Asymmetric harmony vs uniform geometry
Chinese characters place a premium on asymmetric harmony. Basic strokes arrange themselves to form complex, organic, yet balanced forms and counterforms. No character is perfectly geometric or has parts that assert equal visual dominance – e.g., the left 木 (tree) is smaller than the right 木 in the character 林 (woods), and even the simplest character 一 (one) is not written as a perfectly horizontal line, but with a slight upward tilt and/or a thicker stroke ending. This striving for asymmetric harmony reflects the Chinese believe that there needs to be diversity and contrast to effect a spirited, dynamic yet harmonious world.
Western alphabet, on the other hand, is characterized by balanced, geometric forms. Each letter is constructed from a simple combination of rectangle, triangle, circle, semicircle, and/or line. The relative proportions within and across letters are adjusted to achieve visual uniformity. The geometric construction of the Western alphabet gives rise to a more rational and efficient writing system that partly accounts for the relative ease of foreign speakers to learn the alphabet and of the digitalization of typefaces.