The application of traditional culture and art in

The application of traditional culture and art in modern advertising design II

in addition to traditional Chinese characters, it is also widely used in traditional patterns. "You can walk in the sparse places of calligraphy and painting, and you can't breathe in the dense places.". Chinese painters often use these two sentences to emphasize the contrast between density and reality, in order to oppose the equal treatment and listing of phenomena. "Sparse" means that the empty rookie will also launch some marketing activities regularly. Where the special area can run, of course, it is quite space; "Dense" refers to dense places, which can't even be penetrated by the wind. Of course, it's very real. Good posters should not only make people "clear at a glance", but also make people "fall in love at first sight". They should be attracted by them, look around and leave a deep impression. This requires that posters have exquisite ideas, and use the artistic skills of "using less and using more" and "from here to there" to reproduce reality from one side of life rather than from all sides. Any image is just a part of the whole. It is important to summarize other parts. Poster paintings often have close-up pictures of faces full of pictures, one hand, one eye, one dynamic, one expression. As long as we choose the most representative phenomenon and focus on some of its characteristics, it can constitute a good work of "concise and comprehensive". Good posters need means to be attractive, arouse people's associations, arouse people's good wishes, and express artistic conception. Specifically, it refers to material selection (taking the best part first), tailoring (decontamination and cleaning), exaggeration (emphasizing the characteristics of the image), business location (composition), and performance (using appropriate techniques for options). All these are exactly the main means for Chinese Poster designers to learn from the tradition when designing

Chinese traditional art emphasizes the use of blank space, and is very attentive to blank management. It takes the same pains to consider it as a painted part. Why leave some blank space? This is like the subtext of characters in plays and movies. If you say all the words without leaving any subtext, it is called plain narration. When a space is displayed in the picture, we will feel the painter's thoughts galloping in this space, which is a common technique in Michel's Yunshan painting. A piece of white clouds is across the mountainside, and the mountain lives with the clouds. Emphasizing the balance in change is not only in line with the principle of relativity in science, but also in line with the law of formal beauty in art. This unified, vivid, rhythmic and rhythmic aesthetic feeling is also common in the traditional composition rules of poster paintings in China, such as dynamic and static, sparse and dense, diversity and unity, the echo of the host and the guest, virtual and real, vertical and horizontal, black-and-white contrast, overlapping and interlacing, etc. In addition, ancient bronze patterns, stone portraits, gold and stone seal cutting, especially Chinese painting, skillfully use the ingenuity of white background. The bold black-and-white relationship between folk paper cutting and orchid cloth, and the density of woodcut illustrations in the Ming Dynasty can be confirmed in the composition of modern poster art

traditional Chinese art forms can always give people strong visual stimulation. Such as brush, ink and Chinese characters, which have the most traditional Chinese artistic characteristics. Most designers also use traditional techniques of expression, such as drawing a few swimming fish on a piece of white paper. People will naturally associate a large blank with the vast water surface according to their own life experience, and draw a crescent moon on a black gray background, which becomes the night sky. There are often such examples on posters. Just because it is just a simple background color, the space is larger and gives people more associations. This kind of simplicity is virtual, but it is real, and the audience's imagination is abstract, but it is concrete. In this way, not only does it not see its emptiness in form, but it can also omit the connection with traditional materials and related parts in content. Because of some enlightenment and association, it is more enriched and enriched. This technique of expression is common in modern poster paintings

now designers combine Chinese traditional graphic art and plastic art with foreign graphic design culture, which is not only the inheritance of Chinese artistic spirit, but also a promotion and promotion of Chinese traditional art to the world. The times need to think deeply about Chinese traditional graphic design art. Only after they have a deep understanding of the national cultural treasure deposited over the millennia, which has injected inexhaustible power into the development of enterprises, can contemporary designers feel how to make better use of it, and more freely improve and carry forward the excellent national culture of the Chinese nation for the millennia. How to use the characteristics of traditional plastic arts and graphic arts to express the trend of the times in modern commercial society, how to promote the further development of traditional art in the new information age and give it renewed vitality and artistic vitality, and create a new and characteristic graphic design concept in China is a challenging problem and goal in front of designers. At this time, the extension rate of traditional and current materials is reduced to 5.8%, which is always the concern of designers. Just like other traditional art forms in China are constantly innovating, so is graphic design. It is not only necessary to inherit the tradition, but also to enrich the artistic noumenon, and use the aesthetic consciousness and concepts of modern people to express and develop

with the economic and cultural development of today's 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 making things behind closed doors, but are more open-minded and international. At the same time, with the entry of WTO, Chinese designers will face a larger and broader stage. At this time, it is necessary to design with national consciousness to carry forward the art and culture of the motherland, because "traditional is the world"

from: Shanghai packaging