon inside Buddhist Monastery Thrangu Tashi Yangtse. Photograph from Raimond Klavins, April
10, 2021, Unsplash. https://unsplash.com/photos/WgFwcIozP-o.

Figure 2. Dragon Harry Potter. Photograph from Aditya Vyas, April 20, 2021, Unsplash.
https://unsplash.com/photos/fJ1-5DLW9eM. [better to put images at the end and reference figures in the text]
7
Referential untranslatability occurs when a referential element in the source message is
not known or readily comparable to a particular item in the target language.
10
For example,
both eastern and western cultures use the word ‘dragon’ referring to an imaginary creature
but end up being two different animals. A Chinese dragon can fly without wings, has
multiple paws, and can be found in water, sky, and mountains; on the other hand, a Western
dragon has a pair of wings, has only four paws, and usually appear in proximity to a castle or
a dungeon. (Figures 1, 2) Another example will be color symbolism. In Japan, white is a
sacred color for ceremonial clothing, such as weddings, funerals, and religious ceremonies;
On the other hand, in China, white is associated with death and is used predominantly in
funerals.
By intralingual untranslatability we mean any situation in which the source expression is
apparently not transferable due to some communicatively foregrounded linguistic peculiarity
it contains.
11
For example, the exact translation of 殉情(Xùnqíng, in Chinese) or 心中
(Shinj ū, in Japanese) is missing in English. It means lovers commit suicide, as in
Shakespeare’s story of Romeo and Juliet. But in the context of China and Japan, the meaning
is specific: in traditional Asian culture, marriages of many ethnic groups were arranged by
parents, and there is no right to freely choose a mate. Some couples cannot become husband
and wife even if they truly love each other. Lovers who are not willing to follow the parents’
dictates have no choice but commit double suicide, believing they would be united again in
heaven or meet again in next life. The word generally develops in this context as pessimistic,

10
Ibid., 294
11
Ibid., 295
8
relating to social oppression which suppresses the emotional life and culture of a group of
people. Compared to the eastern languages, English is more explanatory and declarative. In
English, people often explain the consequence and tell the story from the beginning to the
end. Translate 心中 or 殉情 to lovers commit suicide creating an absence of empathy,
narrative, and cultural context. It neglects the story of a group of people and introduces a
different perspective in relation to loss of life. I just want to clarify that my purpose is not to
discuss the correct translation for the term 心中 but rather to emphasize the existence of its
nuanced meaning and its potential impact on translation practices.
Many words in Japan are ambiguous and carry negative emotions that are
untranslatable outside of the context of the negativity Japanese society developed in the post
WWII period. For example, there are multiple ways of saying goodbye in Japanese between
different people and occasions. ‘ じゃあ’ （Bye ）or ‘ じゃあね’ （Bye ） were used
between close friends and lovers because it’s less formal. ‘ ばいばい’ （Bye-bye ）is
transfer from the English word "bye-bye". ‘ さようなら’ （Goodbye ）is the most formal
way of saying bye, and it is the official translation of bye in dictionary. However, in the
meantime, it means ‘I will never see you again’. In many Japanese film and television works,
‘ さようなら’ will appear in the breakup or suicide note. The word is heavier than the tone
of everyday conversation.
Tragedy is a common topic in Japanese theatre and literary tradition. ‘ 人間失格’(no
longer human), ‘ 桜の森の満開の下’ (In the Forest, Under Cherries in Full Bloom), and ‘ こ
ころ’ (Kokoro, heart) expressed the aimlessness and identity crisis felt after WWII by
9
Japanese society as it turned to pessimism and negativity. This scar has never been healed. In
2017, the country had the seventh highest suicide rate, at 14.9 per 100,000 persons.
12

12
OECD Data, “Suicide Rates,” Health Status, 2017, https://doi.org/10.1787/a82f3459-en.
10
Chapter 2: Design in Untranslatability

Untranslatability with Identity
Irrespective of the language or culture, untranslatable content is an indispensable element
of any community. It exists when artists converse with engineers, animators communicate
with mathematicians, and even when a daughter talks to her mother. Such untranslatable
content is embedded in the culture, history, and emotions of specific collectives. By
understanding these nuances, one becomes part of the collective, and recognizing the
untranslatable content is akin to acknowledging the collective identity in question.

Design, Language & Communication
Design plays a crucial role in promoting convenient and natural communication across
disparate groups and communities. While cultural and linguistic differences can often be
challenging to translate, design has the potential to go beyond language and communicate
meaning visually. This not only enhances the accessibility and inclusivity of design but also
promotes cultural exchange and appreciation, fostering a more interconnected and empathetic
global community. Through the use of graphics, arrangement, and comparison, designers can
control the content, amount, and order of information. However, cultural differences can
drastically alter the meanings of symbols and concepts, leading to unintended and potentially
harmful consequences in design. For instance, as mentioned before, the color white
11
represents weddings in Japan but funerals in China, and the dragon is a symbol of good
fortune in Asia but evil in Europe. Therefore, designers have a responsibility to carefully
consider and translate complex ideas and concepts for their audience, utilizing appropriate
media to convey accurate messages and avoid cultural misinterpretations.
As a non-native speaker of English working in design, I have predominantly been
exposed to Western aesthetics throughout my artistic education. While I have greater
sensitivity towards font design in English compared to Chinese characters, this is not
necessarily due to my familiarity with the language, as one might expect. In fact, it is quite
peculiar. Rather, when designing fonts, I approach letters as shapes and not as a means of
conveying language. My abstract understanding of English enables me to approach design
with a sense of freedom and openness.

The Sapir-Whorf hypothesis
The movie Arrival, directed by David Twohy in 1996, expands on this theme. It talks
about a linguistics professor named Louise Banks, who is recruited by the military to help
communicate with aliens that have landed on Earth exploring the challenges and complexities
of communicating with beings from a completely different world and delves into the
importance of language and the power of communication. In the film, human language is
depicted as linear, thereby implying that human cognition operates in a linear manner.
Conversely, the language of the aliens is characterized as three-dimensional, suggesting that
they possess the capability of simultaneously processing thoughts pertaining to the past,
12
present, and future. The Sapir-Whorf hypothesis supports this idea by suggesting that
language can shape our perception and thought. First advanced by Edward Sapir in 1929 and
subsequently developed by Benjamin Whorf, the Sapir-Whorf hypothesis implies that the
speakers of different languages think and perceive reality in different ways and that each
language has its own world view.
13
However, the hypothesis has been widely discredited.
For instance, research has shown that Russian speakers, who have two distinct words for
'light blue' and 'dark blue,' exhibit a slight advantage in distinguishing between shades of blue
compared to English speakers who use the same word for both shades.
14
Although this
difference is marginal and does not have any significant practical impact, it also demonstrates
the influence of language on the senses.

Abbreviation
During my research, I found that many scholars focus on the untranslatability between
cultures, but few of them discuss the way in which untranslatability also exists within the
same culture when a word or phrase is shortened into an abbreviation that only an in group
understands. Abbreviations were created to save time and space, especially for inscriptions
carved in stone, and to provide a means of secrecy by avoiding spelling out whole words.
15

For example, the periodic table of elements is visualized as a grid of elemental symbols and

13
Terry Regier and Yang Xu, “The Sapir ‐Whorf Hypothesis and Inference under Uncertainty,” WIREs Cognitive Science 9,
no. 3 (2018), https://doi.org/10.1002/wcs.1464, 1.
14
Ibid., 8
15
Bob Grange and D.A. Bloom, “Acronyms, Abbreviations and Initialisms,” BJU International 86, no. 1 (2007): pp. 1-6,
https://doi.org/10.1046/j.1464-410x.2000.00717.x.
13
chemists invariably use the abbreviations in preference to the whole words.
16
Then, with the
launching of smart phones in the early 2000s, text-based languages, involving extensive
abbreviations, were developed due to the people’s desire to communicate with as little effort
as possible.
In this transition, the compression of information is irreversible and the cost of
restoring this information is exponential. For example, without any context, ‘TC’ may apply
to ‘take care’, ‘technical committee’, and ‘technetium.’ Hypothetically, if business context is
added to 'TC', it may possibility translate to ‘total cost’, ‘target consumer’, and ‘transfer cost.’
Moreover, additional layers are added to the context through the language of finance, such
that the massage of ‘TC’ can be limited to ‘tax credit’, ‘total credit’ and ‘total compensation’.
The compression of information improves the efficiency of communication, but at the
same time reduces its accuracy. It is necessary to filter an abbreviation to restore its original
meaning. The more words added to the filter, the more accurate the restoration will be. It’s
difficult to pinpoint a word. Furthermore, reading abbreviations requires the listener and
speaker to be in the same cognitive context. It will be totally absurd for a layman to
understand 'TC'. Since the recovery requirements are too demanding, the simplification of the
information becomes irreversible, resulting in untranslatability.

16
Bob Grange and D.A. Bloom, Acronyms, 4
14
Chapter 3: Creative Process

Project 1: Research
As my research progressed, abbreviations seem to be everywhere, untranslatable within
media. The proliferation of abbreviations in everyday language has led to the formation of a
standardized system. Some of the most used examples is "BTW," which stands for "by the
way," and "ASAP," which stands for "as soon as possible." However, it is important to note
that these abbreviations, stripped of their conventional context, can be open to interpretation.
For instance, "BTW" could also be read as "between the words" and "asap" as "a sour apple
pie." Although the significance of these acronyms is not universal, they can be perceived
differently. This alternate perception is embedded in the conventional colloquial language
and becomes untranslatable. This study delves into this subject matter, utilizing visual
language and intricate puzzles to create a "lost in translation" experience for the audience and
establish a foundation for the upcoming project.
15

Figure 3. Kutlug Ataman, English As A Second Language. Photograph from Sperone Westwater, 2009, e-flux,
https://www.e-flux.com/criticism/234059/kutlu-ataman-s-mesopotamian-dramaturgies.

Figure 4. Lost in Translation Note Cards 12 Note Cards of Untranslatable Words from Around the World
Photograph from Ten Speed 2014, booktopia, https://www.booktopia.com.au/lost-in-translation-note-cards-ella-
frances-sanders/stationery/9781101906576.html.
Several artists and designers’ work related to translation arose during the research.
English As a Second Language by Turkish artist Kutlug Ataman depicted two Turkish
students recite nonsense poetry by Edward Lear in their effort to excel in English, which is
16
commonly accepted as the standardized tool of survival in the globalized realm. Similar
practices were created by Ella Frances Sanders who is an author and illustrator. Lost in
Translation: An Illustrated Compendium of Untranslatable Words from Around the World is
collection of more than fifty words that don’t have direct English translations. For example,
razliubit is a Russian word that express ‘to fall out of love, a bittersweet feeling’, and Pålegg
is a Norwegian (and Danish) word for ‘anything and everything you can put on a slice of
bread.’
17

Language is personal and effective communication requires interaction. Therefore, I
decided to create an interactive piece in which the audience will have the opportunity to
change their perspective from passive viewers to active interpreters, embarking on a journey
of getting ‘lost in translation.’
As previously mentioned, the task of restoring the full meaning of abbreviations is a
labor-intensive process. The more information is condensed, the greater the need for
supplementary filters. Through my research, I discovered that the restoration process is
analogous to the concept of a decryption game. This realization prompted me to create a work
that focuses on the restoration of abbreviations and combines an immersive experience.

Project 1: Process & Finals
Once the direction was established, several decisions were made. 1）I selected digital
vector illustration as the primary medium for this project driven by my interest in visual

17
Ella Frances Sanders, Lost in Translation: An Illustrated Compendium of Untranslatable Words from around the World
(London, UK: Jonathan Cape Ltd (UK), 2015).
17
language and the versatility of vector based drawing. 2) The final work is a large print,
facilitating simultaneous reading by multiple individuals. After building a foundation for the
project, I started to explore the contents.

Figure 5, Process work from author's Project 1 ‘alphabet catalog’, Screenshot from Yixin Chen (Jenny) 2022.
The initial step in the process is to create a coded language. To impart a sense of
unfamiliarity, I reclassified the alphabet based on its stroke count, rounded corners, and
symmetry into four categories. Subsequently, a symbol was designed for each letter. Symbols
will share similarity from the same section so that there will be regularity and consistency
even if letters revert back to alphabetical order. These symbols were inspired from languages
I speak, including Chinese, Japanese, and English. For example, symbol from letter ‘N’ is
inspire from the Chinese character ‘ 女’, and symbol from letter ‘M’ is inspire from the
Japanese character ‘ あ’.
18

Figure 6, Process work from author's Project 1 ‘Form A’, Screenshot from Yixin Chen (Jenny) 2022.
The subsequent step is to design the relationship between words and letters. How to
make these alien symbol to from a word? I created several options: 1) Each symbol stays as a
replacement for the letter that forms a word in order. 2) Similar to the Korean language
structure, numbers of letters form a new symbol, and these symbols form a word as needed.
However, since the simple replacement of letter cannot achieve the purpose of ‘lost in
translation’ and leading a to a matching game. Therefore, I decided to continue the project
with option 2) and created the Form B. In accordance with the coded language, each
combination was crafted with the symbols representing the replacement letters, providing a
decipherable clue for the audience.
19

Figure 7, Process work from author's Project 1 ‘Form B’, Screenshot from Yixin Chen (Jenny) 2022.
The final stage is to formulate rules and experiences that enable the audience to decode
everyday abbreviations into uncommon sequences. To transform individual letters into
words, additional filters, such as colors, fonts, and annotations, must be applied to the
content. Since colors possess numerous implicit meanings, fonts become the primary filter.
The rules are as follows:

Each letter stands as the initial for the hidden information.
Please follow the steps below to experience:
1. Any Cap?
Upper case letter indicates the word is plural, lower case means not.
2. San serif? Serif? Or Hand script?
If it’s san serif, please refer to Form A to decode the text.
20
If it’s serif, please refer to Form B to decode the text.
If it’s hand script, please refer to Special Character list to decode the text

During this phase, I discovered that the process of solving the puzzle was somewhat
tedious, as too much unfamiliar information was overwhelming for the audience. To mitigate
this, I incorporated a table of special symbols, providing a more user-friendly and alternative
experience.

Figure 8, Process work from author's Project 1 ‘special character’, Screenshot from Yixin Chen (Jenny) 2022.
The project has now been completed. The final riddle is presented on a 12 by 24
paper(inches), with the game rules apply at the bottom. Each audience member will have a
clue card with Form A, and Form B to decipher the message. For example, according to the
instruction, letter ‘b’ is a san serif font which lead the audience to form B. They will find two
characters on the form that correspond to the symbols under letter ‘b’, which are ‘etw’ and
‘een’. Based on all the collected clues, they will be able to translate ‘b’ to ‘between’. Same
steps will repeat until they translate ‘BTW’ to ‘Between the words’.
21

Figure 9, ‘Lost in Translation’ Project 1 ‘Poster’, Photograph from Yixin Chen (Jenny) 2022.

Figure 10, ‘Lost in Translation’ Cards, Photograph from Yixin Chen (Jenny) 2022.
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Project Reflections, and Next Steps
In this project, puzzles play a critical role in advancing the narrative. The aim of Project
1 was to create a "lost in translation" experience for the audience, and the results were
relatively successful. The audience was able to follow the instructions and successfully
restore the abbreviations. However, several issues were also identified, such as: 1) The coded
language was too intricate and intimidating for new audiences; 2) The character composition
lacked constraints, causing a collapse of the system; 3) The special characters were found to
be too cumbersome.
This work serves as a foundation for the next project and raises a thought-provoking
question: Why must language, writing, and reading be immediately comprehensible at a
glance? Language serves as a tool for comprehending the world and its primary purpose is to
convey and exchange information, making efficiency and simplicity paramount. However, as
demonstrated by the abbreviated example, efficiency and simplification can lead to
confusion. Furthermore, the condensation of untranslatable words during the process of
translating between cultures results in a loss of narrative, impacting people’s emotional
understanding of language.
For instance, calligraphy, despite being an obsolete form of writing, remains relevant in
the realm of art and design due to its distinctive method of conveying information. The craft
encompasses multiple layers of information within a single sentence or word, including the
writer’s emotions, literal meaning, presentation, creation time, and so on. Regrettably, these
features are gradually lost in modern communication due to the digital age. My goal is to
23
create a form of digital presentation or visual language that can communicate these
intricacies.

Project 2: Research & Process
Based on feedback received from the previous project, I began with streamlining and
polishing the glyphs. Several areas require improvement: 1) reducing the similarity between
symbols to increase distinction, and 2) endowing symbols with more significant meanings. In
order to imbue 2) symbols with compelling perspectives, I aim to merge pronunciation and
glyph design. The English alphabet is visually encoded based on pronunciation, and this
concept is applied in other languages, such as the use of Pinyin in Chinese and Romanization
in Japanese. The process of learning a new language often begins with the use of an alphabet
chart, which helps to familiarize the learner with the sounds and characters of the language.
Taking inspiration from this method, I attempted to redesign the visual characters with a
focus on the pronunciation in the Chinese language.
24

Figure 11, Pinyin Alphabet Catalog

Figure 12, Project 2 Symbol brainstorm, Screenshot from Yixin Chen (Jenny) 2022.
For instance, in the Pinyin alphabet system, the letter ‘e’ represents the sound of ‘e’,
which is similar to the sound of the word ‘swan’. Similarly, in my childhood, I utilized the
word ‘goose’ to learn the Latin letter ‘e’. Consequently, I envisioned the letter ‘e’ in the
shape of a swan. The same approach was taken for the letter ‘g’, which in Chinese is
pronounced similarly to the word ‘pigeon’. However, the outcomes of this experiment were
25
not successful. The redesigned glyphs resulted in highly individualized forms that were no
longer capable of forming coherent characters. Moreover, the meaning embodied in each
glyph exceeded the expected amount of information for a component, leading to an extreme
opposite of abbreviation. Therefore, I returned to the original alphabet chart for guidance in
creating revisions.

Figure 13, Process work from author’s Project 1 ‘Form A’, Screenshot from Yixin Chen (Jenny) 2022.

Figure 14, Alphabet Poster, Work from Yixin Chen (Jenny) 2022.
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Referring to the Chinese radicals and Japanese structures, I redesigned glyphs that are
similar, such as the letters ‘G’, ‘P’, ‘Q’, and ‘R’, while completely eliminating any special
symbols. The revised work displayed above sets the tone for the entire project. I maintained
the original aesthetic and retained the use of black and white, which evoke memories of ink
and traditional Chinese calligraphy. The layout has been intentionally shifted towards the left,
with a blank space left to emphasize Asian aesthetics. The symbols located on the lower right
corner represent the logos I created for this project, showcasing the logic behind the
construction of this visual language. Using the glyph chart as a reference, three visual
symbols can be identified, representing the letters ‘L’, ‘I’, and ‘T’, symbolizing the concept
of “lost in translation”. I employed the same methodology to create the following words,

Figure 15, Poster Equivocal, Work from Yixin Chen (Jenny) 2022.

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Figure 16, Poster Fuck, Work from Yixin Chen (Jenny) 2022.

Figure 17, Poster Water, Work from Yixin Chen (Jenny) 2022.
When using the glyph chart, the audience can determine the corresponding letters and
arrange the words represented by the symbols. However, the order of letters cannot be
28
specified, resulting in a unified structure that can generate multiple meanings. Initially, I
attempted to limit the words by specifying the order, but later realized that this feature shared
similarities with abbreviations, where a single structure contains multiple meanings.
Therefore, I retained this feature and attempted to design anagrams such as ‘listen’ and
‘silent’ (as seen below).

Figure 18, Poster ‘Listen’ & ‘Silent’, Work from Yixin Chen (Jenny) 2022.
Moreover, inspired by the concept of abbreviations, I rearranged my previous research
and decided to begin with the idea of untranslatable words, building graphic structure for
words that cannot communicate through literal conversation. Some examples include:
culaccino, an Italian word meaning the mark left on a table by a cold glass; komorebi, a
Japanese word meaning sunlight streaming through the trees; and 意思（Yìsi ）, a Chinese
29
word with much diversity of meaning in different contexts; it has a range of meanings
including: purposes, little present, funny, and feeling.
Following my previous project, where the work was printed on a large-sized glossy
paper, I aimed to create a more hands-on experience this time around. I selected a light-
yellow paper with a grain texture as the medium, and printed the work onto postcards that
measure 5 by 7 inches. Audiences can pick up the postcards and compare them with the
character sheet. The words represented by the symbol will be displayed on the bottom of the
postcard in a very light gray color, which is difficult to see under normal lighting conditions.
As a result, many audiences will pick up the work and hold it up to the light to reveal the
hidden text. The paper material also serves as the background when held up to the light,
adding another layer of depth to the work.

Figure 19, Poster komorebi, Work from Yixin Chen (Jenny) 2022.
30

Figure 20, Poster culaccino, Work from Yixin Chen (Jenny) 2022.

Figure 21, Poster Yisi, Work from Yixin Chen (Jenny) 2022.
31
Project 2: Project Reflections & Next Steps
Based on the response of the audience, the project has been highly successful. As
compared to the previous project, the audience’s experience is more seamless and they are
able to decode words more naturally without much assistance. The redesigned visual
language system is more identifiable and versatile, making it easier for the audience to
recognize the symbols. Although some viewers still struggled with the process and resorted to
viewing the translations directly, it did not hinder their overall experience.
Additionally, I found that audiences are more open to exploring words with multiple
meanings or cultural nuances, such as culaccino and komorebi. Through the symbol’s shape,
they comprehend its meaning anew, and even attribute it with a novel significance.
Furthermore, the audience often engages in conversations with each other, creating another
layer of interpretation for the project.
While my process and exploration of the theme ‘lost in translation’ are seen as
intriguing by my various audiences, my work has received some criticism for its limited
communicability to certain audiences. While some audiences can identify symbols inspired
by my visual system and understand their prototype, others find it challenging to relate to the
work. This has resulted in a communication barrier that hinders the broader reach of my
work. To solve this problem, I refer to calligraphy and modern art works to improve the
communicability of my work.

32
Project 3: Research & Ideation
Chinese calligraphy is a highly esteemed art form that has been practiced for over
2000 years. It involves the artistic creation of Chinese characters using a brush and ink on
paper or silk. It is not just about writing characters, but also about the aesthetics of the
brushstrokes, the use of space, and the balance of the composition. The art of calligraphy is
rooted in Asian culture and history, and it is considered an important means of self-
expression, meditation, and spiritual practice. Therefore, the sense of power conveyed
through words and symbols holds deep cultural significance in many Asian societies. Given
that these concepts may be unfamiliar to Western cultures, I sought to refine my work by
drawing inspiration from the sculptures of the Japanese calligrapher Sisyu.
Sisyu is Japanese calligraphic artist who evolves Japanese traditional culture,
calligraphy, to media art, sculptures, paintings, and brings out the emotions and reasons
contained in each character. 風薫る想 is a 3d sculptured calligraphy using iron and acrylic.
Many individuals unfamiliar with Chinese characters may view calligraphy as a form of
painting, given that both rely on lines and strokes to convey meaning. However, Japanese
calligrapher Sisyu’s works demonstrate a distinct level of precision, in which each stroke is
distinctly identifiable and observable from multiple angles. This quality is particularly
advantageous for audiences who are new to the art of calligraphy and seek to understand its
intricacies. Therefore, I want to make the third project an interactive animation piece that
breaks the communication barrier and allows audience members with any kind of background
to enjoy the experience of lost in translation.
33

Figure 22, 風薫る想, Photograph from Sisyu, 2017, e-sisyu, https://www.e-sisyu.com/works/kazekaoruomoi

Project 3: Process
Drawing inspiration from Sisyu’s works, which demonstrate that the separation of
radicals and strokes can aid individuals unfamiliar with Chinese characters in understanding
calligraphy, I embarked on Project 3 with the aim of creating an animated short film that
showcases the splitting of character strokes. Using the example of the word “komorebi,”
which has a vertical structure with multiple overlapping strokes, it becomes challenging for
the decoding audience to comprehend the characters, thereby impeding the overall fluency of
the experience. To address this issue, I imported the designed characters into the software
Adobe After Effects, split each symbol, and applied trim path animation to them. By utilizing
34
trim path, each symbol is able to complete its own writing, forming a cohesive whole that can
aid viewers who may not be familiar with the stroke structure of the characters. As depicted
in the figure below, the characters gradually emerged stroke by stroke, mimicking the process
of writing and transforming from graphics to text, resulting in a more seamless and engaging
user experience.

Figure 23, Komorebi Animation, Work from Yixin Chen (Jenny) 2022.
Despite having resolved the issue of project complexity, there remain several areas
that require improvement based on the feedback I received. Specifically, there were two key
points of feedback: 1) the content expressed through the characters was limited, and 2) the
audience needed more guidance to decode the characters. For example, consider the Japanese
term "komorebi," which translates to "sunlight streaming through the trees." The beautiful
and culturally significant aspects of this word are difficult to convey through simple black
35
and white characters, thereby limiting audience associations. To achieve a more effective
outcome, I decided to depart from the black, white, and gray aesthetic and incorporate a range
of colors and images that would enable a more dynamic and engaging user experience. In
previous animations, I added scenes to the background, and this approach yielded positive
feedback, as viewers were able to make connections between the images, translations, and
characters to generate new understandings.

Figure 24, Komorebi Animation iteration, Work from Yixin Chen (Jenny) 2022.
The primary objective of this project is to decrease reading speed by encouraging the
audience to use the symbol chart to decipher each word. However, given the fast-paced
nature of today's information age, I am concerned that only a small percentage of the
audience will take the time to decode the words. As such, I have developed a plan to enhance
the exhibition by redesigning the symbol chart for my exhibition in April.
36
To achieve this, I will adopt a new approach in which each symbol will have its own
independent page in the brochure, rather than presenting all symbols simultaneously.
Additionally, to accommodate complex vocabulary that requires more than 5 symbols, there
will be space at the end of the booklet for the audience to take notes. To capture the attention
of viewers and generate interest, I plan to showcase each character with vinyl cutouts and QR
codes, accompanied by a short animation. Building on my experience from the previous
project, I will provide an introduction and step-by-step guide to assist the audience in
decoding each character. The work will be display both on wall and printed. I decide to
replicate them to a business card size, so audience members can bring them back.
In addition to displaying the work on walls and in print, I have also decided to
replicate the symbols in card size format, allowing viewers to take them home and experience
them in their hands. This approach will enable audience members s to have a more tactile and
immersive experience, deepening their connection to the project and enhancing their
understanding of each symbol's cultural and linguistic significance. By providing viewers
with a physical representation of the symbols, I hope to create a lasting impression that will
stay with them beyond the exhibition.

37
Conclusion
Design plays a crucial role in facilitating easy and natural communication between
diverse groups and communities. By considering the unique needs and cultural values of each
group, designers can create products, services, and environments that promote seamless
interaction and connection. This can be achieved through intuitive interfaces that overcome
language barriers, culturally relevant aesthetics that bridge communities, or inclusive spaces
that encourage diverse perspectives.
However, before we can achieve this, it is important to first understand the untranslatable
content of different communities. This content is often deeply rooted in the history, emotions,
and collective identity of a community, and by acknowledging and respecting it, we can
become part of that collective. The composition of language is truly remarkable. In many
cases, the literal meaning of a text falls short of expressing its full significance. However, this
contrast between the literal and intended meaning creates a fascinating interplay between
communication and text. It is through this tension that a wonderful chemical reaction occurs,
resulting in a deeper understanding and appreciation of the text. It is my hope that this project
will provide my listeners with a fresh perspective on language and its relation to our unique
identities.
The rise of digital screens has transformed the way we interact with words, leading to a
loss of their traditional weight and gravitas. While user experience (UX) design aims to
streamline information acquisition and enhance convenience, it often comes at the expense of
aesthetic beauty and emotional resonance. As a designer working with language and symbols,
I strive to create works that inspire viewers to slow down and appreciate the unadulterated
38
delivery of information and emotional depth in communication. In this context, accuracy and
efficiency are secondary to the fundamental objective of enabling understanding through
minimalist means.

39
References
Bassnett, Susan. Translation Studies. Taylor & Francis. London, UK: Routledge, 2014.
https://www-taylorfrancis-
com.libproxy1.usc.edu/books/mono/10.4324/9780203488232/translation-studies-susan-
bassnett-terence-hawkes.
Catford, J. C . “An Essay in Applied Linguistics,” A Linguistic Theory of Translation.:
Oxford: Oxford University Press, 1965. Pages 93-103.
Data, OECD. “Suicide Rates.” Health status, 2017. https://doi.org/10.1787/a82f3459-en.
Grange, Bob, and D.A. Bloom. “Acronyms, Abbreviations and Initialisms.” BJU
International 86, no. 1 (2007): 1–6. https://doi.org/10.1046/j.1464-410x.2000.00717.x.
Nida, Eugene Albert. Toward a Science of Translation: With Special Reference to Principles
and Procedures Involved in Bible Translating. Shanghai, Shanghai: Shanghai Foreign
Language Education Press, 2004.
Ping, Ke. “Translatability vs. Untranslatability.” Babel. Revue internationale de la traduction
/ International Journal of Translation 45, no. 4 (1999): 289–300.
https://doi.org/10.1075/babel.45.4.02pin.
Regier, Terry, and Yang Xu. “The Sapir ‐Whorf Hypothesis and Inference under
Uncertainty.” WIREs Cognitive Science 9, no. 3 (2018).
https://doi.org/10.1002/wcs.1464.
Sanders, Ella Frances. Lost in Translation: An Illustrated Compendium of Untranslatable
Words from around the World. London, UK: Jonathan Cape Ltd (UK), 2015.

Abstract (if available)

Abstract As a designer who speak multiple languages, I have noticed asymmetries between them, and the difficulty of expressing culture-specific content while switching tongues. The idea of “lost in translation” intrigued me in attempting to understand the ideational and interpersonal relationship between language and culture. As my research progressed, I realized what was lost in translation was not just the meaning of the original text, but ineffable elements such as empathy, density, and identity. The loss of information is an inevitable part of communication, and for the sake of efficiency, content that is lost in translation is often overlooked like zeros after the decimal point. I believe reading is personal—to comprehend read material takes time. The process of reading is a response and a complex interaction. Everyone will form different opinions given their perspectives because of their unique upbringing. I wish to reveal those hidden context by reinventing the process of reading comprehension. I am interested in building an experience in which reading becomes an investigative game—one must decipher and tap into all of their senses in order to not only understand but appreciate the all-encompassing beauty of language.

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Asset Metadata

Creator Chen, Yixin (Jenny) (filename)

Core Title Lost in translation: design in untranslatability

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Degree Conferral Date 2023-05

Publication Date 04/11/2023

Defense Date 04/10/2023

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Communication,culture untranslatability,design,glyphs,Language,lost in translation,OAI-PMH Harvest,Symbols,translation,untranslatability,visual communication

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Ellenburg, Jason (committee chair), Jones, Amelia (committee member), O’Connell, Brian (committee member)

Creator Email jennycyxdesign@gmail.com,yixinc@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113004186

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Legacy Identifier etd-ChenYixinJ-11599

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Format theses (aat)

Rights Chen, Yixin (Jenny)

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Source 20230411-usctheses-batch-1019 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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