The Combination of Modern Design and Chinese National Culture

Creating graphic design and packaging design with Chinese cultural characteristics has always been a hot topic in the design community. How to use our outstanding cultural traditions to create a design that meets Chinese contemporary design has become a problem that designers cannot avoid.

Americans have American culture, Japanese people have Japanese culture, Chinese people have Chinese culture, and each society has traces of social development. A designer should have extreme sensitivity to contemporary society. How to maintain nationality is the designer's responsibility. If we do not have a sensitive designer who emphasizes national culture, how can we engage in ethnic design? Whether modern products have Western European style, American style, or Japanese style is nothing more than the embodiment of their culture. Many basic concepts of knowledge appear to be relatively fixed in culture.

How do we shine the glory of our national treasure in graphic design? The graphic design is basically composed of three aspects: pattern, text, and color. When we explore the application of ethnic cultural and artistic heritage, we can dig from these three aspects. In the thousands of years of use in China, we have to analyze its design ideas, design methods, design results, and design concepts. This is the continuation of a national cultural heritage.

Looking at the heritage from the point of view of pattern application, China can use the decorative effect of patterns in mature times, and even go back to ancient vessels 5,000 years ago. We can feel that the creation of beauty has been as mature as that. From those pottery, bronze wares, and jade wares, we can feel a mystic charm that is either quaint and elegant, or noble, or exquisite. Seibu Hong Kong, with traditional Chinese jade fish, evolved into the Seibu department store's English name SEIBU S, fish and Yu Tongyin, a symbol of life and prosperity, more than a year. The entire set of DI uses the Pisces trademark for endless recycling, and the original meaning of the trademark is further strengthened.

Vatan matches use a series of wattage patterns to blend matches into ethnic culture. The beauty that we still stunned today, in the mentality of people in modern society seeking to return to nature, can better satisfy people's nostalgia and better reflect a high level of beauty. Although this kind of beauty has not been successfully applied in China's graphic design field, he is a kind of beauty that is stunned by the modern world. It is a beauty that meets the aesthetic taste of modern people and is worthy of our Chinese art designers to dig deeper. And application.

When people praised Picasso, the cubist artist, for the creative genius of the United States, he said: "I did not create beauty, but discovered beauty." From a flying dust, Miro, who inspired a series of creative inspirations, created a series of paintings and sculptures inspired by Chinese traditional art and folk art. In 1995, Miro in China's "Miro Art Retrospective Exhibition" had a Chinese folk street artist making children play, colored paper and a small wooden stick, a line of scissors and collage made of colored paper dragon , actually placed in the middle of the master sculpture. In the rich and colorful heritage of Chinese folk art, what has our Chinese art designer got from it? In the folk art, as people engaged in the fine arts, we can feel the rich imagination of the people of the Chinese nation from the rich and varied form of expression and content. The creativity embodied in paper-cutting, new-year paintings, clay sculptures, wood carvings, porcelain, weaving, embroidery, and other folk craft works is simple and concise, flexible and exaggerated in shape and design, and it also shows the traditional flavor of the people. Western art The master can get creative inspiration from him, and as our own thing, how can our graphic designers carry forward. This is a question for us to go further and further study. Baoqing Daqu: The main theme of this project is the beachhead folk painting “He Qi Zhi Xiang”, which retains the cultural foundation at the bottom of white and the earthenware fired the wine bottle. The overall design expresses the essence of the product “Private Wine”.

Ink painting and calligraphy are one of the treasures of traditional Chinese art and its expression has been successfully adopted by many graphic designers in Japan. As the main form of the development of Chinese culture and arts, the connotation of black, white, and gray in the Chinese ink painting and calligraphy works, as well as the overall beauty of the coordination of the dotted lines they pursue and the rhythm and strength of the individual display. The decorativeness embodied in the charm is still in line with a high-level, high-taste appreciation trend in the modern world. Chinese painting and calligraphy both pursue the overall artistic concept of “whiteness and darkness” in the layout, and it is a perfect idea in graphic design. Several calligraphy fonts are accompanied by a simple graphic or color block, or an abstract graphic and a few lines of ink formed by a pool of ink. After being arranged, it can be a successful graphic design. These fully embody the charm and philosophy displayed by Chinese paintings and calligraphy. The program of the Macao Chinese Orchestra: The use of binding book binding, adding to the cover of the ancient taste, simple ink painting illustrations and strong folk wood engraving flavor of the color and font printing effect, highlighting the endless charm of folk art.

The Chinese nation not only regards writing as a tool for human ideological communication, but also expresses it as an art. Ancient calligraphers created rich and colorful text art for our Chinese nation. The practice of writing a word into a kind of beauty that can be tasted gives us modern art designers a precious legacy of writing applications. It also provides a similar kind of design to Japanese graphic designers who have evolved from Chinese characters. Wealth. The decorative nature of the text often adds a lot to a graphic design work. The 26 English letters commonly used in Western countries have their rich decorativeness as graphic designers, and as graphic designers in China, How can we allow our nation's rich Chinese arts to carry forward its decorative beauty? We may wish to analyze it. From the perspective of the appreciation of the five Chinese calligraphy styles, the ancient script is quaint and exquisite, the official script is luxurious and elegant, the cursive calligraphy is unrestrained, the writing is smooth and free, and the script is dignified and stable. Each has its own decorative effect. From the practicality of its calligraphic fonts, since it is difficult to understand regular script and cursive script, the application of graphic design can be mainly focused on decoration. However, 楷, 行, 隶, can be used as the content to convey and prepare the text description. Of course, Chinese modern texts usually use the Song and the black body to convey the regular typefaces. However, as the calligraphy art of Chinese culture and arts, it is still worth our graphic designer to carry forward the application. The logo of the Bank of China Group is a symbol of internationalization rooted in China. The image is represented by the word "China". The shape of the old coin represents the bank and the middle line symbolizes the connection. The outer circle represents the Bank of China is an international large bank that faces the world. Copper coins, there are concepts of China's Tian Yuan place inside, these are long-term cultural concepts that affect the aesthetic form of China, and the logo design of major banks today also respects this concept.

Tang Chaozhen wine gift packaging expresses the theme with traditional art materials. The inside and outside of the whole package gave a strong impact. The prosperity and prosperity of the Tang Dynasty was vividly demonstrated. The art and cultural relics of the Tang Dynasty contrasted with the theme of Tang Dynasty.

Next, let us talk about the connotation of traditional Chinese colors. Different colors always give people different emotional expressions, but different nations have different emotional responses to color. This is mainly due to different cultural development background. Iron Muddy: According to the current family composition, the products are divided into two pairs (Dragon & Phoenix), Three Doubles (Ji Jia Huan), Pick Double (Fu Mantang) and a set of three and a matched flower, lotus, bat, etc. Elements. The green peace, the blue peace, the red festive building life changes; the seven-color velvet weaves the life and weaves the good; the savoring of the meal is the well-being, joy, happiness, and pride.

There are two reasons for the formation of the Chinese color concept: The first is the natural law that imitates the natural natural beauty of nature. The second is the social law, which is the inherent color concept of subjective consciousness. It transcends objective and natural. It represents a kind of ideological belief, with political characteristics, national cultural characteristics, or both. However, in the process of the development of China's color concept, political and ethnic humanities have played a leading role. According to ancient records: Fuxi, the god of the sun, Huangdi was the Emperor of Light in this training, namely, the god of light and Yandi, the god of fire. Therefore, from the original clan, he worshipped white and red. Until later, the Confucians defined green, red, yellow, white, and black as "unorthodox" and used yin and yang to explain color. It has formed a fixed view of China's color. When we stand in the modern aesthetic point of view to see the application value of "no squareness and positive colors" of green, red, yellow, white, and black, we can find that it still has a worldwide modern atmosphere. Cyan reminds us of the ancient, dignified beauty of the bronze ware and the color psychology of modern urban people. Red color, which is red, is a nationally representative color. It has been representing the joy of a nation since ancient times. It seems that there is less red in the atmosphere of joy. How to better apply red is a topic that we Chinese graphic designers must seriously study because in the field of graphic design, bad red is more likely to be tacky, and “big red and green” is the case. The devaluation. Yellow has always been used as an authoritative representative in the feudal society in China, and it also evoked the national flavor of the Chinese nation. The terms "Yanhuang descendants, the Yellow River, the loess, the slope, and the loess culture" are enough to confirm the nationality of this breath. As long as the yellow is associated with Chinese traditional culture, yellow can exude the artistic charm of the nation in the modern graphic design. In Chinese paintings and calligraphy works, we can always feel the charm of black and white.

As a modern Chinese graphic designer, understanding and grasping the individuality of the nation's colors, and researching and applying the essence of traditional culture and art, can make our country's graphic design show a unique national charm in the world's fields. The legacy of the Chinese nation’s cultural and artistic treasures will always be an indispensable solid foundation for our development in this area. Of course, we cannot also radicalize and purify the understanding of culture. Culture is a historical accumulation that develops in absorption and change. For today's Chinese culture, we will go to the world with more open minds, surpass ourselves, and let ourselves have a wonderful future.

(Fang Qihou, Art Design Department, Shanghai Second Polytechnic University)