The Application of Traditional Culture and Art in Modern Advertising Design II

In addition to traditional Chinese writing, traditional patterns are also widely used. "The dredging of paintings and calligraphy can be carried away, and the secrets do not make the air clear." Chinese artists often use these two words to emphasize the contrast between density and reality, and to list against the average and the phenomenon. "Sparse" refers to empty places where you can run away to run horses. Of course, it is quite a space; "secret" refers to dense places. Even the wind cannot pass through. Of course, it is very real. A good placard must not only make people "at a glance" but also make people "love at first sight." It attracts and looks forward to leaving a deeper impression. This requires the placards to have superb ideas and use the techniques of "using less and more" and "there's the other" to reproduce reality from one side of life rather than from all sides. Any image is nothing more than a part of the overall structure. It is important to be able to summarize other parts. In the posters, there are often facial features full of images, a pair of hands, a pair of eyes, a dynamic, a facial expression. As long as it is to select the most representative phenomenon, and it emphasizes some of its characteristics, it can constitute "concise and concise". works. A good poster should be able to attract people, evoke the association of people, arouse people's good wishes, and express the artistic conception. There must be means. Specifically speaking, it is the selection of material (the most refined part first), the tailoring (decontamination and preservation), the exaggeration (emphasizing the characteristics of the image), the management position (composition), and the performance (the selection of appropriate techniques). All of this is precisely the poster of our country. When designers conceive, they draw on traditional primary means.

Chinese traditional art emphasizes the use of blankness and is very motivated to manage blanks. When it regards it as a part of painting, it also takes the same consideration. Why leave some blank space? This is like the subtext of the characters in the drama and the movie. If you say everything and leave no subtext, this is called flat direct. A space is displayed on the screen. We will feel that the painter's thoughts are galloping in this space. This is a common practice in Mie’s paintings of Yunshan Mountain. Emphasizing the balance in change is not only consistent with the principle of science, but also with the laws of formal beauty in art. This unified, vivid, rhythmic and rhythmic aesthetic sense, in China's posters, is dynamic and static, sparse and dense, diverse and unified, the guests and the masters echo, the virtual and the real, the vertical and horizontal contrast, the black and white contrast, overlapping and other traditional composition Laws are also common. In addition, the ancient bronze patterns, stone reliefs, stone carvings, and especially Chinese paintings have been skillfully applied to the ingenuity of the white background. The black-and-white relationship between folk paper-cutting and the unrelenting bloom of orchid cloth, the density of woodcut illustrations of the Ming Dynasty can all be confirmed in the composition of modern poster art.

Traditional Chinese art forms always give people a strong visual stimulus. Such as the brush with the characteristics of Chinese traditional art, ink and Chinese characters. Most designers also borrowed traditional expressions. For example: On a blank sheet of paper, they draw a few small fishes. According to their own experience in life, people naturally associate large blanks into the surface of the water, a dark gray background. Draw a crescent moon, this dark gray has become the night sky. In posters, there are often such examples. Just because of the simple background, the space is bigger and the association is given more. This simpleness is imaginary, but it is also true. The audience’s imagination is abstract, but it is also specific. In this way, not only is the form not seen in its own form, but also in terms of content, it is due to certain revelations and associations. Make it more fulfilling and richer. This way of expression is common in modern posters.

Now designers combine Chinese traditional graphic arts and plastic arts with foreign graphic design culture, which not only inherits the spirit of Chinese art, but also promotes and promotes Chinese traditional art to the world. The era needs to think deeply about the Chinese traditional graphic design art. Only when contemporary designers have an in-depth understanding of the national cultural treasures deposited over the millennium, can they understand how to make better use of it and make more freedom for improvement. And carry forward the excellent ethnic culture of the Chinese nation for thousands of years. How to use traditional plastic arts and graphic arts to express the trend of modern business society, how to promote the further development of traditional art in the new information age, and give it new vitality and artistic vitality, and create new rich features. China’s current graphic design concept is a challenging issue and goal that lays in front of designers. Traditional and contemporary designers are always concerned about issues, just as other traditional Chinese artistic expressions are constantly being reformed. This is also true of graphic design. It is not only necessary to inherit traditions, but also to enrich the art noumenon, and to express them with modern people's aesthetic consciousness and concepts. And development.

With the current economic and cultural development of society, more and more domestic designers have gained more opportunities to communicate with world designers. And many outstanding designers have emerged in the international design community. Contemporary designers are no longer behind closed doors, thinking is more open and international. At the same time, with the entry of the WTO, Chinese designers will face a bigger and more open stage. This is when it is necessary to have national consciousness designs to carry forward the artistic culture of the motherland, because “tradition is the world”.

Excerpt from: Shanghai Packaging