Application of the hottest traditional graphics in

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The application of traditional graphics in graphic design

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[Abstract] for traditional graphics, we should inherit "meaning" and forget "shape", not copy, but experience its meaning and create new things; While affirming the local culture, it is not limited to the traditional barriers. We should learn from some foreign exquisite design connotation and sublimate it in form

[Key words] traditional graphic graphic design gets "meaning" and forgets "shape" traditional cultural development

the working people in China have created rich and colorful graphics with national characteristics in the long-term process of civilized development. Starting from the cave rock paintings in the primitive era, the traditional graphics evolved into a diverse and unified style, with strong oriental characteristics, and became a typical representative of traditional culture

"history and aesthetics of visual communication design" said: "since ancient times, human beings have been looking for various methods to express thoughts and emotions with visual symbols, store their own memory and knowledge with graphics, bring order and clarity to information, and simplify, accelerate and deepen the communication and exchange of information." Chinese traditional graphics is an important part of traditional art, which has the following basic spiritual characteristics:

-- luck and affection. The images depicted in traditional Chinese graphics embody a meaningful emotion through symbols, metaphors, homonyms or literary stories

-- the beauty of harmony. Chinese traditional graphics are not pure abstract, nor pure realism, beautiful but not vulgar, pleasant but not fanatical, which reflects the interdependent and coordinated relationship between the two sides of contradiction in Chinese philosophy

-- complete and intact. The beautiful meaning of idealization is embodied in the figure, which reflects the optimistic, confident and idealistic character of the Chinese nation. For example, "Tai Chi figure", "six sons compete for the first", "descendants for thousands of generations", "because of harmony and get even", and so on, all repose the people's good wishes and expectations for life. It is with the help of certain images that traditional graphics express certain spiritual connotation and emotional characteristics, which has become an indispensable part of contemporary graphic design and shows a unique style

as a symbol of strength, power, life, timing and auspiciousness, traditional graphics are widely used in modern packaging design, logo design, VI design, poster design, and play a very important role. For example, Mr. Chen Youjian, a famous designer in Hong Kong, changed his logo from "four happiness graphics" in traditional Chinese graphics; The Phoenix Satellite TV logo is proud of the ancient legendary bird of God - Phoenix; In the poster of Mr. Jin Daiqiang, we feel the passion collision between traditional culture and modern design more strongly. These vivid examples show that China must give full play to its national characteristics and take the road of design with Chinese characteristics in order to stand tall in the forest of graphic design in the world and become a world design power. A single imitation is of no benefit to Chinese local design

Mr. Lu Xun expounded this view as early as the 1940s: "those with local colors are easy to become world ones, that is, they are noticed by other countries." Only when we design works with Chinese style can we highlight the unique charm of Chinese culture. We should correctly carry forward our national culture while absorbing and learning from foreign cultures, and find a road suitable for the development of Chinese graphic design between tradition and modernity, East and West. We should not only inherit such a splendid civilization left by our ancestors, but also make traditional graphics play a greater role and have greater development

inheritance is not adherence to tradition. We should inherit and develop. We still have many problems. A good work can never be designed by reading a concept, a figure or a book today. It requires long-term and unremitting study of Chinese traditional graphic culture and deep understanding, otherwise there will be no good work. China is a typical oriental nation, which is good at circular, holistic and dialectical thinking. While understanding traditional graphics, we must also understand philosophy, literature, history, nationality and other knowledge, especially contemporary art, in order to make better use of traditional graphics resources. 6. Number of samples that can be installed: 120 standard samples (impact sample size: 10 × ten × 55mm) superficial traditional cultural knowledge will inevitably lead to impetuous design works and blocked design road

Chinese traditional graphics radiate charming light. However, when using traditional graphics as elements of graphic design, we should get "meaning" and forget "form". In the Great Dictionary of Chinese idioms, one explanation of "complacency" is to take its spirit and give up its form. Ouyangxiu said in "try the pen - Li Yongshu": "although I got the writing method because of Yong Shu, but the words are never similar, how can I get its meaning and forget its shape?" The ancients still knew so, not to mention us? "Shape" refers to the shape and structure of the object image. It is not enough to master only "shape" in learning traditional graphics; "Meaning" usually refers to the charm contained in the image, which is the artistic conception and atmosphere shown in the whole picture in graphic design (1) oiling: open the back door, lift the fuel tank cover, and inject appropriate mechanical oil into the fuel tank to the position of the oil standard Due to the temperature change, the oil used is slightly different. Now the specification of the oil is as follows: when the ambient temperature is 15 ± 5 ℃, gb443 (8) 4n68 mechanical oil is adopted When the ambient temperature is 25 ± 5 ℃, use gb443 (8) 4n100 machine oil Circumference. "Form" is often isolated, "meaning" can convey the spirit of the whole work. The pattern of ancient Dunhuang caisson in China is extremely gorgeous. It is influenced by foreign cultures such as the western regions, and integrates the unique style of the Tang Dynasty, forming a traditional pattern with a strong flavor of the western regions, but it is by no means a direct copy of foreign cultures. The explanation of "complacency" in Ciyuan is that it is actually a very high realm, which can be said to be the ultimate realm of understanding things and cultivating sentiment. When we understand things, we should find regular things from the "form" to guide practice. This regular thing is "meaning", which must be completed through repeated reasoning and judgment, so it is the ultimate state of knowing things

of course, there are still many works that can use traditional graphics in modern graphic design. Take logo for example. The logo of Jin Daiqiang Design Co., Ltd. and the logo of Wangfu Hotel absorb and use the essence of ancient Chinese Panchang graphics; The logo of China Unicom takes the traditional Chinese knot as the design source, showing people's good wishes to pursue truth, goodness and beauty and work together with each other; Especially in the symbol of the 29th Olympic Games, the 2008 Beijing Olympic Games, "China's India Dancing Beijing", it is vividly reflected. This sign takes the seal as the main form of expression, and combines traditional Chinese art forms such as seal and calligraphy with sports figures, with simple shape and high spirits. This sign looks like India and Africa, natural and unrestrained, full of tension. The word "Jing" looms, implying the flying and splendid Beijing, which embodies the Chinese spirit, Chinese style and Chinese charm

to transcend, we must inherit the traditional graphics "meaning" and forget the "form", not copy, but to experience its meaning and create new things with the original things combined with new ideas. Inheritance and development should be scientific and reasonable rather than egotism; While affirming the local culture in the design, we should not be confined to the traditional barriers; We should learn from some foreign exquisite design connotations, pay attention to international aesthetic fashion, make more use of advanced technical means, sublimate from the form, and form international dialogue and exchange. Blindly advocating the design style and fine design of western design schools, we must resolutely oppose it; At the same time, we should also oppose conservative and traditional design concepts and design styles, and strive to take the road of graphic design with Chinese characteristics by learning from and absorbing the strengths of others

source: China Packaging 2005/1

Wan Jian, Ningbo Dahongying vocational and Technical College

Copyright © 2011 JIN SHI