The difference between painting and design is not only reflected in "individuality" and "persistence", but also in the pursuit of formal beauty.
The word "chaos" refers to the vague scene before the formation of the universe. China people like implication, and think that implication is beauty. Chaos itself embodies an uncertain and intriguing feature, which is related to China's ancient philosophy and religion. China's aesthetic thoughts, such as "ethereal spirit", "verve" and "five-color ink" in classical painting and infinite artistic conception in limited pen and ink, all lie in this "chaotic" beauty.
These techniques can be seen occasionally in design, but generally speaking, they only draw lessons from painting to enhance the artistry of design. They are not the ultimate goal of design. We can realize this from the works of masters such as Kangping Sugula. Specifically, the series of books designed by Kang Ping Su Gula for Dunhuang, on the surface, he pursues the realm of "ethereal" and "ethereal" in Chinese painting, and more profoundly combines the graphic elements in Dunhuang with the basic structural principles of modern design. This realm of "ethereal" chaotic beauty is only used as a means of design rather than an end. I hope it can finally truly reflect the connotation of this series of books. This fully shows the master's uniqueness and grasp of the relationship between painting and design.
In western painting, although there are many schools and different forms, the overall spirit is also the pursuit of "the beauty of chaos." Although the form of classical oil painting is meticulous and realistic, its artistic conception is profound and it seeks the uncertain "beauty of chaos". Modernism, on the other hand, pursues originality and surreal and absurd uncertainty. Miro pursues the childlike dream of the underwater world, which embodies the uncertain "beauty of chaos", while Pollock drops paint buckets on the canvas in an eclectic way. He seems to be closer to pursuing "the vague scene before the formation of the universe."
The pursuit of "the beauty of chaos" in painting is also reflected in the choice of material texture. What theme, effect and texture are needed is one of the manifestations of painting's pursuit of chaotic beauty. Painting, especially modern painting, has reached an arbitrary position in choosing comprehensive materials in a work. The application of various materials aims to enhance the "chaotic beauty" effect of the picture, and achieve the purpose of variety through the application of chaotic and uncertain materials and textures.
4. The beauty of order is the core of graphic design.
Different from painting, design is also reflected in the pursuit of order beauty, and the further grasp of entity in modern design is the formal law. Form is the concretization, concentration and precision of entity. It can be seen that Democritus explained the internal form of cosmic entities with atomic structure, while Pythagoras described the external form of cosmic entities with mathematics. They realized the geometric relationship of points, lines and planes from the layout of the stars in the sky, thus pushing numbers into the ontology of the universe (the word "universe" contained the meaning of harmony, quantity and order in ancient Greece).
As far as design is concerned, the influence of numbers on design is far from clear, and its importance can be seen only from modern design theory and its contribution to graphic design. For example, the application of digital logic formal design invented by Swiss designer John Chischaud in book design. Another example is the designer Raul Celio's discovery of the proportion of numbers in the inner pages of the Gothic Bible, which is also known as the nine-segment division method. He found that the width of one folio was 1/9 as the inside and two were 1/9 as the outside. One folio was 1/9 as the head and two were 1/9 as the foot. 1946, according to Rollo Celio's nine-segment division, Fond Graf found a simple geometric calculation method to replace the nine-segment division, which was called "snake melon division".
Le corbusier is the most influential representative in the history of modern design in the 20th century. He used the basic theory of architecture to make golden section according to the proportion of human body, which is called modular design system. Modulus initially made an important contribution to architectural form, and later it was applied to graphic design. The basic principle of modulus theory is to divide the navel, the top of the head and the fingertips of the sun god's straight arm. Then le corbusier turned it into 44 rectangles for space division. The core of modular system is to try to use the beauty of order produced by people's psychological reaction to a series of changes to design. After le corbusier invented modulus, designers all over Europe adopted this design principle and further promoted it, and finally formed the theoretical system of grid design. Grid design system promotes the application of some case studies and figures in graphic design to an unprecedented height, and its characteristics are attaching importance to the sense of proportion, order, continuity and clarity. In a word, it is the application of formal rules based on rational mathematics in graphic design.
From the above examples, the aesthetic feeling of design is reflected in the orderly mathematical rhythm, which is essentially different from painting.
5. The independence of graphic design is reflected in the format and font form.
Painting conveys information in the form of pictures. A good painting can concentrate huge information content, is a highly concentrated carrier of words, and can replace or supplement the lack of words in some occasions. Nevertheless, because of the great difference between painting and text communication, painting, as an independent art form, has no text explanation in its pictures. Since painting art can appear without words, there is no layout problem.
Design, whether as an independent art form or dedicated to a product, must be explained in words. Only through the existence of writing form can its own value be fully reflected. As a format, modern graphic design has two formats: one is the combination of graphics and characters, and the other is the free combination of pure characters. Both forms can be called layout design. But no matter what form of layout design is inseparable from the existence of words. On the one hand, the layout needs to be composed of characters, on the other hand, the differences in the forms of characters themselves also enrich the diversity of the layout.
From a global perspective, the morphological evolution process of national characters in various countries all comes from "painting notes" and is related to pictures. If this kind of "picture" is called "painting", then writing and painting come down in one continuous line in childhood. However, from the process of modern design or the history of world civilization, we will find that the morphological characteristics of characters have obviously been completely abstractly "independent" from "painting". In addition, in the development process of modern design for nearly a hundred years, experienced designers have summed up a series of formal rules of layout in practice, which constitute the basic theories of modern design, such as proportion, force field, center, direction, symmetry, balance, rhythm, contrast and division. And the application of golden section in design, German standard proportion, dynamic symmetry theory, straw mat modeling, cubist style and spiral modeling. The "font form" that affects the artistry of layout has gradually developed into a new design discipline. Since the beginning of this century, many developed countries in the west have set up font design companies and set up font design disciplines in universities. Japan and South Korea in Asia have no corresponding institutions. It can be seen that design is different from painting, and it is a specialized subject with the characteristics of the times.
6. The difference between painting and design is reflected in their respective ways of realization.
Because there are great differences between painting and design in function, and there are also essential differences in the realization of process production.
Although painting is an art, the technical components occupy a considerable proportion in the production process. If painting is a creative process using new ideas and new means under the premise of art, then a series of factors such as materials and techniques contained in painting technology are the most important means to complete and realize this creative thinking.
The painting mentioned in the last article is a single act of individual labor and highlighting "personality". So this determines that a painting must not be repeated, and it is necessary to present the hand-made materials with real texture to the audience. For example, oil painting is an oily pigment coated on cloth or other materials with oil as a binder. Chinese painting is characterized by pen, ink, rice paper, silk and water-soluble pigments.
As a kind of design, its emergence and development all come from "commercial" behavior, and it appears with the fierce competition of commodity economy. Its purpose is to serve the whole market and has obvious commodity characteristics. In its "realization" way, it must be a materialized process of combining mental labor with machine mass production. In the development of the past century, design has always proved its value through machine printing. Never existed independently from the production of large machines. Even in various international design competitions, the technical level of machine making of design works is an important focus of evaluation. Now times have changed and technology has made great progress. The appearance of computers has undoubtedly brought revolutionary changes to the design industry. The "production" mode of design works embodies the intelligence, industrialization and serialization of machines, and more and more shows the importance of "machines". Therefore, as a designer, you should not only know how to design, but also know the printing function of the machine, the printing and binding process, and even know what effect the machine ink set will have on the works under what conditions. The brand, type and performance of the paper will affect the quality of the designed works.
To sum up, painting is very different from modern graphic design. The relationship between them belongs to two different industries-practicality and appreciation; It is the relationship between rational thinking and emotional catharsis in multi-level and multi-society, showing personality and talent; It reflects the relationship between the technical level of industrial production and the artist's personal manual skills. ...
Although this paper emphasizes the difference between them, it does not deny the connection between them. Such as: the origin of early painting and design, the similarity of artistic laws, the basic characteristics that design must have the aesthetic consciousness of painting, and so on.
Only by correctly grasping the similarities and differences between painting and design, grasping the mystery and understanding their individuality can we have an objective and profound scientific understanding of this issue.