Traditional poster design-What are the traditional forms of poster design?

My understanding of the national poster design that surprised me;

Taking my usual film selection preference as an example, it is a key factor to decide whether the design beauty of the poster appeals to me. 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 profound 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 in graphic language, not in 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 5,000-year history and culture. Personally, I like this traditional, simple, elegant and profound cultural heritage, so I will stop to taste the following film and television posters with oriental aesthetic design ~

What impressed me the most was this poster of The Legend of the Demon Cat. When the picture entered the eye socket for the first time, it was a thick hand-painted meticulous atmosphere. Under the background of cool colors and China's aesthetic elements, the three characters of "The Legend of the Demon Cat" in calligraphy are very eye-catching. The composition of the picture is symmetrical, and the phoenix at the top of the picture is half hidden in the blue water mist, with a slight expression. The dragon face of the main body of the picture is actually an isolated building at the top of the cat, and the blue peony flowers set off on both sides seem to imply the women represented by the cat and peony, as well as the bumpy fate of women because of this isolated building.

One of the posters of the variety show "Here We Come" should be a close-up of local embroidery on cheongsam. Through such a beautiful and elegant dress made of gold thread, it seems that we can get a glimpse of the elegant posture of the female guests wearing cheongsam, which can not help but make people look forward to and discover it.

I am surprised at this poster of Monster Hunter. First of all, the atmosphere of the whole picture is very freehand, which highlights 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 makes us ready for a fierce battle, and the two sides seem to be at daggers drawn. Such a picture makes people want to think about it.

The poster "I am repairing cultural relics in the Forbidden City" uses an ancient painting that is in urgent need of restoration. The broken traces of some cultural relics directly below the picture are clearly visible. People with obsessive-compulsive disorder will definitely not regard such a good work as a damaged state. Personally, I think that the workers who restore cultural relics in the documentary treat cultural relics as delicately as doctors do surgery on patients. Every trace of cultural relics should be well known and restored as new. Restore them to their original appearance and bring them back to life, as if the painting were still torn. After the restoration, the bamboo forest in the painting seems to shake with the wind, and the two cranes may spread their wings and fly in the wind next ~

The international poster of The Origin of the White Snake seems to be a combination of international visual effects and China's traditional aesthetic thinking. The whole picture uses blank space to set off the artistic conception well and lead us to shift our focus to the scene in the eyes of the white snake. A tear about to drop will set off a sad atmosphere in the hazy and beautiful memory world in the eyes, but there is a little tenderness and warmth around the heart in the cold. I don't think I need a spoiler, so I know I'm abusing my heart.

Guo Man's masterpiece "Nezha", which caught fire some time ago, really has to say that a poster of Taiyi was chosen here, just like everyone coming out of the cinema to vomit. The Taiyi real person who appeared on the scene this time is really refreshing, which is the opposite of the fairy appearance in everyone's mind. On the contrary, this is a silly fairy riding a piggy mount and drinking like a dog. The whole poster is hand-painted with lines and colors. Taiyi is a real person, lying leisurely on the piggy mount, drinking with his mouth wide open. Above his shoulders are all kinds of fruits, gold and silver jewelry and cultural relics, while below are all kinds of gold ingots. This background also sets off the characters' hobbies. The green lotus on the right seems to be a metaphor for Nezha.

Because 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 condemn him. In order not to drag down his parents and the people in Chentangguan, he chose to commit suicide.

After his death, his master Taiyi used lotus root as the skeleton and lotus leaf as the muscle, which finally brought Nezha back to life. I still remember the scene when Nezha resurrected the corpse with lotus root, so from then on, when I saw lotus root or lotus root, I couldn't help thinking of Nezha.

Haha, after all, Nezha, the lotus root after resurrection, is full of treasures! Don't believe me. Look.

What are the traditional forms of poster design? Visual communication design is an art with "picture" as the information carrier, and it is a design art form combined with communication. Among them, poster is an unusual communication carrier full of information and communication, which often enables people to quickly identify the content and meaning conveyed by 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, modern visual design in China is full of visual language influenced by the West, and the phenomenon of "aphasia" of "internationalization" of visual symbols and "localization" of visual language is very prominent. The great harmony of world design is its end. When the design loses its national personality, not only can it not achieve the goal of "reaching the world level", but it is actually on the road to decline. The real "China design" should be an attempt to discover something rooted in our native land and meaningful to the whole contemporary design language. A good poster should look 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 provide the local wisdom and imagination for the richness of international poster art design.

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 significance for poster design. In the face of rich national cultural resources, we can re-understand and re-explore at multiple levels and angles.

1. Learn from artistic techniques.

The development of China's 5,000-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 through the creative practice of painters, artists and craftsmen in past dynasties. From painted pottery in the Neolithic Age to bronzes in the Yin and Shang Dynasties, from utensils and silk paintings in the Warring States Period to sculptures and 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 and masks, 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, simplicity or luxury. Whether it is the brushwork of Chinese painting, or the rounded decoration; Whether it is exaggerated folk paper-cutting or woodblock New Year pictures with strong colors, it provides rich expression forms and schema language for the present poster design. Jin Daiqiang created a poster with China cultural characteristics for Japanese "Freedom" papermaking studio, and used the raw edges of traditional hand-made paper on the paper grain. The change of bamboo pattern on rice 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 the traditional artistic expression techniques of China, and highlights the style of the works to the fullest. For today's mechanical tools, computer technology brings a rational tendency of monotonous expression, while traditional national artistic expression plays an important balance role in the coordination of modern means and intelligent means.

2. Learn from image elements.

After a long historical development, China's culture and art have gradually formed figures and patterns with typical cultural connotations. They include figures, plants, animals, totems, geometric symbols and other forms of images, as well as some widely spread allusions, idioms, legendary figures and landscapes, as well as 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 and more year by year", and magpie and plum blossom mean "beaming". These graphic elements with strong local flavor are an important part of national culture. As Mr. Zhang pointed out: "Folk art is a primitive culture". If these elements with national characteristics are organically combined into modern poster design, it will undoubtedly bring a fresh wind to the monotonous modern design style.

For example, Han took "Ice Crack" (title) as the creative concept, and combined Chinese quotations with the poster of "Suzhou Impression". The opening pattern pane and the brushwork of "three points of water" constitute the main body of the word "Zhou", highlighting the word "Su" in the plaque of "Hanshan Temple outside Gusu City" and showing the style of Suzhou. The background is the shadow of mountains and rivers and the photo of a ship, and it is printed in black and silver, showing the poetic artistic conception of China.

3. Learn from thinking.

The holistic, dialectical and causal thinking mode in China's traditional culture emphasizes the dialectical unity and interrelation 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", "nature", "regardless of things and me" and "taking advantage of the situation" His thought originated from Taoism, Confucianism and Zen in the pre-Qin period, and it is the basic core of 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 ideas 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 ways of thinking in China's national culture, which emphasize integrity, harmony, relativity and transformation. China's painting theory and design principles 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 the ancient Taiji diagram, the abstract ambiguity of bronze decoration and the coexistence of freehand brushwork and realism in Chinese painting. We know that the transformation of thinking mode into poster design often produces creativity, which is an idea that exists in people's subconscious. The generation of a good thinking idea can transcend any factors that hinder 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 results.

(B) 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 the essence of local culture, deeply understand the traditional "China characteristics", absorb foreign excellent consciousness and methods, and make eclectic and comprehensive use, thus forming a design concept and practice system with its own uniqueness and not lagging behind the international trend.

1. Creative transformation of the essence of national culture

For our national culture, we should not only explore the rich resources contained in it, but also see its shortcomings and defects. When designing posters, we should learn and use them flexibly. Many designers still have the tendency of "borrowing from the past to respect themselves", thinking that putting on a few ancient costumes or moving out of allusions and myths is to carry forward national culture, and the design has cultural connotations. However, this is only a superficial absorption away from culture, deliberately imitating the behavior of wearing clothes and hats.

Therefore, how to combine nationality and creativity of the times in poster design is one of the keys to embody its local cultural design. We believe that we should first transform the visual symbols and value system in China's cultural tradition, so that these symbols and value systems can become the seeds of the interests and changes of the times, take root in the hearts of China people, and maintain their cultural identity. Therefore, we should strive to grasp 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 1995 "A Family Across the Taiwan Strait" is a Chinese character poster designed for the Taiwan Province Impression Poster Conference. The oldest seal script "Jia" is selected in the work. Home is a pig under the eaves. What a beautiful image, what a stable and happy family. Although it has gone through a long period of overlapping and duplication of shapes, it still cannot be separated from the original intention of writing, that is, it is a metaphor for the theme of a family on both sides of the strait. Liu Xiaokang's "New Beijing, Great Olympics" is vivid, powerful and dynamic with the background of the Nine Dragons Wall of the Forbidden City in Beijing. Coupled with the running humanoid figure and the sense of science and technology, it overlaps the dragon shape with the humanoid figure, combines traditional culture, modern thinking and sportsmanship, and expresses the weather of Beijing in the new era. There are many successful works, such as "Hello Hong Kong" designed by Chen Youjian 1987. Posters of "Eight Immortals Crossing the Sea" designed by Li Yongquan in 1993, etc. Re-examining China's traditional visual symbols from the perspective of visual culture deepens the grasp of the essence of China's traditional culture, which is instructive for discovering the poster design art with national characteristics in the new period.

2. Contemporary China Poster Design under "Globalization"

In today's globalization, posters, as carriers of information and ideas exchange, have become an indispensable part of people's lives. A successful poster design should show the general ideas of people from different regions and different cultural backgrounds through graphics and cultural means, so as to avoid factors that hinder human communication due to culture, region, language and race, and realize direct communication between hearts through visual graphics.

The real ideal "modern poster design" should be more of a way of thinking that connects ancient and modern times and cares about human nature. It is the coexistence of multi-cultures, the embodiment of the "modernization" of the coordination between man and nature, and the life realm of "heaven and earth coexist with me, and everything is one with me" envisaged by Zhuangzi. Of course, cherishing tradition is not blindly indulging in aesthetic emotional experience. We hope that China's poster design will be based on the trend 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 poster design in national costume, and let it accept challenges and absorb nutrition in the impact of various cultures in the world.

(iii) Concluding remarks

Facing the strong invasion of "western culture", our culture and art will be challenged as never before. Dancing with wolves is not terrible. On the contrary, every blending of heterogeneous culture and China national culture will bring about a qualitative leap in national culture. Facing the wave of design globalization, the lack of thought and the negligence of belief will become the opponents of every poster designer. Therefore, in this soil with a long and splendid cultural history, our poster designers should be "good at learning from Handan without losing the old steps." The combination of Chinese and western, mainly Chinese, and the combination of origin and origin. Based on the source, we will form national personality and let our national culture continue to be passed down. Our poster design art will surely shine in the localized soil.

How to design China folk culture poster _ traditional culture poster design I. Cultural differences and identity

Culture is not a fixed concept. The form of culture is complex and changeable, and the cultures of all ethnic groups have their own characteristics, which are constantly changing under the influence of internal and external factors. Nevertheless, we can still grasp the connection points and similarities between cultures of various nationalities and times from the complex cultural phenomena and cultural forms. Culture is enjoyed by * *, and it is the ideal, value and code of conduct enjoyed by members of a specific group. However, culture can also be learned. People grow up with culture, and the cultures of different groups can also form an intersection. We always emphasize that we are in the era of global integration, and the cultures of various countries and nationalities are also influenced and infiltrated with this change, and this cultural exchange is finally implemented in all aspects of life. For example, although there are differences in religious beliefs between China and the West, most people in China do not understand the teachings of Christianity, which does not prevent us from taking a holiday in the name of Christmas; Although westerners may not know the difference between the Gregorian calendar and the lunar calendar, it does not affect them to enjoy the festive atmosphere of the Spring Festival with overseas Chinese all over the world.

Second, the cultural differences and identity reflected in poster design

Posters are also called "posters" and "posters", and the English name is "poster", which means printed advertisements posted on cardboard, walls, large wooden boards or vehicles, or printed advertisements displayed in other ways. It is the main form of outdoor advertising and one of the oldest forms of advertising. Some people interpret the meaning of posters according to their root structure and anecdotes, and think that posters are converted from "posts", which means posts, so posters refer to all notices posted on posts. No Chinese dictionary has given a special explanation for the word "poster", but it is said that during the Qing Dynasty, foreigners parked foreign goods carried by seagoing ships at the coastal pier in China and put up posters in conspicuous places on the pier streets to promote their goods. Coastal citizens call this poster. According to this development, all posters with similar purposes and other information will be called "posters" in the future.

(A) the phenomenon of cultural identity in posters

The spread of culture is based on symbols, for example, language is the most important symbol. With the help of language, culture can be passed down from generation to generation and spread more widely. According to different senses, symbols can be divided into auditory symbols, visual symbols and tactile symbols. Language belongs to auditory symbols, while words belong to visual symbols, and graphics and images are also important visual symbols. Posters have the characteristics of large screen, extensive publicity content, rich artistic expressions and strong long-distance visual effects. They are excellent carriers of cultural communication and an important part of graphic design works. It is widely spread because of its rich content, clear theme expression, diverse communication channels, simple display mode and no excessive restrictions on environmental props. Many familiar international graphic designers have outstanding representative works in this field. Many international graphic design competitions are also conducted through this form of expression. Seven consecutive international college students' anti-fur poster design competitions were held, requiring participants to use original poster works to guide consumers to think about the moral issues of fur clothing. When we appreciate the outstanding design works that won the final prize, we can easily find that similar ideas or similar graphic elements are often used in poster works from different countries, that is to say, college students from different countries, different cultural backgrounds, different educational backgrounds and different growth environments have some similarities in the choice of ideas and materials. For example, in the fifth competition in 2007, the theme of the competition was: victims of fashion. Three of the winning works in China Division have hanger elements, and one of the winning works in the United States and Canada has hanger creative elements. This phenomenon shows that at the beginning of design, Chinese and foreign students invariably associate fashion with clothes hangers when choosing the elements of poster creation, and adopt some forms of expression in their own poster design works, such as physical shooting, hand-drawn sketches or forming different graphics.

In the historical process of increasingly close global economic ties, humanities, politics and cultural exchanges between countries have become increasingly frequent, forming an interdependent relationship to a certain extent. As a designer, I always hope that my works can be widely spread and understood and accepted by more people. Therefore, I often use graphic elements that most people can accept and understand. The gold medal of the second International Poster Biennale for Eastern and Western University Students is an anti-war poster named "warm". The English word "War" is written in the center of the background, next to a broken heart, which looks like a pair of little wings with a halo, just like a bloody angel. There is a row of theme words below the picture: Please don't let these wings fly away. The color of the whole painting is mottled, which reminds people of the trauma caused by the war. In this bleak scene, this little red heart warms the viewer's heart and makes people feel some different flavors in the heavy. English is not our mother tongue, but it is an international language; Most people in China don't believe in Christianity, but most people can recognize the typical characteristics of angels. Therefore, this work can be interpreted by most audiences at home and abroad. It can be seen that despite growing up in different cultural and educational backgrounds, international exchanges are getting closer and closer, and now the younger generation in the East and the West are gradually converging in lifestyle, behavior habits and even ways of thinking. This is both an opportunity and a challenge for designers: on the one hand, using internationally accepted visual elements to create works can improve the spread of works and gain the understanding and recognition of most audiences in the shortest time; On the other hand, only using cultural identity to design posters will inevitably lead to too many risks of creative "collapse". Therefore, it is very important to grasp the "degree" between them.

(b) The cultural differences contained in the poster make it unique.

Throughout the development of poster design, most of the poster works of internationally renowned graphic designers contain unique and personalized visual language related to their own background culture, which is gradually transformed into a strong personal style, so that the audience can understand who the designer is as soon as they see the poster screen. A series of posters created by Ichigo Tanaka, a famous Japanese designer, for the traditional Japanese drama Nobu Drama are widely circulated. Neng Opera is the first Japanese national drama, which evolved from "Ape Music" performed in a shrine, and is of great significance in the history of japanese theatre. "Nengju" has fewer characters and focuses on the performance of the plot. It is a symbolic drama. All the actors who play the roles in the play wear masks, which is an important feature that distinguishes Nengju from other plays. Getting together starts with choosing a mask. Most of Tanaka Yoshimitsu's posters of energy dramas take masks as the main graphics. In the way of expression, he used a large area of geometric color blocks to summarize the original complex and figurative masks and headdresses, summed up their main characteristics, and used high-purity complementary colors to create a strong visual impact. In addition to using geometric color blocks to create posters, there are some posters with characters and even strokes as the main creative elements. These characters are often the content of a chapter in a drama, and they are arranged on the screen in an array; Or split the strokes of the title of the play and distribute them in the picture without affecting the recognition; Sometimes different plays are distinguished by corresponding colors.

A large number of traditional Japanese images and national elements are used in Tanaka's poster design, but these elements are expressed by relatively modern geometric forms. The use of complementary colors in posters creates a colorful and colorful drama world, and through clever division and spacing, it reflects the overlapping of levels, which makes the poster picture form a sense of space similar to the western perspective effect. This is an excellent embodiment of tradition and modernity, cultural differences and identity. Some people may say that nowadays, it is far from Tian Yiguang's heyday, and Nengju itself is a relatively traditional cultural field, so it is inevitable that some unique national cultural symbols will appear in posters. Then, the new Iranian designer Me-hdiSaeedi is another vivid example. Mahdi Sadie's works always contain ethnic elements such as Persian characters and traditional characters. For example, the poster "Three Iranian Faces" he created for the oil painting exhibition of three Iranian female artists uses the change of Persian size and writing angle to form three interrelated female side faces, which perfectly fits the theme. He thinks that Persian characters and Latin characters are very different in structure. Latin characters are between two parallel lines, while the structure of square characters is easier to deal with the balance problem. On the other hand, Persian characters are more fluid and the combination of letters is more random. Designers can design in a more novel way, and the graphic effect is more obvious than Latin characters. Another of his poster works, Impression of Iran, was made for an exhibition of Iranian photographers: the main graphic of the picture is the image of a traditional Iranian man with his head wrapped, showing strong local characteristics. As a designer who studied in Britain and France, MehdiSaeedi understands that for most people, the recognition of Persian is limited, so there are always themes marked in English in his works, which are organically combined with the original Persian characters. In his own words, it is "trying to combine the characteristics of these two languages." MehdiSaeedi tells us through his successful poster design that the collision between different cultures can often spark unexpected sparks.

(C) the "chemical effect" caused by the collision between Chinese and Western cultures

Many posters designed by Chen Youjian, a famous Hong Kong designer, are full of China cultural elements, and this China flavor is expressed by simple and easy-to-understand modern design techniques. He himself responded modestly: "Basically, all my things are superficial. But why am I doing so well? Because I know how to express my culture, so that both China people and foreigners will find it interesting. But that doesn't mean I know much about China culture. Just ask me one more question, and I may not be able to give you a deeper answer. " Using this design concept of different cultures to complete the works is to "express China's culture and taste through international activities, and get back the dignity of China people on the international stage through this exhibition". Look at the poster design of his solo exhibition "EAST Meets West" held in Tokyo in 1990. The main body of the picture is a seal character "East" written in sand. After careful observation, we can find that this traditional stroke structure of oriental characters is divided into four English letters "East", which means "East" in English. If you turn the poster upside down from another angle, the words and strokes will form "West" and become the meaning of "West". He skillfully combined the English words "East" and "West" in the same ancient China script, which not only covered the theme of this solo exhibition "East meets West", but also reflected the blending and intersection of East and West. The overall picture is warm yellow, and the font depiction in the gravel reflects the mystery and vicissitudes of ancient oriental culture and history.

The poster designed by Chen Youjian for the exhibition of seven Hong Kong designers' works in "Hong Kong East and West" is also full of inspiration sparks generated by the collision of different cultures. There is a cup of hot tea in the center of the light-colored painting, which is a typical China porcelain teacup, made by several strokes, but the cup is soaked with black tea. The label composed of red and yellow is reminiscent of Lipton, a British classic brand with the reputation of "the king of black tea in the world", but the text on the label has been replaced by the theme of this exhibition. The tea in the cup is steaming, and the rising gas is composed of colored lines, which seems to mean that the design works of Hong Kong designers who grew up under the influence of eastern and western cultures will surely shine in the design world through the presentation of this exhibition. The poster is plain in color, prominent in the main body of the picture, concise but not simple, and contains rich and meaningful content. It is not only the "patent" of Hong Kong designers to integrate the oriental cultural tradition with the western design aesthetics. Mainland designers also feel the unique design charm of the combination of East and West, and have created many excellent poster design works. In a set of poster designs named "A Hundred Flowers Let a Hundred Schools of Thought Contend" designed by Shenzhen graphic designer Liu Yongqing, he skillfully combined Chinese and Western characters. In the picture, "a hundred flowers blossom" is combined with traditional flower graphics, and the word "a hundred schools of thought contend" is combined with the statue of Confucius, which embodies the literal meaning of these eight words. At first glance, these two posters are unremarkable, but after careful reflection, we find that the theme text is different-the strokes of Chinese characters are composed of English letters, and different English fonts also make Chinese fonts have different font effects, Song Like style and bold style. Through the designer's treatment, the eastern and western characters are skillfully combined, and an unexpected harmonious visual effect is presented in the picture.

Third, the conclusion

Culture is a broad and abstract concept, which exists in all aspects of our lives, but it is difficult to define it accurately. In the field of poster design, designers condense it into visual elements and embody it in the picture. When designing creativity and performance, we should not only consider the acceptance of the widest audience, but also ensure the unique cultural connotation and personality characteristics of the work, so it is particularly important to properly grasp the relationship between cultural differences and identity. This is also one of the long-term research topics that our country's design works need to be internationalized while maintaining the characteristics of China.