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Main article: radical
Each character has a fundamental component, or radical (部首 Chinese: bù shǒu, Japanese: bushu, literally "initial portion"), and this design principle is used in Chinese dictionaries to logically order characters in sets.
Full characters are ordered according to their initial radical, which fall into roughly 200 types. Then these are subcategorised by their total number of strokes.
This principle of categorisation is exploited by everybody who must learn to write Chinese characters: the vast number of Chinese characters can be much more easily memorized if they are mentally broken down into their constituent radicals.
Chinese scholars classify Han characters in several groups. The first type, and the type most often associated with Chinese writing, are pictograms, which are pictorial representations of the morpheme represented. There are also ideograms that attempt to graphicalize abstract concepts, such as "up" (上) and "down" (下). However, these pictograms and ideograms take up but a small proportion of Chinese logograms.
Most Chinese characters, however, are radical-radical compounds, in which each element (radical) of the character hints at the meaning, and radical-phonetic compounds, in which one component (the radical) indicates the kind of concept the character describes, and the other hints at the pronunciation. This last type accounts for the majority of Chinese logograms. Note that despite being called "compounds", these logograms are single entities in themselves; they are written so that they take up the same amount of space as any other logogram.
Note that due to the long period of language evolution, such component "hints" within characters are often useless and sometimes quite misleading in modern usage. This is particularly true in non-Chinese languages.
Classification has its own problems, as the origins of characters are often obscure. For example, the character for "East" (東; Chinese: dong, Japanese: higashi), which combines the "tree" radical (木) and the "sun" radical (日), is usually considered a radical-radical compound. Though it appears to represent a sun rising through trees, and this is both an evocative image and a useful mnemonic, the origin and classification of the character are disputed among scholars. While some agree with the radical-radical classification, others see it as a unique character in and of itself — some claim it as being derived from an early pictograph of bundled sticks.
As another example, the character for "mother" (媽 in Chinese mā) consists of one component meaning "female" (女) and another one meaning "horse" (馬 mǎ). The first component denotes a female entity, whereas the second suggests the pronunciation by referring to the word for "horse." The reason that "horse" was chosen to represent mother may be that horses — in a historical context — were often used to represent "steadfastness". The majority of Chinese characters, like this example, have one component that suggests the meaning and another that suggests pronunciation. In many cases, even the component intended to suggest pronunciation has an abstract semantic relation to the idea expressed by the character. This is possible because the phonetic system of Chinese allows for many words to have the same pronunciation ( homonymy), and because the consideration of phonetic similarity used in a character generally ignores its tone and the manner of articulation of its initial consonant (but not the place of articulation).
Chinese characters all take up the same amount of space. One of the easiest ways for beginners to ensure this is with a grid as guidance. In addition to strictness in the amount of space a character takes up, Chinese characters are written with very precise rules. The three most important rules are the strokes employed, the stroke placement, and the order with which they are written (see Stroke order). Most words can be written with just one stroke order, though some words also have variant stroke orders, which may result in different stroke counts. On a larger scale, Chinese text is traditionally written from top to bottom and then left to right, but it is more common today to see the same orientation as Western languages: going from right to left and then top to bottom. Most punctuation was adopted from Western ones, but there are a few exceptions: for example, names of books are marked with a wavy line drawn to their right in vertical text, or enclosed in a special double pointed bracket in horizontal text.
Common errors while writing Chinese characters include incorrect stroke direction, incorrect stroke order, incorrect stroke length relative to other strokes, and incorrect placement of strokes relative to other strokes. Each mistake is highly visible to the literate eye due to the imperfections of the human fingers, as well as the weight given to the different parts of a stroke. Mistakes are often shunned, as they are marks of illiteracy or incompetence. In a culture that values scholarship as its highest virtue, such attributions are highly undesirable. Because of this strictness in not only the image of the character, but how the image is produced, it is considered by many the most difficult to learn properly.
Due to the long history of China, as well as many stylistic variations that have developed and the many attempts by past rulers to standardize writing, some characters have multiple forms. The characters themselves can be considered separate, but often are merely derivatives of each other in that their composition is of the same root. They are often not considered simplifications, as their stroke count is sometimes the same, and often lessened only but a slight amount. The most famous today is probably the character for sword (劍), where the radical (on the right) is knife (刀). The same word can be written with different forms for the radical, including using 刃 or 刀 itself.
The usage of traditional characters versus simplified characters varies greatly, and can depend on both the local customs and the medium. Often, simplified characters would be used in everyday writing, or quick scribblings, while traditional characters would be used in printed works. However, the PRC's adoption of simplified characters has almost completely removed all traces of their traditional counterparts, save for in Hong Kong and Macau. There is no appropriate time or place to use either system, and often, it is what the target audience understands, as well as the upbringing of the writer. In addition there is a special system of characters used for writing numerals in financial contexts; these characters are deliberately chosen to be complicated, to prevent forgeries.
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