Creating a poster picture of a civilized city
Civilization is a prominent label of a city, and now more and more cities are joining the team of creating a civilized city. The following is a poster picture of creating a civilized city compiled by me for everyone. I hope you will like it!
Create a poster picture of a civilized city
Create a poster picture of a civilized city for public welfare
Create a national propaganda slogan of a civilized city
Create a civilized city, create a livable city **
Carry forward the spirit of * *, create a civilized city
Strive for a national civilized city, improve people's happiness index
Create a civilized city and be a civilized citizen
Everyone participates in the creation. Create the best livable environment, build a prosperous and beautiful city **
Give full play to the strength of the whole city, gather the wisdom of the whole city, and strive for a national civilized city
Start from yourself, start from the details, * * * Create a civilized city
No matter you or me, everyone is the master of the city
Everything is related to the creation of civilization
Create a civilized city, and we will pass it on. See civilization every move
what is it to create a national civilized city
to create honest tourism, to create a civilized city
to build a tourist window image, and to build a public welfare poster for the civilized industry in the city?
The aesthetic pursuit in China's traditional aesthetics exerts a subtle influence on the modern advertising poster design thought, which in turn affects the traditional national aesthetic concept. This paper discusses the embodiment of traditional aesthetics in modern advertising poster design. It is pointed out that as a foreign poster art, in the works of China designers, the subtle influence of traditional aesthetics is always revealed. Analyzing these influences and affirming some positive factors will help to develop the poster art in Socialism with Chinese characteristics.
[ Keywords]: the influence of traditional aesthetics on modern advertising poster design
In China, advertising has a long history. Oral advertisements of spears and shields in the Warring States Period-the high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high school's high Leaflets and so on (2)p8, which were produced with printing and engraving in Song Dynasty, can be regarded as the embryonic form of advertising, and they are all examples of the long history of advertising in China. However, it was only in the capitalist society that advertising really became a professional activity and played its great role. In this sense, China's poster advertising art can be said to be imported. POST is a popular genre in advertising art, which is used to accomplish certain propaganda and agitation tasks, or to serve the purposes of reporting, advertising, persuasion and education. Posters used for public welfare or cultural propaganda in China are called public welfare or cultural posters or simply posters; Used in commodities, it is called commodity advertising poster or commodity poster. All these are called advertising pictures in some foreign countries, or commodity advertisements, cultural advertisements, art advertisements and public advertisements.
The emergence and development of advertisements in all countries of the world have the same laws. They are all produced with the production of commodities and developed with the progress of science and technology and social development. The innovation of communication means brought about by the progress of science and technology has greatly promoted the development of advertising. If the multi-color printed layout painting that appeared on the streets of Paris in 1886 is the beginning of modern posters, then the emergence of posters in China is marked by the monthly advertisements and street signs that appeared in coastal cities in the 1921s and 1931s and 41s. Although they have a certain semi-colonial color, they think that the form loved by the masses goes deep into thousands of households. Therefore, it should be said that it is the development and beginning of poster advertising in China (1)p87. In 1951s and 1961s after the founding of the People's Republic of China, the poster art in China was influenced to varying degrees by the posters of the Soviet Union, Czech Republic, especially Poland. On the original basis, the thinking and artistry were improved. In the past twenty years, with the reform and opening up, the country was opened to the outside world, and the poster art techniques of the United States, Japan, Europe and other western countries were also used for reference. It can be said that as a poster art, advertising designers in China have absorbed and used for reference the experiences and practices of many foreign counterparts.
from the historical experience of China's cultural development, if a country or a nation wants to be in an invincible position, it must be brave in absorbing, inheriting and blending. No matter from the formation of early Chinese culture in China until it reached the peak of Han culture, or the flourishing Tang culture was influenced by western regions and Indian cultures, it all shows that only by bravely absorbing can it develop, and only by bravely inheriting and being good at blending can it finally become the master of its own culture. In terms of poster art, we should still base ourselves on China and face the world. We should not only respect the uniqueness of national art, but also reflect the aesthetic psychology of the Chinese nation and the inner spiritual pursuit of modern people. In the design of poster art, we should also look for the roots, and find the thinking advantages and unique style that other nationalities can't match in our traditional culture. Art should always talk about the internal continuity. The emergence and accommodation of an art form requires a specific historical and cultural background, including a nation's lifestyle, customs, ethics, aesthetic habits, etc., which constitutes a potential deep cultural structure, deeply locked in the nation's psychology and spirit, and regulates and restricts the development of national culture and the intervention of foreign culture. Just because of this, as a foreign poster art, the traditional aesthetic view always exerts a subtle influence in the works of China designers. Analyzing these influences and affirming some positive factors will help to develop the poster art in Socialism with Chinese characteristics. Below, it will be analyzed from this angle.
First of all, the role of posters in conveying information and encouraging publicity affirms its special form. It is different from oil painting or printmaking on the shelf, and it requires being clear at a glance, concise and clear, so that people can see clearly what they want to promote at a certain distance in an instant. In order to achieve this goal, posters often adopt a series of hypothetical techniques, highlight key points, delete minor details, details and even backgrounds, and can combine activities in different times and spaces in different proportions. And often use symbolic techniques to inspire people's associations. Therefore, its conception should be able to overload the reality, its composition should be summarized and concentrated, its image should be concise and exaggerated, and the things to be publicized should be prominently expressed by means of strong and bright colors, showing the internal relationship between things, giving the picture a wider meaning and making people associate with a broader life and feel new significance in a limited picture. In these respects, China's traditional aesthetics can provide designers with a lot of nutrition.
For example, the concept of "one to ten", the refinement of "using less and using more", the simplicity of composition, the impenetrable contrast, and the exaggeration of the image between likeness and dissimilarity are all precious treasures left by our ancestors, which have been fully reflected in the design of poster art in China. (4)p68 Jin Daiqiang, a famous Hong Kong graphic designer, created a large number of cultural posters. In his view, there are three principles of beauty: first, the idea comes first, and the shape takes the spirit; Innovation carries forward the past, breaking the old and establishing the new; Flexible and practical, flexible and vivid. In fact, this emphasizes the philosophical thoughts of Laozi and Zhuangzi, and it is also the artistic conception of China's landscape paintings. He advocated that the essence of China's traditional culture should be integrated into the concept of western modern design. Many of his works all embody this idea without exception. In his poster design "Freedom" series, China's ink painting technique is used, which combines the special mechanism effect of modern technology and is modern without losing tradition. In the international water theme poster art exhibition, the graphic works of water-life-culture poster take the graphic image with extremely strong national decoration style as the background of the whole work, and have undergone rich and appropriate blurring treatment. The whole picture is artistically expressed in black and white polar colors, forming a visual effect of opposition, coordination, conflict and integration of shape and color, and constructing a modern graphic design work with visual impact under a specific cultural scene in China. The logo for the 2118 Olympic bid can be said to be a good example. The whole logo modeling does not directly borrow the traditional modeling, but uses China's unique freehand brushwork technique between likeness and dissimilarity, and properly conveys the two images of Chinese knot and athlete. The logo not only embodies the unique aesthetic charm of China culture, but also has been recognized by the world.
As mentioned earlier, posters belong to instantaneous art.. A good poster should not only make people see it at a glance, but also make people fall in love at first sight, be attracted by it, look around and leave a deep impression. This requires the poster to have exquisite ideas. No art can explain everything, especially a special art form like poster, which can make people unforgettable and memorable under limited time and space conditions, so it is necessary to win more than one with less. (3)p72 Of course, there are still audiences who want art to tell everything. It is just as unrealistic to ask posters for multiple paintings as it is to ask sculptures for comic strips and Allegro for multiple scenes. Using less and using more is the sign of artistic skills, especially poster art, which can only reproduce reality from one side of life rather than all sides. Any image is just a part of the whole. What is important is whether it can summarize other parts. Posters often have close-ups of faces full of pictures, one pair of hands, one pair of eyes, one movement and one expression. As long as the most representative phenomenon is selected and some of its characteristics are emphasized, it can form a concise and good work. Although the composition is simple, it requires a certain and attractive artistic conception. In the artistic conception, the essence of objective things has been dealt with in a centralized way, reaching a blending of scenes and situations, which can affect people's feelings, experiences and associations. A scholar in the Qing Dynasty said that a painting makes people think more than it makes them love. If a good poster can be attractive, arouse people's association, arouse people's good wishes and express artistic conception, it must have means, which we call artist. The word "craftsman" is derogatory in the minds of artists, such as craftsmanship. But there are also praises, such as ingenuity, which people didn't think of, and you thought of it. Artistry is a special means for artists to process objective things, and the level of processing means shows the level of the author's artistic achievements to a certain extent. Du Fu, a poet in the Tang Dynasty, said that you centred all your being on a piece of silk and language are not astonishing and endless, which shows that the artistic conception must be painstakingly produced. Specifically speaking, the artist refers to the selection of materials (taking the best part first), tailoring (decontamination and keeping clear), exaggeration (emphasizing the characteristics of the image), business location (composition) and performance (choosing appropriate techniques) (5)p68, and all these are the main means for poster designers in China to conceive.
China's traditional art pays attention to balance and internal rhythm, while China's seal cutting has the so-called layout rule of being sparse and impenetrable, emphasizing the balance in change, which is in line with the principle of scientific relativity and the law of artistic beauty. This kind of unified, vivid, rhythmic and rhythmic aesthetic feeling is also common in Chinese posters, such as dynamic and static, sparse and dense, diverse and unified, guest and host echo, virtual and real, vertical and horizontal, black and white contrast, overlapping and staggered. In addition, ancient bronze patterns, stone reliefs, epigraphy and seal cutting, especially Chinese paintings, skillfully use the ingenuity of white background. The bold and bold black-and-white relationship between folk paper-cutting and orchid cloth, the density and dispersion of woodcut illustrations in Ming Dynasty, (2)p21 can be confirmed in the composition of modern poster art.
Western traditional art, based on the concept of geometric space, starts with simulating life phenomena, so as to show the author's creative thoughts. Aristotle, an ancient Greek philosopher, once pointed out that all kinds of art are imitations of the real world, which laid the foundation for representative theories (1)p24 of traditional western art. China artists, on the other hand, are selective and focused, and their artistic pursuit is to depict the gods in a non-likeness and out of shape. When they often express objects in Chinese paintings, the background is nothing. The traditional Peking Opera stage has nothing but a simple table and a chair. The audience appreciates painting, mainly not what the artist draws, but what artistic techniques are used to express it. The focus of appreciation lies in pen and ink, composition, charm and artistic conception, just as the audience appreciates traditional Beijing opera, mainly appreciating the skills of actors and the kung fu of singing, reading, doing and playing. China's traditional art has broken through the one-sidedness of naturalism and formalism, and created many standardized programs. These programs, which are naturally derived from life but have undergone numerous trials and tribulations, are a highly refined essence of beauty, and are the formal beauty with accumulated content requirements (4)p68. Because of this, it has infinite vitality. With the requirements of the times, artists give it new vitality, which is often used and often new. This stylized treatment is often used in the decorative image treatment of posters in China, showing dazzling brilliance.
We have never asked for China traditional art with truthful description and realistic reproduction. No one accuses some landscape paintings of not conforming to the principle of focus perspective, and no one criticizes the stylized performance mode of traditional opera, because we have a fixed concept of our own traditional art and understand the important value of abstract formal beauty in plastic arts. China's traditional art pays attention to both form and spirit, generalization and deformation. Qi Baishi's painting of shrimp took decades to get its essence, and there was a process of continuous generalization and deepening. Finally, he dared to abandon the minor parts of shrimp and highlight the main features, making the image of mother shrimp more perfect and vivid. The beauty of painting put forward by Qi Baishi lies in the similarity and dissimilarity, which is similar to Shi Tao's statement that it is impossible to learn the law, but it is the supreme law. Connecting with his works and practice, we can see that the dissimilarity he advocates is just for the sake of similitude, which is actually developed on the basis of similitude, and is by no means specious, but makes the image more general, and makes use of the corresponding associative function of the viewer (4)p35. Looking at some of our posters again, we will examine them from the point of view of similarity and dissimilarity. Judging from the conciseness and richness of the images, many images are obviously not simple imitations of life, and some summarized images are obviously very different from the materials, from complexity to simplicity, which must be admitted as a valuable improvement. The charm of a work is not only transferred by the lifelike appearance. Sometimes, the appreciator does not simply accept the publicity, but also explores, discovers and supplements, so as to get the pleasure of appreciation. It is precisely because the appreciator explores, discovers and creates that the theme of the work can have a profound impact. This feature is in line with the requirements of poster art. The graphic image design of Jin Daiqiang's poster works of gold, wood, water, fire and earth also fully shows the spiritual characteristics of this culture and art, and haunts the extremely strong spiritual aura of modernist design.
The color treatment of traditional art is mainly decorative color. Because of the characteristics of poster art, the role of decorative colors in painting is determined. Decorative colors are subjective to some extent, which is what advertising pictures are deliberately pursuing. It seems that meaning is not enough to ask for color, which illustrates this relationship. In Song Dynasty, Su Shi painted bamboo, and some people accused him. Is there red bamboo? He asked: Is there black bamboo? It means that since everyone is used to black bamboo, why not draw bamboo? This shows that the subjective imagination of color in traditional aesthetics is allowed and necessary. However, this kind of subjective imagination is not equal to subjective imagination. Decorative colors also come from life practice and also need to absorb nutrition from objective things. People often learn from butterflies, neon lights, rosy clouds, etc.