Paper Keywords: culture; Regression; Bearing weight

Abstract: In modern society, we can't simply regard our works as a tool or appliance. While emphasizing the practicality of products, people pay more and more attention to the emotional content that products can carry, that is, they hope to get some emotional feelings through products to meet specific emotional needs, such as friendship, affection, hope and yearning; Show interest, style, pursuit of nature, reward, etc. Products are required to contain rich emotional colors to meet the emotional needs of consumers.

Culture influences modern design, and modern design is the inheritance and expression of culture. Design is a carrier, which reflects the development of culture. The subjective will of design should be reflected in the understanding and grasp of the objective laws of cultural development.

First, the impact of local culture on modern design

Design is the product of the combination of culture, art and science and technology, both of which belong to the broad cultural category, and local culture itself is the summary and induction of material civilization and spiritual civilization by our own people in practice. It has irreversible heredity. Once generations of artists and designers tried to get rid of the shadow of traditional culture, but the local culture remained with them. Therefore, we can say that any traditional culture will inevitably have a very profound impact on the development of art and science, and will have a huge joint effect on modern design through art and technology.

In human society, the local cultures of all countries are playing their own role-the influence on modern design. Here, we only take China as an example to find its regularity. In today's world, like China culture, only China culture, the so-called four ancient civilizations, only the history of the Chinese nation for 5,000 years, has been continuous. It is also based on this that China people have a special liking for local culture. When it comes to China local culture, it is inseparable from Yi-ology culture, Confucianism, Buddhism and Taoism. In the East, or mainly in China, various cultures have tolerated each other and lived in peace for thousands of years, which in itself shows the great compatibility of China culture, and it is this compatibility that makes China culture profound. In modern society, China's culture can be passed down and China's design can be continued.

Local culture can be said to be the object and habit of the same strain, just like family heirlooms and daily behaviors. From a historical point of view, traditional culture is the precipitation of material and spirit. The development of productive forces has improved and innovated material, and given mankind a new tool to conquer nature and express emotions. Changes in material and environment have also changed people's habits formed in the spiritual system. Design, as an activity closely related to our life, can be called design from the macro point of view, political reform and economic development of the country, and it is included in people's daily life from the micro point of view.

Design is "people-oriented", in which people are divided into two types: subjective people [designers] and objective people [mass groups]. From a cultural point of view, "design guides people" and "people guide society" are themselves integrated, just as when French Impressionism rose, even girls who shine shoes on the streets would talk about Monet's oil paintings, which also appeared in the history of China; Similarly, in the Song Dynasty, Song Huizong advocated Taoism, which led people who bought baked wheat cakes in the street to come back. This shows that our design guides people as well as our own direction. Conversely, people are also guiding themselves when guiding design. From the relationship between matter and consciousness, matter is primary, consciousness is secondary, matter affects consciousness, and consciousness also affects matter. When people's development has certain characteristics of the times, what should be used as language at this time? Undoubtedly, the best is the local culture. After all, the local culture is close to us, just as China people are used to using chopsticks, but they are not used to asking them to use knives and forks. This is a feeling of people. Designers grasp this feeling and all problems are solved.

When designing the logo of Wangfujing Hotel, Mr. Chen combined the traditional Chinese knot with the decoration of the building wall, so that when we saw this logo, we had both China complex and modern design characteristics.

In his poster design "Freedom" series, Mr. Jin Diqiang used China ink painting techniques and combined with the special texture effect of modern science and technology, which is both modern and traditional. Mr Bei Jin Ming is recognized as a master architect in the world. In China Xiangshan Hotel, he used the color of blue bricks, gray tiles and white walls in Jiangnan water town to add cultural feelings to modern architecture and form a kind of * * * sound.

These masters themselves have certain cultural attainments, and dig out the essence and charm of China traditional culture.

The development of modern design is not only a designer's personal problem, but also a search for the same. Then the intervention of traditional culture should promote contemporary design culture, which is the greatest significance of traditional culture to modern design.

Second, local culture is the cornerstone of modern design.

The reason why the above viewpoints are put forward for analysis is to reflect the unique weight of local culture in modern design. The CEO of World Partner Company, one of the top ten marketing companies in the world, once said that "the advertising effect of local culture is at least 30% stronger than that of international advertising". Therefore, they have been holding shares equally with local marketing companies, and their task is to increase the strength of local agents and make them compete with agents of global communication groups. Nike's advertising creative director, who has won numerous advertising awards, said: "It doesn't matter whether they give you an award or not. No big deal. Advertising comes from the culture of a country. You can only tell people in other corners of the world what you think of advertising from your own culture and perspective.

The above two viewpoints tell us that the use of local languages to create and design and present their own unique cultural perspective to the world has its advertising effect, and its commercial value is unmatched by international design. Nowadays, the society is shrouded in the trend of globalization and integration, but when culture reaches the day of integration, it is actually the end of culture, and design, as an aspect of cultural development, will also encounter the same fate. But the manipulators, inheritors and developers of all this are people, and people are the core of extension. What kind of demand will produce what kind of design. The original design of human beings is aimed at the most common and basic needs of human beings. For thousands of years, consumer goods of different nationalities and times have different aesthetic tastes, ideals and pursuits, showing different national personalities, national psychology and people's different pursuits of self-realization. The localization design of products meets the emotional requirements of different ethnic groups for national identity and national identity needs. It is the expression desire of the nation, the cultural identity and psychological quality of the nation. The requirements of national identity are manifested in different spiritual lifestyles, namely, different customs, lifestyles, festive festivals, religious sacrifices, marriage and family, literary and artistic characteristics, and so on. National identity is manifested in the national psychological quality of the same nation, that is, in material and spiritual and cultural life, we feel that everyone belongs to the same "self", which is strongly and intensively reflected in the customs and emotional needs of the same nation.

Design needs to be created. Without creation, the world looks like a painting, but creation is a cornerstone. Different regions have their own regional environment, climatic conditions, economic conditions, humanistic ideas, national habits and so on. In terms of design, each nation has its own characteristics. For example, the French nation is located in the temperate maritime climate, and the good living environment has created the French nation's pursuit of beautiful and romantic living habits. Fashion has become the standard of living pursued by this charming country, and the carrier of fashion and perfume has become synonymous with this nation. The persistence of Rococo style and the rendering of Art Deco movement have formed a gorgeous and classic French romantic style. The Germans are different. The dry climate and mountainous natural environment have created rigorous Germans. Therefore, German design embodies the quality of preciseness and attention to function, and even the artistic graphic design is not free here. Bauhaus is its representative, and the design put forward by Ulm School of Design is science and technology, thus forming a German style that emphasizes function and technology and lacks artistic sense. On the contrary, the American nation is a great fusion of nations, and the desire for freedom has created a sense of humor and randomness in design. Short history and free humanity make American design easier.

With the continuous improvement of social civilization, more and more people of insight are aware of the localization of design, and design must be integrated into local culture to achieve sustainable development, especially in China, a country with a vast territory and a large population, which is at the core of East Asian culture. The localization of design is not a superficial understanding of China local culture, but a simple integration of "form". Jin Diqiang, a Hong Kong designer, succeeded because he knew how to integrate the essence of Confucianism, such as China ink and wash culture, which had been immersed in China for 5,000 years, into his design. Confucian aesthetic standards can be summed up in one word, that is, "harmony", which embodies inclusiveness, and inclusiveness will inevitably lead to diversity. Diversity is also modeling and decoration based on the overall effect, which is reflected in the harmonious combination of form and function and the diversity of modeling.

To sum up, design is a kind of work that gives shape to people's thoughts. Design is to give all objects a beautiful purpose and realize it. Excellent design embodies truth, goodness and beauty. From the satisfaction of design in the past, people's attention to people has been further enhanced, which is the basis for integrating culture into design and enhancing the added value of product culture. This is the responsibility of the designer.

refer to

[1] weekend Xiang editor. The mainstream of China fine arts [M]. Shandong University Press,1992,6. First edition.

[2] Hang Jian. Artistic height [M]. China Development Press, 2000.438+0. First edition.

[3] Xu Li. "The human aspect of creation and evaluation" [M]. China Building Industry Press.

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