According to the author's experience in designing teaching, in the teaching process of the “Modern Logo Design†course, there are many teachers who are strongly influenced by Western design trends. Therefore, when they guide students in sign design, they are often used to Based on the constitutional science of Bauhaus's basic education system, students can try to divide and combine all kinds of points, lines, faces, and bodies. At the end of the design, most of them just emphasize the sense of form and modernity of the logo. Sex. Such a kind of teaching that ignores the traditional graphic arts leads students to narrowly design from the perspective of simplified letters, typefaces, and modern abstract shapes when dealing with signs. Such designs are modern, informative, and The sense of business will be stronger, but it will make people feel less Chinese cultural charm and national foundation. Therefore, in response to this drawback, I would like to express my opinion on the issue of “the combination of modern logo design teaching with our country’s traditional graphic arts†in order to discuss together.
China's traditional graphic art has a long history and has developed into a history of thousands of years. As early as the writing of the text, the ancestors began to use graphics to convey thoughts and communication feelings. The pottery patterns in the Neolithic Age and the rock carvings carved in the cliffs not only recorded the understanding of the ancestors about nature, Hope, but also became the earliest human graphic arts. China’s graphic arts not only originate early but also continue to develop. Although they are fast and slow, they have never been interrupted, such as the sinuous figures on the Shang Dynasty bronze wares; the sinus and plum blossoms in the Spring and Autumn Period, the Warring States period, and the phoenix shapes on the lacquerware of the Han Dynasty. The Tang Dynasty's Bao Xiang pattern and the later appearance of the Jin Wen and so on. Traditional Chinese graphic resources are extremely rich. In their own development and evolution, they have a consistent context and a variety of styles. With their diverse and unified style, they display uniqueness, depth and charm. National traditions and national spirit. These figures have been continuously precipitated, extended, and evolved over time and with the development of history. This has resulted in the formation of a unique Chinese traditional art system that embodies the essence of the Chinese nation’s wisdom for thousands of years and also reflects the Chinese nation. The unique artistic spirit.
Combining the traditional graphic arts into the design teaching of modern logos is the key to guiding students to design modern symbols that are advocating, contemporary and international. However, such a combination does not mean that students simply copy or simply embed traditional graphics. Instead, it means that teachers should guide students to understand and understand traditional graphics, and on this basis, students should learn to gradually explore, Changing and revising traditional graphics, traditional graphics have become a new creative point and inspiration point for them to design, thus designing a rejuvenating modern Chinese-style logo. In the combination of traditional Chinese graphic arts and modern logo design, the author believes that the analysis and application can be carried out from the following three aspects: "shape", "meaning", and "potential" of traditional graphics:
I. Extraction and Derivation of "Form"
"Form" generally refers to the appearance and structure of the object represented by the figure. Chinese traditional graphics are rooted in Chinese traditional and regional traditions of traditional art. They have many different places in the modeling of modern graphics. Chinese traditional graphics mainly focus on the integrity and decorativeness of real (or positive) shapes, and pay attention to the echo, comity, and interpenetration relationships between shapes and shapes. The bone type. For example, the Taiji pattern, the most primitive and basic auspicious figure in China composed of black and white two fish-shaped patterns; the upper, lower, left, and right sides formed by the skillful connection of the head, body, hand, and foot of the two dolls. See the four happy figures of the four dolls (figure 1); the nine-square grid formed by the concept of the five elements and five squares, the pattern of the rice characters, and the fish-shaped characters that consist of fish-shaped features and their basic strokes; The basic strokes of the car text and so on.
The “shape†in traditional graphics is applied to the modern logo design. Teachers should guide students to first learn to extract the elements from traditional graphics, and then combine the constituent methods learned in the course, such as: Breakthroughs, cuttings, dislocations, mutations, and other methods will be used to redesign and reorganize these extracted shapes. Finally, students will be allowed to base themselves on traditional graphic primitives, and continue to decompose, transform, and reconstruct the prototype. Derivatives are incorporated into the design of the logo. The logos thus designed can not only retain the charm of traditional art, but also have distinct characteristics of the times, and can fully express the ideas and individualities contained in the logo.
After deriving traditional graphic elements and applying them to modern logo designs, Hong Kong's design masters can be said to be a good example. The logo of his "Zhuqiang Design Co., Ltd." is guided by the company's "people-oriented" philosophy and adopts the traditional auspicious symbol of "Fang Sheng," which represents "concentricity and mutual connection." Although the original logo of the company logo was taken to "Fang Sheng," Mr. Qiang Qiang's keen visual sensibility and his deep understanding of the connotation of traditional graphics made him not copy the original form, but he had been extracted, derived and reconstructed. This makes the logo more oriental, and it is more adaptable to future use. This is not a successful revelation for us. Therefore, Chen Hanmin commented on the company's logo and said: "I think that Mr. Yan's design is successful. The first is the combination of nationality and modernity, and it is natural and sensible. Second, the standard. Focus on the concept, containing a large capacity, philosophical, for people to associate; Third, the image of the opposite sex is variable, and the application is very good. Of course, this is the original target of the "credit."
Similarly, the symbol of the capital's spiritual civilization is also a good example of combining traditional graphics with modern compositional skills. The basic elements of the symbol of the capital's spiritual civilization are the “Temple of Prayer for the Year of the Temple of Heaven†and the “heart†shape. "Temple of Prayer for the Year of the Temple of Heaven" symbolizes the capital. "Heart" symbolizes the abstract meaning of spiritual civilization. Designer Li Lin uses the “conversion of the map†technique in the modern composition to perfectly combine the two, and performs the formal beauty treatment on the top of the logo, so that the “heart†shaped recess is cemented to the top of the “Temple of Prayer for the New Yearâ€. It is natural and smooth, which not only makes the logo's connotation fully and intuitively expressed, but also brings a new visual expression effect.
Second, the use and extension of "Italian"
From ancient times to the present, generations of people have repeatedly traced the same figure, not only because of how beautiful its appearance is, but more importantly, behind the traditional graphics we have seen. There is often more and more auspiciousness. External form is the way in which intrinsic meaning is expressed. It is the externalization and materialization of intrinsic meaning. So it was originally born from the traditional graphics of people's worship of nature and religion. After the evolution of time, it extended its expectation to “prosperity of life. , Life and prosperity are many beautiful symbolic meanings.
Combining traditional graphic arts with modern logo design teaching not only requires teachers to guide students to refine and innovate the shape of traditional graphics, but also requires teachers to lead students to explore and mine the “idea†implied behind them. Because both the ancients and the modern people have the same desire for good things. As Stuart said, "The embodiment of the Chinese cultural consciousness and the philosophy of form has two characteristics: one is the scientific and rational part. It is the summation of the laws of nature by the ancients; the second is its imagination and creativity, which embodies the Chinese people's longing for auspiciousness and happiness." Therefore, the auspicious meaning behind traditional graphics is also suitable for the design of modern signs.
For example, the traditional Chinese graphic “disk length†is often used in folks in conjunction with the “Fangsheng†pattern to express people’s willingness to implement the Four Rings and all are bright. The sign of China Unicom’s company is that The shape of the eight-auspicious Buddhism Eight-Auspicious Buddhism "Plate Length" is based on the original meaning of "being long-established, living continuously and complementing each other" to extend the implied meaning of Unicom's communications business. The four squares in the logo are all connected in all directions and have all the meanings of everything. Six circles have the same meaning and are smooth everywhere. The ten spaces in the logo are full and perfect. Regardless of whether it is from symmetry or even number, the entire sign is full of auspiciousness that has been circulated in the ancient East.
Therefore, the traditional graphic “idea†that has become a common practice and has formed a consensus in the hearts of the Chinese people is used in the inherent connotation of the company to which the logo belongs, thereby extending the spirit of the newer and deeper concept, making it more cultural and Sociality, this is also a good way of modern logo design.
Mr. Qiang Qiang's design for the glory of the Ronghua Bakery is also a good example of using the auspicious symbols of traditional graphics. Founded in 1950, the Hong Kong Ronghua Bakery has more than 50 years of history. The basic elements of its logo are square cakes, peony flowers and the bright moon. In the logo, the "party cake" element is owned by the company itself. "Peony" and "moon" are both traditional graphics, and the peony gives people a feeling of grace and luxury. Together with the moon, it will have a happy moon. Auspicious meaning. The word "Ronghua" is calligraphy. This is very important. Chinese calligraphy is the most brilliant crown in traditional Chinese graphic arts. Its composition is just a few simple ink lines. However, it is indeed a modelling of shapes, an abstraction of abstraction, and the convergence of movements and statics. , the cohesion of time and space, the performance of the self to the deepest." (Li Yuzu). Ronghua's "Ronghua" strokes have many irregular arcs, but they are very characteristic, like the petals of peony flowers. The peony pattern has not changed by modifying, strengthening, and reshaping. Golden flowers, blue cakes, very Chinese, very traditional, very auspicious and modern.