Traditional Aesthetics in Modern Advertisement Poster Art (I)

In China, advertising has a long history. During the Warring States Period, the "Spear and Shield" oral advertisement - "Hanzi" described in "Han Fei Zi" is the "Wang Zi" in the "Highly Suspended Flag", and the "Flyer" resulting from the printing and engraving of the Song Dynasty, etc. ( 2) p8 can all be seen as the embryonic form of advertisements. They are all examples of the long history of advertising in our country. However, advertising has truly become a professional activity and has played a huge role but it has only started from a capitalist society. In this sense, China's poster art can be said to be introduced. Posters (POST) are a popular genre in the art of advertising. They are used to accomplish certain propaganda and agitation tasks, or serve for reporting, advertising, advising, education, and other purposes. The posters used for public welfare or cultural propaganda in China are called public welfare or cultural posters or abbreviation posters; for goods, they are called product advertisement posters or product propaganda posters. And all this, in some foreign countries, it is commonly known as advertising painting, or product advertisement, cultural advertisement, art advertisement, and public advertisement.

The emergence and development of advertisements in all countries of the world have common rules. They are all produced with the production of commodities, and they have developed with the progress of science and technology and social development. The innovation of the means of communication brought about by the advancement of science and technology has all contributed to the development of advertising. If the multicolored prints that appeared on the streets of Paris in 1886 were the beginning of modern posters, then the production of posters in our country was based on the advertisements of month cards and street signs that appeared in coastal cities in the 1920s and 1940s. Sign. Although they have a certain semi-colonial color, they think that the form that the masses love to see goes deep into thousands of households. Therefore, it should be said that it is the development and beginning of China's poster advertising (1) p87. In the 1950s and 1960s after the founding of the People's Republic of China, the poster art of our country was influenced to a certain extent by the Soviet Union and the Czech Republic, especially the posters of Poland. On the basis of the original, the ideological and artistic qualities have improved. With the reform and opening up over the past two decades, the country has Holes have also been drawn from the poster art of the United States, Japan, Europe and other Western countries. It can be said that as a poster art, Chinese advertising design workers have absorbed and learned from the experiences and practices of many foreign counterparts.

From the historical experience of the development of our country’s culture, the development of a country’s and a nation’s culture must be bold enough to absorb, dare to inherit, and be good at blending in order to be invincible. Whether it is from the formation of China’s early Chinese culture to the peak of the two Han cultures, or the flourishing culture of the Tang Dynasty, influenced by the influence of Western and Indian cultures, it shows that only those who have the courage to absorb can develop, and only by daring to inherit and be good at blending can they become truly The owner of his own culture. In the art of posters, we should still be "based on China and facing the world," not only to respect the uniqueness of national art, to reflect the aesthetic psychology of the Chinese nation, but also to reflect the inner spirit of modern people. In the design of poster art, we must also “seek root” and look for the superiority and uniqueness of thinking that our national traditional culture cannot reach for other peoples. Art always talks about internal continuation. The production and accommodation of an art form requires a specific historical and cultural background, including a nation’s way of life, customs, ethics, aesthetic habits, etc., which constitute a potential deep cultural structure. Deeply locked in the psychology and spirit of the nation, it regulates and restricts the development of ethnic culture and the involvement of foreign cultures. Because of this, as a foreign poster art, in the works of Chinese designers, the impact of traditional aesthetics has been constantly exposed. Analyzing these influences and affirming certain positive factors will help develop the poster art of socialism with Chinese characteristics. Below, from this point of view for a certain analysis.

First of all, the role of posters in conveying information and encouraging propaganda affirms its special form. It is different from oil paintings or prints on the shelves. It requires clear, concise and clear, and enables people to see clearly what they want to promote in a flash and from a distance. In order to achieve this goal, posters often adopt a series of assumptions, focus, delete minor details, details, and even backgrounds, and can combine different proportions and activities that take place at different times and spaces. And often use symbolism to inspire people's associations. Therefore, its concept must be capable of surpassing reality. The composition must be concentrated, the image must be concise and exaggerated, and the colors should be strongly and vividly used. It should be a prominent expression of the things to be promoted, and the inherent connection between the objects and the objects. The broader meaning makes people think of a broader life and feel new meaning in a limited picture. In these respects, traditional Chinese aesthetics can provide designers with a lot of nutrition.

For example, the conciseness of the concept of "taking one to be ten" or "reducing the use of more", the composition of "counting whiteness as blackness" and "nothingness is a wonderland" are concise. Contrasting relationship, the image between "like and not like" exaggeration, is a valuable asset left by our ancestors, has been fully reflected in the design of China's poster art. (4) p68 Hong Kong famous graphic design master reluctant to create a large number of cultural posters. He believes that there are three principles of beauty: conception - ideas in advance, in order to shape God; innovation - after the start of the past, breaking the old and new; use - suitable for use, flexible and lively. What this actually emphasizes is also Lao Zhuang’s philosophical thoughts, and also the artistic conception of Chinese landscape painting. He advocated integrating the essence of Chinese traditional culture into the concept of Western modern design. Many of his works embody this idea without exception. In his poster design, The Freedom series, he uses Chinese ink painting technique, which combines the effects of special mechanisms of modern technology, and modernity without losing the tradition. In the international "Water" theme poster art exhibition, "Water - Life - Culture" poster graphic works, the extremely strong national decorative graphic image as the background of the entire work, carried out a rich and appropriate virtual The entire screen is artistically represented in black and white, forming a visual effect of the contrast and coordination of shapes and colors, conflict and integration, and building a modern flat graphic with visual impact under a specific cultural scene in China. Design work. The 2008 Olympics bid sign can be said to be a good example. The entire signage model does not directly borrow from the traditional model, but instead uses a Chinese-style freehand brushwork between the similarity and dissimilarity. It just passes out the Chinese knot. "" And "athletes" two images. The logo not only reflects the unique aesthetic charm of Chinese culture, but also has been recognized by the world.

(to be continued)