-inscription
Chinese characters are unique to China, with rich cultural connotations and infinite artistic charm. In the course of thousands of years' evolution, the font of Chinese characters has been constantly changing and developed into a highly symbolic and vivid square character.
Chinese characters are often used in modern poster design, which not only embodies the characteristics of traditional national culture, but also highlights the flavor of the times, attracting the attention of the world with its strong vitality and appeal. Chinese characters have a long history, which is itself a beautiful graphic form with a strong sense of symbols and high artistic modeling value. Poster graphics deduced from Chinese characters have the characteristics of simplicity, beauty of meaning and rich structure, so that people can directly understand its symbolic meaning through the graphics themselves.
First, Chinese characters and modern poster design
Chinese characters originated from ideographic hieroglyphics and are the crystallization of people's long-term life experience and sentiment. Chinese characters in China express their meanings according to their shapes and sounds, and have always kept their original descriptions. Chinese characters originated from pictures and are the earliest form of visual culture. The picture gradually shifts to the direction of text and becomes the picture text of text symbols. As far as poster design is concerned, Chinese characters are relatively simple design elements and the most abundant and complicated design means. They are rich in connotation, perfect in structure, widely used and far-reaching, and have great fun and decorative effects. Through certain design creativity, giving fonts vivid re-creation and appropriate performance can not only highlight the cultural value of poster design, but also play a role in making the finishing point and icing on the cake. Xu Shen, a famous writer in the Han Dynasty, said in his Preface to Explaining Chinese Characters: "The first four eyes are connected with God, looking up at the giant star, overlooking the turtle-patterned birds and elephants, absorbing all kinds of beauty and combining them into characters", which recorded the origin of Chinese characters. It is a symbol abstractly summarized by the ancients from "absorbing all kinds of beauty" in nature. Its beginning has an image basis, so it has its own image. Then Chinese characters evolve with the needs of people's communication, and the process of evolution is the process of design, and the form of characters gradually tends to be reasonable and perfect, thus achieving more effective, faster and more accurate information transmission.
"Pictograph" is an image thinking from design thinking, and it is an induction and generalization of specific forms of things. From a sociological point of view, the more concrete we face, the more realistic we are; The more realistic it is, the more opportunities there are for people to leave room for more emotion and imagination, and the greater the visual tension. Therefore, concrete and intuitive expression is always the first element of China's poster design.
Modern poster design is not an abstract painting, let alone a crossword puzzle. It is a silent language, and it must seek the audience's voice. Modern poster design requires not only the perfection and novelty of graphics, but also the pursuit of "less wins more", that is, a high degree of simplicity, which can give people a far-reaching association space. It should not be the "giving" imposed by the author, but the "gaining" of the viewer's freedom and the "parataxis" induced by graphics. Like any art, it has its own laws, and the "constraint" it receives in performance is a special form of self-formation. Clever conception, strong implication and vivid image are the characteristics of posters. A large number of contents to be embodied are very abstract, and the biggest difficulty in poster design is to turn abstract concepts into visual images. Except for some visual images themselves, most posters use metaphors, substitutions and symbols. The metaphors and symbols used are a thinking process from the surface to the inside, from the phenomenon to the essence, so as to achieve the purpose of "from here to there" and give people room for inspiration and imagination.
Second, the application of Chinese characters in modern poster design
As a graphic element, Chinese characters have duality, which is more expressive and visual impact than simple graphics. First of all, the meaning of the word itself is the clearest and most convincing, with the characteristics of accurate and direct information transmission; Secondly, the graphic characteristics of Chinese characters make it possible for Chinese characters to convey from word meaning to graphic communication, which has strong plasticity. The transformation of Chinese characters in graphics can deepen people's visual impression and increase their intuitive interest. Through the design theme of combined posters, the content and meaning of Chinese characters can be expressed in many ways, and the ideas expressed can be emphasized, prompted and personalized, so that people can feel the taste and charm of poster art.
Creativity is the life of poster design. Without superb creativity, it is difficult for posters to undertake their own mission. The creativity of Chinese character posters should first have aesthetic characteristics and should follow the law of beauty. The relationship between dots and faces of Chinese characters should conform to the law of formal beauty, which is the key to the creativity of Chinese character posters. In addition, we should combine the application theme of Chinese character posters, develop creative thinking in a targeted way, and express the theme connotation with ingenious ideas and unique and novel images.
Design should be innovative and avoid lack of creativity. In the process of creative font conception, it is very important to find a breakthrough point that can develop imagination. According to the structure of Chinese characters, it can provide unlimited space for design to expand imagination and creativity. First of all, we can emphasize the physical characteristics of characters, so that the font characteristics are more vivid and the meaning is more profound; Secondly, you can also do some hard or soft processing on the strokes to inject the emotion of the font into the strokes; Thirdly, in the structure of characters, we can break the traditional standard and balanced formula, move the common distribution positions of some strokes, change the density relationship, make the structure change in contrast, highlight creativity and strengthen the personality of fonts. In a word, the richness and diversity of glyphs make it more possible for us to fully consider the expression forms of multi-layer connotations, so that the characters can fully show the charm of expressing feelings and give people an artistic feeling of being relaxed, serious, humorous or lyrical.
The image design of Chinese characters is to visualize the specific meaning of Chinese characters, form their own interests, skillfully integrate the connotation and external form of Chinese characters, and show their appeal at a glance. This kind of exhibition is permeated with modern design concepts, which endows words with strong creativity. The key of Chinese font image design is to expand emotion and imagination, and skillfully show the romantic color of "blending things with me". The image characters get rid of the shackles of concrete forms, abandon the objective and inherent "form" and extract the abstract and vivid "meaning". Boldly use imaginative thinking to be creative, so as to obtain endless expression. Generally, the image characters are changed through radical and stroke increase or decrease, size, quantity or internal isomorphism. In the method of image cropping, firstly, the individuality of the font is emphasized, and the relevant details are adjusted in the shape, strokes and structure of the font. Secondly, the characteristics of emotion are emphasized, and artistic imagination and understanding of content are properly integrated into the font image. Finally, it emphasizes the interest of glyphs, pursues the interest of stroke modeling and arrangement management, and the interest of light and dark distribution, so that creative fonts can achieve pleasing aesthetic interest. For example, in the poster "Home" designed by Mr. Yu Bingnan (figure 1), the shape of the main part at the lower right of the word "Home" is consistent with the outline of the southeast coast of China, and the position and shape of the word "Home" are replaced by the topographic outline of Taiwan Province Province, China. (Turn to page 29) (Continue to page 23) This isomorphic method subtly deepens the theme of design, giving people a "
Chinese characters themselves are symbolic patterns of ideographic refinement. Because the word-making principle of Chinese characters is hieroglyphics rather than pinyin, the words themselves contain images. Therefore, Chinese character posters beautify and symbolize the composition of glyphs. Its design and composition are limited by the structure of the word itself, and beautification can only be expressed to a certain extent. Try to find the breakthrough point of Chinese character graphics and create with the theme of the poster.
Figure 2 is a poster design for caring for poor college students. The author skillfully uses the radicals of Chinese characters to combine the "talent" and "difficulty" of Chinese characters, so that readers can easily taste the meaning conveyed by graphics from fonts.
Figure 3 is a poster of Chen Shaohua's studio. The word "design" is skillfully borrowed next to the word "design", showing a strong sense of design and modernity. Therefore, it is the key to accurately find out the ideographic core of the target Chinese character, and then carve it with appropriate ingenuity, so as to create new works on the basis of not destroying the original character recognition.
Therefore, modern poster designers should inherit the cultural tradition of the Chinese nation, pay attention to the continuation of China's humanistic spirit, give full play to the specialties of national art, communicate with modern design, and combine with the spirit of the times to create poster works with both national characteristics and the spirit of the times.
References:
[1] Dong Wang, Wang. Creative design and decoration of Chinese characters. 6, 2004.
[2] Hang Jian, He Jie and Jin Daiqiang. China traditional graphics and modern visual design. Hang Jian. "Six Books" and China's Visual Design Thinking. 2005. 1。
[3] Cui. Graphic design. Shanghai People's Fine Arts Publishing House, 2003, 10.
[4] the public flow is over. Visual communication art design. Hook. On the theme of graphic design. Huashan Literature and Art Publishing House, March 2002.
[5] Zheng Bin. Xiangyun and modern logo design. Decoration. No 2 issue in 2005.