"Potential" usually refers to the implied charm of a figure and the state and atmosphere it expresses. "Potential" can convey the spirit of the whole figure. In the traditional graphic "potential", we must mention in particular the Chinese national quintessence - calligraphy. Calligraphy is inspired by observing the attitudes of all things in nature. It has been developed through ingenuity. After thousands of years of development, it has formed a variety of different personalities and styles, such as: powerful and bold, realistic and bold; Rigorous; Li dignified quaint; Ruanshu neat and beautiful; Run lively and cheerful, the same veins; cursive flow, flying fast. Calligraphy not only has a structure but also a gesture. The structure is only the basis for calligraphy and calligraphy, and the formation of the calligraphy personality pattern is based on the “potency†of the “pen and intentâ€.
Grasping and inheriting the “potential†of traditional graphics and eventually integrating them into the design of modern logos is a difficult combination of traditional graphic arts and modern logo design. For the use of "shape" and "meaning" in traditional graphic arts, students are better understood and better grasped, but this use can only be said to be a shallow understanding and understanding of traditional graphic arts. The creation of a new national form requires teachers to lead students together to escape from the materialized surface and penetrate into their spiritual realm when studying traditional graphics. Because only after thoroughly understanding the essence of the traditional art of graphics, and then on the basis of the modern Western design trends, eclectic integration, integration, and find the point of convergence between tradition and modernity, we can create a modern symbol of our own people at the same time is an international .
The world-renowned Beijing 2008 Olympics logo can be said to be a classic in modern logo design. The overall structure of the logo is also taken from the traditional auspicious pattern “plate lengthâ€, but it is valuable that it does not directly borrow from this traditional shape, but uses the unique “pen and intent†freehand brushwork unique to Chinese calligraphy. It is just right to pass the two trends and images of "Chinese knot" and "athlete", and to express the theme of the logo and convey the wishes of the people.
Long Island Aquarium is a modern aquarium company. The company's logo is designed by Hong Kong designer Cai Yongyao. Because it is an aquarium company, the basic shape of the logo will be considered as a "fish" shape; and because the company is a modern enterprise in Hong Kong, so the designer used the initial letter "L" of the company name. "L" is written using the technique of Chinese cursive cursive script. When the gesture reaches, plus two points, it becomes two vivid and lively games. Such a design, which combines cleverness with modernity, is very representative.
In addition, China Post’s logo also makes good use of the “potential†in traditional graphics. The basic element of China Post’s logo is the Chinese “Chinese†character. Based on this, the designer integrated the momentum of the flying geese into the shape of the symbol based on the ancient Chinese “Lucky Goose Biography†story. The logo is composed mainly of horizontal and vertical parallel lines. The shapes and potentials are combined with each other, and they are summarized and transformed. They express the corporate tenet of service and tens of millions of households, as well as corporate images that are fast, accurate, safe and omnipresent.
Finally, combining the modern logo design with traditional graphic arts, teachers should also warn students that the application of traditional graphics is not a simple “take-up†because:
First, not all content is good in traditional graphic arts. Because traditional Chinese graphic arts sprouted in human childhood and grew and developed in a long feudal society, it has its own imprint on fetuses from the feudal society. Therefore, teachers should make students understand that some traditional graphics also have superstitious and backward elements. To apply the traditional graphic arts to the modern logo design, we should follow the scientific and realistic attitude, to preserve the truth, and to promote its nationality and practicality.
Second, when students use classic traditional graphics, if they don’t seek solutions or draw on gourds, and only use a little folk or original symbols, they will begin to superficially form the beauty of the United States and the assembly of modern beauty. Then the design of the logo will inevitably fall into the routine. Therefore, teachers should guide students to grasp the essence and connotation of traditional graphics, and let such a cultural charm naturally appear in their designs.