those poster designs that surprised me

My understanding of film and television posters:

In terms of my preference for film selection, whether the design beauty of publicity posters appeals to me is a key factor that determines whether I choose to watch them. In other words, I think a good poster should have a strong desire to make the audience want to go to the movies. The most important thing for a poster designer is to show what is behind the film through his deep grasp of the film and visual means. If he grasps the tonality and plot of the film and expresses it skillfully, then I think it is a successful poster. Horgo Matisse, an international master of visual design, once said: "A good poster should speak by graphic language, not by words."

In recent years, the rise of the cultural and creative trend in the Forbidden City has unconsciously narrowed the distance between us and China's 5,-year history and culture. Personally, I like this kind of traditional, simple, elegant and profound cultural heritage, so when I see the following film and television posters with oriental aesthetic design meaning, I will stop and taste them a few times ~

What impressed me the most is this poster of The Legend of the Demon Cat. When the picture first entered my eyes, I was confronted with a strong hand-painted meticulous breath, and the three characters of "The Legend of the Demon Cat" presented in calligraphy were in a cool tone. The dragon-like face of the main body of the picture is actually a Gu Lou on the top of the cat's creature, and the blue peony flowers set off on both sides as if to imply the women represented by the cat and peony, as well as the bumpy fate of women because of this Gu Lou.

The picture used in one of the posters of the variety show "Here We Come" should be a close-up of local embroidery on the cheongsam. We can see the graceful posture of the female guests in cheongsam, which is woven with gold threads, and we can't help but look forward to it.

I was amazed at this poster of "monster hunt". First of all, the atmosphere of the whole picture was very freehand, which highlighted the ethereal artistic conception of ink painting. The demon catcher waved his whip in the wind and stood in front of a mountain without fear. The straight back left us ready for a fierce battle, and the two sides seemed to be at loggerheads. Such a picture was full of events.

The poster of "I am repairing cultural relics in the Forbidden City" uses an ancient painting that needs to be repaired urgently. The broken traces of some cultural relics directly below the picture are clearly visible, and people with obsessive-compulsive disorder can't see that such a good work is in a damaged state. Personally, I think that the workers who repair cultural relics in the documentary treat cultural relics with the same degree of delicacy as when doctors operate on patients. Every trace of cultural relics should be well known and repaired as new. Restore their original appearance and bring them back to life, as if the painting was still in a torn state. After the repair, the bamboo forest in the painting seemed to shake with the wind, and the two cranes might spread their wings and fly in the wind next step ~

Ne Zha, a masterpiece of Guo Man, who was on fire some time ago, really has to say at this time that I chose a poster about Taiyi real person, just like everyone came out from the cinema to vomit at that time. The Taiyi real person who appeared this time is really refreshing. Contrary to the immortal appearance that everyone remembers, he is actually a foolish immortal who rides a piggy mount and is addicted to alcohol. The whole poster is hand-painted with lines and colors. Taiyi is a real person lying leisurely on the piggy mount with his mouth wide open for drinking. Above his shoulders, there are all kinds of fruits, gold and silver jewelry and cultural relics, while below, there are all kinds of gold ingots. This background also sets off the character's hobbies. The green lotus on the right seems to be a metaphor for Nezha.

When I was a child, I saw in the Hong Kong version of "The List of Gods" that after Nezha got into trouble and killed the third prince of the Dragon King, the heavenly soldiers would come down to the earth to ask for guilt. He chose to commit suicide in order not to drag down his parents and the people in Chentangguan.

After his death, his master Taiyi made lotus root as his skeleton and lotus leaf as his muscle, which finally brought Nezha back to life. I still remember the scene where Nezha used the lotus root as a body resurrection, so since then, I can't help but think of Nezha when I see the lotus root or lotus root.

haha, after all, Nezha, the lotus root after resurrection, is full of treasures! I don't believe you, what are the traditional manifestations of poster design?

Visual communication design is an art with "pictures" as the information carrier, and it is also a design art form combined with communication. Among them, poster is an unusual communication carrier full of information and communication, which often allows people to quickly identify the content and meaning conveyed in graphics at a glance without reading or prompting words. Pierre Mendel, a German design master, said: "Posters are not only to attract people's attention and understanding, but also a beautiful language, which reflects a country's national tradition and social culture."

However, under the influence of globalization, China's modern visual design is full of visual language influenced by the West, and the phenomenon of "internationalization" visual symbols and "aphasia" of "localization" visual language is very prominent. The great harmony of world design is the end of it. When the design loses its national personality, not only the goal of reaching the "world level" cannot be achieved, but it is actually heading for the road of decline. The real "China design" should be an attempt to discover something that is rooted in the local nature of our nation and meaningful to the whole contemporary design language. A good poster should be looking for "China characteristics" that can identify, analyze and interpret the wisdom, artistic conception and spirit of our nation. We should seek the right direction for "China Design", and also provide the wisdom and imagination from grasping our native land for the richness of international poster art design.

(1) Inheritance of national culture and poster design

The culture and art of the Chinese nation is a rich treasure house, which has profound enlightenment and reference for poster design. In the face of rich national cultural resources, we can re-recognize and re-explore at multiple levels and angles.

1. Learn from artistic techniques.

The development of China's 5,-year-old civilization, whether it is palace art or folk art, whether it is literati painting or religious painting, has accumulated a large number of rich and diverse artistic expressions and forms through the creative practice of painters, artists and craftsmen in past dynasties. From painted pottery in the Neolithic Age to bronze in the Yin and Shang Dynasties, from vessels and silk paintings in the Warring States Period to sculptures and stone reliefs in the Han Dynasty, from paintings in the Tang and Song Dynasties to porcelain in the Ming and Qing Dynasties, as well as paper-cutting, woodblock New Year pictures, architecture, ornamentation, costumes, masks and so on, which are widely circulated among the people, fully embody various techniques such as grandeur and dexterity, simplicity or exquisiteness, neatness or extensiveness, enthusiasm or elegance, or simplicity or luxury. Whether it is the brushwork of Chinese painting or the decorative pattern of engraving and rounding; Whether it's exaggerated folk paper-cutting or strongly colored woodblock New Year pictures, all these provide rich expression forms and schema language for poster design now. Jin Daiqiang created a poster with China cultural characteristics for the Japanese "free" paper workshop, using the raw edges of traditional hand-made paper on the paper grain. The change of bamboo grain on Xuan paper constitutes the image of artistic conception evacuation in China's landscape natural painting, which shows China's unrestrained humanistic temperament and carefree attitude towards life. The whole poster production combines with China's traditional artistic expression techniques to highlight the style of the work incisively and vividly. For today's mechanical tools, computer technology brings the rational tendency of monotonous expression, and traditional national art expression plays an important balance role in the coordination of modern means and intelligent means.

2. Learn from image elements.

after a long history, Chinese culture and art have gradually formed figures and patterns with typical cultural connotations. They include images of figures, plants, animals, totems, geometric symbols and other forms, as well as some widely spread allusions, idioms, legendary figures and scenery, and some established things and combinations. For example, Mei Zhusong's three friends symbolize faithful friendship, three sheep open Thailand symbolizes good luck, lotus and fish mean "more than one year after another", and magpie and plum blossom mean "beaming". These graphic elements with strong local flavor are an important part of national culture. As Mr. Zhang Daoyi pointed out, "Folk art is a primitive culture". If these elements with rich national form characteristics are organically combined into modern poster design, it will undoubtedly bring a fresh air to the monotonous and boring modern design style.

For example, Han Binghua took the ice crack (opening film) as a creative concept, combining Chinese character quotation and "Suzhou Impression" poster. The opening pattern pane and the brushwork of "three points of water" constitute the main body of the word "Zhou", and highlight the word "Su" in the plaque of "Hanshan Temple outside Gusu City" to show Suzhou. The background is set with the shadow of mountains and rivers and the photo of a boat, and printed in black and silver, which shows the poetic artistic conception of China's art.

3. Drawing lessons from

the holistic, dialectical and causal thinking mode in China traditional culture, it emphasizes the dialectical unity and mutual connection of all aspects of things, and its thinking process emphasizes synthesis and induction. Reflected in the view of nature, it emphasizes "harmony between man and nature", "natural", "I don't care about things" and "success depends on circumstances". His thoughts originated from Taoism, Confucianism and Zen in the pre-Qin period, which is the basic core of the primitive and simple chaotic thinking methodology. China's unique way of thinking provides a powerful ideological weapon for modern science and technology to unlock some knowledge codes. The concepts and ways of thinking contained in the three major discoveries of modern science-quantum mechanics, relativity and chaos theory are quite consistent with the traditional way of thinking that emphasizes integrity, harmony, relativity and transformation contained in China's national culture. China's painting theory and design principle are closely related to this way of thinking. The essence of this way of thinking is revealed in the rotation of Yin and Yang in ancient Taiji pictures, the abstract ambiguity of bronze decorations, and the coexistence of freehand brushwork and reality in Chinese painting. We know that the transformation of thinking mode into poster design often leads to the creation of creativity, which is an idea that exists in people's subconscious mind. The generation of a good thinking idea can transcend any factors that hinder the communication between human beings and reach a higher level of communication with each other. It is one of the indispensable conditions for "China Poster Design" to enter the international design stage. When designing posters, our designers can combine the creative thinking of their works with the traditional view of nature, philosophy and way of thinking of the Chinese nation, which often produces unexpected effects.

(II) National traditional culture and contemporary poster design

The interaction and win-win between Chinese and western cultures has become an inevitable trend of the development of the world multicultural pattern. Poster design should be rooted in the soil of local cultural essence, deeply understand the traditional "China characteristics", absorb foreign excellent consciousness, methods, eclectic, comprehensive, so as to have its own unique features and not lag behind the international trend of design concepts and practice systems.

1. Creative transformation of the essence of national culture

For China's national culture, we should not only discover the rich resources contained in it, but also see the shortcomings and shortcomings in it. When designing posters, we should learn and apply them flexibly. Many designers still have the tendency of "borrowing from the ancients to respect themselves", thinking that putting on a few pieces of ancient costumes or moving out of allusions and myths is to promote national culture, and the design has cultural connotations. However, this is just a superficial absorption away from culture, deliberately imitating the behavior of wearing clothes and hats.

So how to combine nationality with creativity of the times in poster design is one of the keys to embody its local cultural design. We believe that the first thing is to transform the visual symbols and value systems in China's cultural tradition, so that these symbols and value systems can become the seeds of benefits and changes of the times, rooted in the hearts of Chinese people, and keep their cultural identity. Therefore, what we should strive to grasp is not only the form and content, but also the spiritual way and aesthetic connotation contained in China's traditional visual symbols, and naturally transform them into our contemporary poster design, that is, transform traditional cultural symbols into modern visual language. For example, Yu Bingnan's "A Family Across the Taiwan Strait" created in 1995 is a "Chinese character" poster designed for Taiwan Province Impression Poster Club. The oldest seal character "home" is selected in the work. Home is a pig under the roof. What a beautiful image, what a stable and happy family. Although it has experienced a long period of overlapping shapes and reproduction, it still cannot be separated from the original intention of creating words, which metaphorically reflects the theme of a family on both sides of the Taiwan Strait. Liu Xiaokang designed "New Beijing, Great Olympics", with a vivid, powerful and dynamic background in the Nine Dragons Wall of the Forbidden City in Beijing, plus a running humanoid figure and a sense of science and technology, overlapping the dragon shape and humanoid figure, combining traditional culture, modern thinking and sportsmanship to express the weather of Beijing in the new era, and there are many successful works, such as Hello Hong Kong designed by Chen Youjian in 1987. In 1993, Li Yongquan designed the poster of "Eight Modern Hong Kong Designers Exhibition-Eight Immortals Crossing the Sea", etc., which re-viewed China's traditional visual symbols from the perspective of visual culture, deepened the grasp of the essence of China's traditional culture, which was enlightening for discovering the poster design art with national characteristics in the new period.

2. Poster design of modern China in "globalization"

In today's globalization, posters, as the carrier of information and ideas exchange, have become an indispensable part of people's lives. A successful poster design should show people's ideas of * * * from different regions and cultural backgrounds through graphic and cultural means, so as to avoid people's obstacles to human communication due to culture, region, language and race.

The truly ideal "modern poster design" should be more of a way of thinking that integrates the past with the present and cares about human nature, is the coexistence of multiple cultures, is the embodiment of the "modernization" of the coordination between man and nature, and is the life realm of "Heaven and earth coexist with me, and everything is one with me" as envisioned by Zhuangzi. Of course, cherishing the tradition is not blindly indulging in aesthetic emotional experience. We hope that the poster design of China will be based on the wind of western learning in a rational order, casting ancient traditions and cultivating a powerful force to support China's cultural life, instead of blindly cutting the excellent fragments of our ancient graphics and transplanting foreign cultures out of thin air. "What is national is international", put the poster design in national costume, and let it accept the challenge and absorb nutrition in the impact of various cultures in the world.

(3) Conclusion

Faced with the strong invasion of "Western culture", our culture and art are bound to face unprecedented challenges. "Dancing with wolves" is not terrible. On the contrary, every blending of heterogeneous culture and China national culture will bring about a qualitative flight of national culture.