The Application of Traditional Graphics in Graphic Design

[Abstract] For traditional graphics, if one wants to "intentionally" and forget about "form" inheritance, it is not to copy and copy, but to understand its meaning and create new things; while affirming local culture, it is also worthy of the traditional one. Fan Lei should learn from some exquisite design connotations in foreign countries and rise from the form.

[Key words] traditional graphic design was "idea" but forgotten" traditional culture development

The working people of our country have created rich and colorful graphics with national characteristics in the long process of civilization development. Starting from cave paintings in the primitive era, the traditional graphics evolved into a variety of unified styles, with rich oriental ethnic characteristics, and became a typical representative of traditional culture.

"The history and aesthetics of visual communication design" said: "Since ancient times, mankind has been looking for ways to use visual symbols to express thoughts and emotions, and to use graphics to store their memories and knowledge to bring order and clarity to information. The communication and communication of information is simple, rapid, and in-depth.” Traditional Chinese graphics are an important part of traditional art and have the following basic mental characteristics:

- Likeness to send love. The images depicted in traditional Chinese graphics convey a meaningful emotion through symbolism, metaphor, homophony, or through literary stories;

- And in the United States. Chinese traditional graphics have no pure abstraction, nor are they purely realistic, beautiful but unadorned, pleasant and not fanatical, reflecting the interdependence and mutual coordination of the two contradictions in Chinese philosophy;

- Complete and perfect. The idealized good meaning is enshrined in the graphic, reflecting the Chinese nation’s optimism and idealism. For example, "Tai Chi Graphics," "Six Sons," "Children's Generations," and "Everything Gets Either," and so on, all cherish the people's good wishes and expectations for life. Traditional graphics is the use of a certain object image to express certain spiritual connotations and emotional characteristics, thus becoming an indispensable part of contemporary graphic design and displaying a unique style.

As a symbol of strength, rights, life, and auspiciousness, traditional graphics are widely used in modern packaging design, logo design, VI design, and poster design, and play a very important role. For example, the icon of Mr. Chen Youjian, a famous designer of Hong Kong in Hong Kong, was changed from the “four-hidden graphics” in Chinese traditional graphics; the Phoenix TV sign was proud of the ancient legend of the mythical bird—Phoenix; and in the poster of Mr. Qiang Qiang. We feel the passionate collision of traditional culture and modern design more intensely. These vivid examples illustrate that China must stand in the world of graphic design and become a powerful design nation in the world. We must use the characteristics of our nation and take a design path with Chinese characteristics. A single imitation has no benefit to the design of China's own territory.

Mr. Lu Xun elaborated on this point of view as early as in the 1940s: “If you have local colors, it is easy for you to become the world, that is, for the attention of other countries.” We have designed works with Chinese style in order to highlight the Chinese culture. The unique charm. While absorbing and borrowing from foreign cultures, we must correctly promote our own culture and find a path suited to the development of Chinese graphic design between tradition and modernity, the East and the West. The ancestors left such a splendid civilization. Not only do we have to inherit it well, but we must also let the traditional graphics play a greater role and have greater development.

Inheritance does not stick to tradition. To inherit, we must develop. There are still many issues for us. A good work cannot be designed today with a concept, a graphic, or a book. It requires a long-term and persevering study of Chinese traditional graphic culture and a deep understanding. Otherwise, it will not There are good works. China is a typical eastern nation and specializes in holistic, holistic and dialectical thinking. While we are learning about traditional graphics, we must also understand the knowledge of philosophy, literature, history, ethnicity, and especially the art of contemporary art. Make better use of traditional graphics resources. Superficial traditional cultural knowledge will inevitably lead to impetuous design works and blocked design roads.

Traditional Chinese graphics exude a charming glow. However, when using traditional graphics as elements of graphic design, it is necessary to “meaning” and forget about “shape”. In the "Chinese Idioms Dictionary", one explanation for "recognize forgotten" is to say that it is to take its spirit and depose it. Ouyang Xiu's "Test of Li Yushu" said: "While Yu has a brushstroke for her script, then the word is definitely not the same, why is it that the people of the ancients still have such understanding? What about us? "Form" refers to the appearance and structure of objects. It is not enough to learn traditional graphics to master "shape"; "idea" usually refers to the implied charm of objects. In graphic design, it is the artistic conception and atmosphere represented by the whole picture. "Shape" is often isolated, "meaning" can convey the spirit of the entire work. In ancient China, the pattern of algae wells in Dunhuang was extremely beautiful. It was influenced by exotic cultures such as the Western Regions, and it merged with the unique style of the Tang Dynasty, forming a traditional pattern with strong Western flavor, but it was by no means a direct copy of foreign culture. The interpretation of "retribution forgotten" in "Ci Yuan" is: In fact, it is a very high realm. It can be said that it is the premise of knowing things and cultivating their sentiments. When we recognize things, we must discover the regular things from "form" to guide practice. This regular thing is "idea" and must be completed through repeated reasoning judgments, so it is said to be the place where things are known.

Of course, in the modern graphic design can still use the traditional graphics work is still quite a few, take the LOGO for it, the design of the logo and the logo of the Palace Hotel absorb and use the ancient Chinese disk length graphics The essence of China Unicom’s logo is based on a traditional Chinese knot as its source of design, demonstrating the people’s desire for truth, goodness, and beauty to work hand in hand with each other; in particular, this is the 29th edition of “China's India-Dancing Beijing”. The Olympic Games - the symbol of the 2008 Beijing Olympic Games is even more vividly reflected. This sign uses the seal as the main form of expression. It combines Chinese traditional seals and calligraphy and other artistic forms with moving figures. It is concise and radiant. This sign is similar to the Indian print, elegant and full of tension. The word “Beijing” is looming, and it means Beijing, where flying, flying, and shining, reflects the Chinese spirit, Chinese style, and Chinese charm.

To transcend, we must inherit the “idea” of traditional graphics and forget to “shape” inheritance. It is not to copy and copy, but to understand its meaning, and to create new things by combining original ideas with new ideas. Inheritance and development should be scientific and reasonable rather than self-respected; while affirming local culture in design, it should be worthy of traditional barriers; it should learn from some exquisite design connotations in foreign countries, pay attention to international aesthetic fashion, and make full use of advanced technological means. Forms rise to form an international dialogue and exchange. Blindly admiring the design style and design quality of Western design schools, we must resolutely oppose it; at the same time, we should also oppose the conservative and persistent design philosophy and design style that are not open-minded, and learn from others and learn from each other's strengths to learn from others' strengths. Work hard on the road of graphic design with Chinese characteristics.

Source: China Packaging 2005/1
Ningbo Dahongying Vocational and Technical College Wanjian