Taking my usual film selection preference as an example, it is a key factor for me to decide whether the design beauty of publicity posters appeals to me. In other words, I think a good poster should have a strong desire to make the audience want to go to the movies. For a poster designer, the most important thing is to show what is behind the film through his profound grasp of the film and visual means. If he grasps the tonality and plot of the film and expresses it skillfully, then I think this is a successful poster. Horgo Matisse, an international master of visual design, once said: "A good poster should speak in graphic language, not in words."
In recent years, the rise of the cultural and creative trend in the Forbidden City has unconsciously narrowed the distance between us and China's 5,000-year history and culture. Personally, I like this traditional, simple, elegant and profound cultural heritage, so I stopped to taste the following film and television posters with oriental aesthetic design ~
What impressed me the most was this poster of The Legend of the Demon Cat. The picture just entered the eye socket, and what caught your eye was a thick hand-painted and meticulous atmosphere. The three characters of "Legend of the Demon Cat" presented in calligraphy stand out against the background full of cool colors and China aesthetic elements. The composition of the picture is symmetrical, and the phoenix at the top of the picture is half hidden in the blue water mist, with a slight expression. The dragon face of the main body of the picture is actually a Gu Lou on the top of the cat, and the blue peony flowers on both sides set off, as if suggesting the women represented by the cat and peony, as well as the bumpy fate of women because of this Gu Lou.
One of the posters of the variety show "Here We Come" should be a close-up of local embroidery on cheongsam. Through such a beautiful and elegant dress woven by gold thread, it seems that we can get a glimpse of the graceful posture of the female guests wearing cheongsam, which can not help but make people look forward to it and find out.
I was stunned by this poster of monster hunting. First of all, the atmosphere of the whole picture is very freehand, which highlights the ethereal artistic conception of ink painting. The demon catcher waved his whip in the wind and stood in front of a mountain without fear. The straight back prepared us for a fierce battle, and the two sides seemed to be at daggers drawn. Such a picture makes people want to think about it.
The poster "I am repairing cultural relics in the Forbidden City" uses an ancient painting that is in urgent need of restoration. The broken traces of some cultural relics directly below the picture are clearly visible. People with obsessive-compulsive disorder will definitely not regard such a good work as a state of destruction. Personally, I think that the workers who restore cultural relics in the documentary treat cultural relics with the same delicacy as when doctors operate on patients. Every trace of cultural relics should be well known and restored as new. Restore their original appearance and bring them back to life, as if the paintings were still torn. After the restoration, the bamboo forest in the painting seems to shake with the wind, and the two cranes may spread their wings and fly in the wind next ~
The international poster of Legend of the White Snake seems to be a combination of international visual effects and China's traditional aesthetic thinking. The whole picture sets off the artistic conception in a blank way, leading us to shift our focus to the scene in the eyes of the white snake. A tear about to drop will set off a sad atmosphere in the hazy and beautiful memory world in your eyes, but there is a little tenderness and warmth around your heart in the cold. I don't think I need a spoiler, so I know I'm abusing my heart.
Some time ago, Guo Man's masterpiece "Nezha" really had to say that a poster about Taiyi was chosen here, just as everyone came out from the cinema to spit. The Taiyi real person who appeared this time is really refreshing, which is quite different from the immortal appearance in everyone's mind. Instead, a silly fairy riding a pig mount and drinking like a dog. The whole poster is hand-painted with lines and colors. Taiyi is a real person, lying leisurely on the pig's back, drinking with his mouth open. Above his shoulders, there are all kinds of fruits, gold and silver jewelry and cultural relics, and below, there are all kinds of gold ingots. This background also sets off the characters' hobbies. The green lotus on the right seems to be a metaphor for Nezha.
Because when I was a child, I saw in the Hong Kong version of "The List of Gods" that after Nezha got into trouble and killed the third prince of the Dragon King, the heavenly soldiers would come down to earth to condemn him. In order not to drag down his parents and the people in Chentangguan, he chose to commit suicide.
After his death, his master Taiyi took lotus root as the skeleton and lotus leaf as the muscle, and finally brought Nezha back to life. I still remember the scene when Nezha resurrected the lotus root as a corpse, so from then on, I couldn't help thinking of Nezha when I saw lotus root or lotus root.
Haha, after all, Nezha, the lotus root after resurrection, is full of treasures! Look at it if you don't believe me.
Ink and wash elements in advertising design 1
In today's world, the only thing that can come down in one continuous line and never be interrupted is the Chinese culture that has experienced more than 5,000 years. Ink element is a unique language in China traditional culture, and its unique color, interest and implication continue the essence of China culture. Advertising design should give full play to the characteristics of ink flow and rich ink levels, and emphasize natural expression to make it more characteristic of the times.
As a symbol of China culture, ink and wash elements are deeply rooted in the hearts of China people. Ink painting conveys the profound philosophical connotation and unique aesthetic experience of oriental culture to the world with poetic and dreamlike artistic conception, and enriches the artistic language of advertising design. In recent years, ink and wash elements have been frequently used in modern design, and ink and wash advertisements have attracted more and more attention because of their unique traditional cultural implications and rich artistic expressions.
Ink and wash elements in advertising design II.
First, the characteristics and development of ink elements in China
First of all, China's ink paintings are simple and generous, with rich connotations. Less is better than more, and the most abundant connotations are expressed in the simplest expression language. Secondly, China's ink painting emphasizes the skills of using ink and changing ink color. Different dry, wet, thick and light ink colors can be presented by the amount of water and ink contained in the brush and the ups and downs of the brushwork. The changeable ink color effect can produce colorful picture performance. The combination of the infiltrated ink color effect and the flying white effect can create poetic artistic conception and special visual tension, thus showing the painter's accomplishment and inheriting the interest and humanistic feelings of ancient China culture.
The appearance of ink painting in the history of China painting can be traced back to the Tang Dynasty, and it gradually became the mainstream of painting after the Song, Yuan, Ming and Qing Dynasties. Modern ink painters gradually have a broad cultural vision, and such an open artistic attitude gradually pushes ink painting from painting to artistic height. The reason why ink painting can enter the open artistic space from the closed world is the result of the bold innovation and creation of countless artists. Despite the twists and turns, in the end, ink painting is no longer the old territory, and artists can freely enter and return. It is precisely because of this flowing transformation that the elements of China ink painting are gradually integrated into the field of modern advertising design.
Second, the integration of modern advertising design and ink elements
Modern advertising design is a diversified and innovative artistic expression with the development of the times. China ink elements, with their unique forms of expression and artistic language, have gradually attracted the attention and application of modern advertising design circles.
In today's era of cultural diversity, economic globalization has gradually affected the globalization of culture. Internationalization and globalization do not mean sacrificing the nationality and regionality of culture. Conforming to the trend of cultural globalization is to integrate, learn and make progress, rather than blindly following a certain culture, leading to the loss of local culture. Contemporary advertising design circles in China need a broad cultural mind and comprehensive innovation ability. Only by learning and drawing lessons from foreign excellent and advanced design culture and ideas, and then creating modern advertising design with its own national characteristics, can we be unique in the field of advertising design in the world and show the world the domineering and elegant demeanor of China as an ancient civilization.
The appearance of a large number of ink and wash symbols in modern advertising design is, on the one hand, the pursuit and integration of free innovation of artistic expression in advertising design circles; On the other hand, some advertisers with traditional culture have deep feelings for China's ink elements and the traditional culture they express, and they realize that they have an unshirkable responsibility for the inheritance of traditional culture. Therefore, the application of ink and wash elements in modern advertising design requires designers to base themselves on tradition and learn from western design concepts, and endow ink and wash elements with the combination of tradition and times and the unity of individuality, so as to maximize the application and inheritance of China ink and wash elements.
China's ink and wash elements are one of the manifestations of the essence of China's national culture for thousands of years and the source of national design, but their spiritual strength and cultural heritage are lacking in the field of advertising design at present. Nowadays, advertising design often pays too much attention to formalism, which has only superficial meaning and cannot stand deep scrutiny and excavation. The integration of ink and wash elements just makes up for this. Based on the deepest connotation, it presents a design form of unity of spirit and exterior, which is vividly reflected in the poster design in advertising design.
Thirdly, the unique expression of China ink elements in modern poster design.
(A) Modern poster design and China ink elements
Posters, as a media form to convey information, induce persuasion and stimulate demand, are divided into commercial posters and public welfare posters with the ultimate goal of publicity and promotion. Modern posters are mostly driven by commercial utilitarian motives, aiming at satisfying commercial communication and realizing information communication. Because people's preference for graphics is innate, people often pay more attention to illustrations of a book than words, so images, as an indispensable part of posters, have always been an important content of advertising designers' research and design. The integration and combination of ink and wash elements in poster design not only makes people appreciate the profound cultural heritage, but also shows a unique artistic conception.
As a national cultural form with unique characteristics and spiritual connotation, the spirit of China's ink elements is broad. Traditional ink painting is divided into five colors, which has its unique spiritual connotation. While pursuing this effect, advertising designers are also pursuing their own cultural spirit. Ink and wash elements have a far-reaching influence on the whole oriental art. In poster design, it is easier for orientals to accept and pay attention to works with ink and wash elements. Because of the similarity and universality of oriental culture, ink and wash elements are more likely to arouse the feelings of orientals in form and deep connotation, thus achieving good communication effects.
Poster design in China started late, and it was inevitably influenced by western poster design elements during its development. Therefore, many advertising designers blindly imitate western designs and copy successful western designs, resulting in a large number of "cottage" designs, lacking their own design language, losing their national characteristics, vitality and competitiveness.
If we want to make a new breakthrough in design, we must re-understand and apply traditional forms. Poster design is a modern propaganda media. The ink form of Chinese painting draws lessons from the modern consciousness of poster design. Poster design inherits the traditional ink and wash expressions, learns from each other's strong points, and excavates the tradition again in the expression forms, which has great inspiration for modern poster design, and is also the foundation and general trend of modern poster design based on tradition and development.
(B) Analysis of the classic ink elements in posters
The integration of modern poster design and traditional ink painting art is increasingly recognized and applied by designers. Jin Daiqiang, a contemporary designer, advocates that the essence of China traditional culture should be integrated into western modern design concepts. This seemingly relaxed integration is not a simple addition, but a fusion based on a deep understanding of China culture.
In Jin Daiqiang's works, we can often see traces of ink and wash. He has a deep foundation in Chinese painting, and has a unique insight and profound understanding of Chinese ink painting. What often exists in his works is not ink painting or ink writing, but simple and random ink lines drawn on the screen with a brush dipped in ink. Due to the difference of dryness, wetness, thickness and lightness and the difference of brushwork skills, his works are full of rhythm and oriental rhythm (see figure 1).
Take Jin Daiqiang's poster "Three Friends at the Age of Cold" as an example. Song takes a thick ink in the middle as the image of pine trunk, but this is only the upper part of the trunk. In the second half, Jin Daiqiang took the carved pine tree as the trunk of the pine tree, connected the ink with the real thing, and then painted the pine needles in the middle of the trunk with light gray ink. The font design of the word "Song" is based on the image of pine needles, and the stroke design is fine.
In Bamboo, Jin Daiqiang also combined ink with bamboo, but the ink color was light, which echoed bamboo, and it was designed from top to bottom. It was divided into two parts, namely, the combination of ink and bamboo was simply designed, which vividly highlighted the characteristics of bamboo, and then the font design of the word "bamboo" was carried out, with heavy strokes, and the two strokes of the word "bamboo" were similar to bamboo leaves.
In the design of Mei, Jin Daiqiang does not always combine the branches of Mei with pen and ink, but simply uses top-down pen and ink lines. In the middle of the picture, the abstract and lively plum blossom image is designed according to the characteristics of plum blossom in winter, while in the font design of plum blossom, several points of the strokes in plum blossom are filled with color and pasted on the branches of the main line for metaphor. The three works are unified into a whole, and they all make full use of ink and wash elements, which are quiet and dignified, and the blank space of large pieces is more concise and clear, such as the breeze blowing.
Jin Daiqiang said: "Ink painting plays an important role in the traditional art of China, and its level and connotation are beyond the times. We can't evaluate our own art with the western-led art view. For the ancients and modern people, ink and wash must have a connotation that we can understand in history, which is also the eternal charm that I have been pursuing in design. " [1] This passage fully illustrates Jin Daiqiang's cultural view of inheriting traditional ink and wash elements in art design, which is instructive to the current advertising design community.
In the poster design of modern China, if we want to be truly nationalized and globalized, we must inherit the tradition. As a traditional ink painting art in the art media, after a long period of baptism, there are many challenges and opportunities in the contemporary era. If they want to develop better, they must communicate with each other, penetrate each other and improve each other. Only dare to absorb and inherit, constantly explore and innovate, can national art design be unique and have a longer-term development.
Four. conclusion
Modern advertising design is inseparable from traditional culture. The source of traditional design in China is ink and wash culture, which has unique national charm, considerable foundation, stability and originality. China ink elements cast the soul of national culture, and the integration of ink elements and modern advertising design is the trend of nationalization design. Contemporary China advertising designers need to have a broader mind and long-term vision, do a good job in the inheritance of traditional culture and the creative transformation of foreign culture, pay attention to grasping the aesthetic consciousness and psychology of the nation, reorganize the artistic spirit of China, push the national art to the world stage, and design works that highlight the charm of oriental culture, so as to be both national and world!
The poster of Broken Bridge designed by Huang Hai is full of suspense and details. What good posters did Huang Hai design? Huang Hai is a very famous graphic design master in China. His works are often learning models for design students. It is also famous in the design world. He pushed China's graphic design to the world by himself. Every movie poster he designed. Have been widely circulated and lamented by everyone. His posters also contain a lot of China flavor. His excellent works are also very many. Then let's list some of his good works. Let me show you.
First, the golden age
The posters of the Golden Age series are very China-like. In this main poster, both macro and micro are done very well. Ink was originally a relatively small thing. Wang Hai narrowed down his role and put it next to Mo. You are one year older, which is interesting by comparison. Ink is a very China thing. This will not only show interest in posters. Show the taste of China.
This series of posters adopts macro and micro contrast. Huanghai enlarges three-dimensional Chinese characters. Interspersed with characters. The character is next to the pen of the word. Such posters are also very interesting.
Similarly, American posters in the golden age. It is also an amazing work. He used the projection of gold as the main body of the pen, and then used the silhouette of the gap in the middle of the pen as the silhouette of the protagonist.
The Japanese version adopts black and white ink style, and the protagonist is two people playing on the land. Then ink smoke floats around them.
The Korean version uses watercolor style, and the close-up of the only heroine in the subject is surrounded by watercolor style.
Second, let the bullets fly.
In the production of "Let the Bullets Fly" poster, Huang Hai also skillfully used the technique of silhouette. In the middle are close-ups of the faces of the three protagonists. Then in their close-up, the outline is the silhouette of a man with two guns and a hat.
Third, monster hunting.
Monster Hunter's posters are also typical Chinese style posters. The whole poster is a feature of traditional ink painting in China. The visual subject is a huge monster. Under the monster Yao stood a demon catcher with a whip. human body
They are all black and white. Topping at sea level is a feature of traditional Chinese painting, and the feeling of mountains floating in the distance.
Another poster is a green theme. The demon catcher with a whip stood on the monster's head. This monster has big eyes. The main body of the poster is the monster's eyes and green grass on his head.
Fourth, the Taoist priest went down the mountain.
The Taoist priest who went down the mountain skillfully used symmetry. There are mountains on both sides of the poster. Then the protagonist stood in the middle of the basket.