European and American retro illustration pop Weibo - What are the common illustration art styles in clothing design? Can you elaborate?

What is Pop pattern?

The development of British "Pop" culture and "Pop" design

If you want to use a noun to describe the design style of the 1960s, the most appropriate one should be "Pop" "(Pop), this word comes from the English popular (popular), but when it established a close connection with the culture, art, thought, and design of the 1960s, it not only refers to the culture enjoyed by the public, but It is more of a rebellion against orthodoxy, which is the biggest feature of this era. Among Western countries, the United Kingdom is the country that most reflects the “Pop” design style.

What must be clarified here is the difference in meaning between the two words "Pop" and "Popular". Many people believe that "Pop" originated from popularization. Therefore, "Pop" culture and "Pop" art are popular culture and popular art. In fact, popular culture is the culture of the masses, and "pop" culture is the culture of intellectuals, but it only borrows certain forms from popular culture. The "Pop" movement is a typical intellectual movement. Some of its contents, such as art forms and design forms, are popular with the young public, but this does not change its ideological foundation and the elite counter-cultural stance of intellectuals. . Richard Haoilton, one of the most important representatives of British "Pop" art, repeatedly emphasized this distinction in a television interview with the American critic Robert Hughes.

British “Pop” design has very distinctive characteristics in this movement. Although the UK lags behind other developed countries in the modern design movement, it has shown great success in the “Pop” design movement. The avant-garde characteristics that emerged have attracted the attention and attention of countries around the world, and have also affected the design development of other countries.

Although Britain's policy mistakes in the 1950s caused its design to lag far behind the international advanced level and almost completely lost the pioneering status and role it had when it launched the "Arts and Crafts" movement in the mid-19th century, however, In the "Pop" movement of the 1960s, British design caught up quickly and made great achievements. Especially in the design of consumer products for the domestic market, there have been very obvious breakthroughs, attracting the attention of countries around the world.

The UK once hoped to catch up with the modernist movement between the two world wars through national efforts, because when Germany, the Netherlands, Russia and the United States were developing modernist design at a rapid pace, the UK basically It is ignored and has not entered the real modern stage at all. From a psychological point of view, this is very natural. We hope to not fall behind the advanced countries, and the way is to pass this stage of the modernist design movement. Although it is 10 years later than others, it seems that there is still time to catch up. The British advocate "good design". This slogan was put forward by the Germans as early as the beginning of the 20th century, but the British did not put it forward until after the end of the Second World War. Therefore, from the design circles of Western countries, From a point of view, British design is 30 years late and is indeed too outdated. It is also very difficult for the British themselves to catch up with the modernist design standards of countries such as Germany, the United States, Italy, the Netherlands, and Scandinavia. The "Pop" movement centered on counter-orthodox culture just gave British designers a shortcut to avoid the modernist stage.

One of the most significant changes in British design in the 1960s was that it no longer pursued the pursuit of restarting the modernist design movement, but adopted the special national and international conditions at that time, according to market conditions and The needs of consumers and the new atmosphere emerging in the cultural world at that time opened up a new design path. Although modernist design has the characteristics of paying attention to good functions, emphasizing rationality and paying attention to the service objects, it is an obvious fact that the style is monotonous, cold and lacks human touch. For the young generation born after the war, this This style is already the embodiment of old and outdated concepts. The new generation of consumers hopes to have their own design style that represents new consumption concepts, new cultural identity positions, and new self-expression centers. The cold, impersonal, and highly rational characteristics of modernist design are obviously contrary to their requirements. The simplicity of the design during the war was due to the lack of materials during the war, and the monotonous color was also due to the overall atmosphere before and after the war.

Nowadays, new consumers, especially teenagers, professional women, etc., require styles that represent their favorite, new, and contemporary times. The colors must be bold and strong, and the design styles should break through the old style frames. This is the only way. , only design can serve the new society and new market. Only in this way can it be possible for British and even European design to compete with the internationalist design style admired by the domineering United States, stand on its own, and form its own national contemporary design style, instead of being behind the internationalist design advocated by Americans. Follow the trend, otherwise, British design cannot have its own real development prospects and future. This understanding was very common in the British design community at that time, especially among young designers. British design therefore began a completely different stage, the "Pop" design stage.

In essence, the "Pop" design movement is an anti-modernist design movement, and its purpose is to oppose the modernist design developed around the German Bauhaus since 1920. Tradition. The ideological roots of this movement actually come from American popular culture. The British teenagers at that time were inspired by American popular culture, including Hollywood movies, rock music, consumer culture, etc. They believe that American consumer culture and American popular culture are in line with their own appetites, and that popular culture is the best way to counter the internationalist style respected by the mainstream American design community. Therefore, the British design community responded to the psychological needs of British youth and launched this movement. The worship of dry matter in American popular culture and the continuous emergence of various new products were very attractive to the British who were in a period of material scarcity after the war. British youth prefer American pop music, and they call themselves egg-heads. British designers noticed this need and designed designs to meet their needs that were in line with the mainstream internationalist style and rationality at the time. New products and new graphic designs that run counter to the design characteristics of ism and reductionism, thus giving rise to the "Pop" design movement.

The British "Pop" movement was developed under the influence of the "Pop" movement in artistic creation. The "Pop" art movement first appeared in some independent organizations whose members included artists, critics, architects and designers. The earliest British organization with a "Pop" flavor was formed around the mid-1950s, with members including Richard Hamilton, Eduardo Borozzi, Reyner Ranham (1917-), John McCall, Lawrence A. Lawrence Alloway, Alison Smithson and Peter Smithson, among others. They met at the Institute of Modern Art in London to study the phenomenon of American popular culture, focusing on the key role of American advertising, American movies, and American car styles in the formation of popular culture. Banham raises the question of the connotation of money behind American popular culture, and proposes that American car styles contain symbols of sex and power. In 1956, Hamilton made use of some special contents of American popular culture, such as portraits of American movie star Marilyn Monroe, television sets, tape recorders, popular posters, photos of American furniture, living rooms, bodybuilders, tennis rackets, etc. The combined work is called "What makes today's homes so different and so attractive?" Through this photo collage work, the connotation of American popular culture is vividly rendered, which is of great significance to the young generation of British artists. It has a great influence on designers.

When the "Pop" movement began, the work of the British "Pop" art organization was basically focused on artistic creation. After the 1960s, British "Pop" art became popular and emerged. A new group of "Pop" artists emerged, including David Hockney, Alan Jones, Derek Boscher and Ron KitaJ. They formed a second independent organization, which also focused on the creation of "Pop" art. Their motivations came from different sources, mainly from other aspects of American popular culture, such as comic books, science fiction novels, advertising and others. Content with more visual impact, combined with these contents, reflects the face of popular culture, that is, the "pop" face.

British "Pop" art was quickly reflected in design.

The United Kingdom can be said to be the birthplace of "Pop" design. It started to develop in the United Kingdom and then affected other countries. A group of young designers were very dissatisfied with the monopoly of modernist and internationalist design styles, and used the "Pop" style to actively resist, thus launching this design movement. The market they are targeting is the affluent teenage market, the post-war baby boomer generation. The British business community has also spotted the potential of this market, accepted their designs, promoted this new design style through production and sales, and achieved good market results.

Most of the main designers of British "Pop" design are students who have just graduated from art colleges. They have little reliance and affection for tradition, including the tradition of modernism, and pay more attention to the traditions of their own generation. Habits and favorites. Therefore, they have the greatest motivation to break the shackles of tradition. They started to break through the three main aspects of product design, clothing design and graphic design, thus creating the "Pop" design style in these three basic fields. The British "Pop" product design, "Pop" clothing design and "Pop" graphic design are very distinctive. The direction of these designers' efforts is to find their own visual symbol features, their own style, to represent their own generation, and to clearly indicate that they stand in a position other than that of their parents' generation. Therefore, all kinds of strange product shapes, various special surface decorations, very special pattern designs, and unconventional design concepts have emerged. It was indeed very lively and clear-cut for a while. However, since it was mainly a kind of catharsis of youth, although it was lively, it quickly disappeared without a trace. As Ban Han said: The attack is fierce, but the sustained power is very weak.

British “Pop” design mainly emphasizes pattern decoration. Many patterns were directly borrowed from some "Pop" art at the time, such as Jasper Johns, Victor Vasarely, and Bridget Riley. ) patterns extracted from paintings are used to decorate the surface of the design. The main sources of product design motivation are aerospace technology and children's innocence as the reference sources of design motivation. For example, the kitchen is designed to be the interior space of a spacecraft, and women's fashion design imitates the clothing of astronauts (Andre Andrecourreges's silver foil outfits (thesilverFoi1Suits), or designing women's fashion into little girl's clothing styles (Mary Quant's little girl outfits). In fact, these British "Pop" designers themselves were active and optimistic spokespersons for that era of abundance. Through their design works, they reflected this new era of material abundance that excited them, this young era.

British “Pop” design is concentrated in fashion design, furniture design, interior design, and graphic design. Among them, fashion design is the most prominent. Fashion design is also the first movement where "Pop" design appeared in the UK. Its biggest feature is that it focuses on the fashion for the young generation, rather than the conventional clothing for the middle-aged generation, and the market it targets is not only the high-level part of the few powerful people, but also the wider public. market. The more important designers include Mary Quant, Marion Foale, Sally Turrin, Ossie Clack and others.

Fashion design is the most concentrated expression of "Pop" culture. The above designers give new meaning to clothing through their designs. Both in terms of materials and patterns, they strongly express the characteristics they hope to emphasize. Their clothing is a new declaration for this group of teenagers in this era. , very characteristic of the times. This book is not primarily an introduction to fashion design, so we will not discuss it in detail.

The furniture designed by British "Pop" is also very distinctive. Compared with the fashion design industry, the furniture design industry is more difficult to completely get rid of the influence or constraints of traditional furniture styles, because furniture has the characteristics of being more durable and more related to traditional styles. Therefore, complete reform is not easy. .

For a long time, except for modernist and internationalist furniture designs, which are comprehensive revolutions and complete breakthroughs in tradition, other furniture designs still have a heavy traditional influence. The furniture in the 1950s was either modernist or Traditionally eclectic, there seemed to be no other way to develop.

However, by the mid-1960s, the "Pop" style finally appeared in British furniture design, completely breaking the tradition and breaking the shackles of modernism and internationalism. British "Pop" furniture was mainly promoted through Terence Conran's furniture retail store "Habitat". His furniture store was originally opened in 1964. Later, due to the success of the business, it gradually developed into a professional center specializing in selling cheap, brightly colored, and specially designed furniture and household products. The target market is teenagers. The furniture and supplies here are very simple in color, but colorful and concise in shape. Cheap ceramics and jewelry are also sold here, many of which are imported from Scandinavian countries. Due to the distinctive "Pop" style, they are very popular among teenagers and the business is booming.

In addition to "Habitat", there are also some individual designers in the UK who are engaged in exploring "Pop" style furniture design. One of them is Peter Mudosh, who designed paper chairs decorated with English letters as surface patterns (actually made of fiberboard, but made using paper stacking technology, which looks very much like paper products), which is cheap and expressive. The dual "Pop" characteristics. Other designers of this type include Max Clendenning and his jig-saw furniture, Roger Dean and his blow-up chairs. They all have game characteristics, bright colors, special shapes, and often have a cynical adolescent psychological characteristics. The message they convey is very clear: in popular culture and the new disposable material civilization, functionalism is no longer the first consideration in design. Designers should give more consideration to market segmentation requirements and try to meet the psychological needs of consumers, rather than just creating classic functionalist furniture that is durable and well-functioning. This phenomenon of "Pop" culture was not only widely loved by young people in the UK and European countries in the 1960s, but at the same time, even formal British design institutions, such as the British Design Association, had to face it because it was no longer just a Exploring the personal expressions of a few young intellectuals, "Pop" has become a cultural, commercial, and economic phenomenon.

However, the "Pop" movement's purpose of pursuing novelty, eccentricity, and novelty lacked a solid basis in social culture. Therefore, although it came fiercely, it disappeared very quickly. Since the mid-1960s, "Pop" design's efforts to find design motivations from novelty have been ineffective. The pure pursuit of novelty has made it difficult to find more eccentric styles to sustain the development of this movement. Therefore, there is a situation of seeking reference from historical styles. Specific to the design reference sources of the British design community, there are mainly two styles that are used for reference: one is the Victorian style, which has long been criticized by the design community as vulgar and pretentious, and the other is the British "Arts and Crafts" that emerged in the mid-19th century. "Sporty style. This is a very strange transformation, because at the beginning, "Pop" took the basic stance of denying tradition. In the end, it actually returned to history to find style reference, which can be said to be a bit ironic. It can also show how weak and unreliable it is to explore development purely in terms of form.

The earliest occurrence of this reversion was clothing design, especially clothing patterns. In the late 1960s, many "Pop" clothing began to use Victorian-style patterns. Later, the Victorian style appeared as a decorative motive in On furniture surfaces, curtains, tablecloths and other items, as time goes by, British "Pop" design not only adopts the styles of Victoria and Arts and Crafts, but also Edwardiana, "Art Nouveau" movement style, "Art Deco" style and so on. "Sports style and so on also appeared together. A movement with anti-tradition as its core, a movement that flaunted youth style, finally became a hodgepodge of historical styles. It can be said that this movement has come to an end.

This retro phenomenon in the British "Pop" design movement is more concentrated in poster design, record cover design, store design, window design and other areas where graphic design is widely used. Among them, the more important designers include Martin Sharp and others, who simply adopted the decorative style of the "Art Nouveau" movement, especially Alphonse Mucha, the two main painters of the "Art Nouveau" movement. and Aubrey Beardsiey's illustration style as a reference for my own design. In addition, they also borrowed many decorative motives from the East, especially Eastern religions (such as Buddhism), as references. The graphic design of their period has a very strange characteristic, a retro characteristic for the young generation shortly after the war. This retro design tendency soon spread to the United States and France. In France, when the "Pop" plus retro style, which was inherited from the UK, emerged, the French immediately gave it a new name "retro style". This retro style lasted in the UK until the 1970s, longer than the early authentic "Pop".

In addition to being retro in style, the British "Pop" design, as well as the "Pop" design of the United States, France and other countries that were later influenced by it, also showed a revival of traditional handicrafts. For example, the love for Scandinavian furniture, whether it is furniture, jewelry, textile design, clothing design, metal product design, etc., is designed and produced by hand or imitating handicrafts as much as possible to achieve the characteristics of handicrafts. It basically repeats the work done by the British "Arts and Crafts" movement and the "Art Nouveau" movement in Europe and America since the mid-19th century. This is very special in an era where aerospace technology is highly developed and electronic technology is changing with each passing day. It was also a reaction against the early "Pop" of the 1950s.

Since the late 1960s, the British "Pop" design movement has experienced phenomena that make its style characteristics changeable and make it very difficult to determine its unified style. It can be said that British "Pop" design has various and diverse eclectic characteristics, but it also has a unified basic point: that is, it is a reaction against orthodox modernism and internationalist design. From this point of view and stance , all designers belonging to this movement are basically the same.

The "Pop" design movement is a formalist design trend. Its background is related to the increasingly formed Western "affluent society" after the war, the youth consumer market, and the rebellious stance, especially towards modernism. The design is closely related to the antipathy towards internationalist design. It is precisely because this movement is basically explored in the circle of formalism and has no deeper ideological basis. Therefore, the form itself is constantly changing, but it has never been able to become a unified design movement.

The Proposition of the Concept of Design Ethics

During this period, amidst the hustle and bustle of the "Pop" design movement, some people began to seriously raise the issue of "design purpose" from the perspective of design theory. . This is a very important starting point for the ethics of modern design and the purpose theory of modern design. It is precisely because of this starting point that future design theories will develop more deeply.

The person who raised this issue is the American design theorist Victor Papanek. He published his most famous book "Design for the Real World" in the late 1960s, through which he proposed his new views on the purpose of design. The theorist clearly raised three main issues in this controversial book at the time:

l) Design should serve the people at large, not a few wealthy countries. Here, he particularly emphasized that design should serve the people of the third world;

2) Design should not only serve healthy people, but also consider serving disabled people;

3 ) Design should seriously consider the use of the earth's limited resources, and design should serve to protect the limited resources of the earth we live in.

His theoretical viewpoints protect important factors that have been ignored since the emergence of modern design.

It was the first time that he proposed that design must be considered from an internationalist standpoint and serve the people of third world countries; it was also the first time that he clearly raised the issue of designing for people with disabilities; more importantly, he put forward the consideration of the limited resources of the earth in design. Not many people could understand this point at the time, but since the world energy crisis broke out in the early 1970s, Babanac's view of limited resources has been generally recognized.

After this book was published, it was immediately translated into more than a dozen foreign languages ??and became a reading material for designers and design students from all over the world. At the climax of consumer society, affluent society, and "Pop" design, this book This book very calmly sounds the alarm for people: the purpose of design must be clear, and design must serve the society as a whole. Barbanac's theory was regarded as heretical by the American design community. In 1991, he himself mentioned to the author of this book in Los Angeles: Because of this book, he was expelled from the Society of Industrial Designers of America in the late 1960s because he was in design. Theoretically alarmist. The degree of sectionalism and conservatism in the American design community at that time was unimaginable. However, the significant impact of this book can no longer be eliminated.

After Babanac, more and more designers and design theorists began to re-examine the design itself from these serious perspectives, resulting in many very fruitful results. People began to look at Scandinavian design from a different perspective and found that this design system contained many reasonable factors that were not paid much attention to before. Scandinavian designers have long considered the protection of natural resources. Their designs are for society as a whole, not just for a few powerful people. Ergonoluitoam, a Swedish design group, had begun designing tableware and cutlery for disabled people as early as the 1960s. These results were widely studied and studied after Barbanak put forward his views, thus improving the level of design as a whole, and design is not just a formalism movement.

The most important contribution of Babanac is that he proposed the concept of design ethics. The purpose of design is not only to serve the immediate functional and formal purposes. The more important significance of design is that the design itself has the ability to shape society. System factors, therefore, design considerations must also include short-term and long-term factors for society. Modernism proposes design for the public, but from the perspective of contemporary design ethics, design must also consider the third world, the people in developing countries, as well as ecological balance and the purpose of containing natural resources. This consideration has greatly deepened the level of design thinking and promoted the development of design concepts. Jiao Cha, a painter who makes me difficult to understand

Jiao Cha, an outstanding Japanese illustrator, whose paintings are highly recognizable.

Maybe some people are still using his works as mobile phone wallpapers, maybe some people have heard the name Jiaocha for the first time. No matter who it is, as long as they see his paintings, they will immediately Be attracted by those graceful lines and rich colors. Black lines outline the outline, and rich colors give people a space for fantasy. In Jiao Cha’s paintings we can see dreams, loneliness and even hope.

His paintings are eye-catching, integrating the atmosphere of pop art in the 1980s with the colors of Japanese paintings. The color style of Impressionism is stunning, which is a retro painting style——( ligneClaire). Jiao Cha is known as the first person to promote this style in two-dimensional illustrations.

This painting style uses clear and strong lines, without hatching and weakening contrast. It is a typical style of the French-Belgian comic school, and its original meaning is: clear lines laligneClaire.

Modern illustrators, represented by Jiaocha, have made improvements based on the original painting style: first, strong colors, exquisite solid lines, and obvious color block distinctions, making the The overall picture presents a dreamy feel. The second step is to add light sources and shadows to the picture, cancel the use of background color and black as shadow colors, and instead use brighter colors as shadow colors, in other words, "illuminate the shadows." Under the action of illuminating the shadows, the depth of field effect caused by the shadows is reduced, and the entire picture becomes flatter, clearer and cleaner, and even has a kind of structural readability.

It’s just a pity that God is jealous of talents, leading such a style of painting, and such a leading figure of the era, but he passed away due to an accident when he was 25 years old, in the prime of his youth.

On January 15, 2021, the family of painter Jiao Cha issued an obituary through Jiao Cha’s Twitter. Jiao Cha unfortunately passed away due to an accident at work in June 2020.

On the day the news was sent out, there were many mourners on Weibo, who forwarded the paintings and wrote eulogies. They were either moved by Jiao Cha's paintings, or felt sorry for the fall of such a talented person. The only comforting thing is that there are still many people who remember him and his paintings. What are the common illustration art styles in fashion design? Can you elaborate?

1. Pop style

Pop style illustration art appeared and became popular in the 20s and 50s, mainly through the creative techniques of commercial art, forming a fusion A new art style for popular culture and commercial art. At the same time, the relatively exaggerated cartoon images, newspaper print forms and humorous slogans in the Pop style all combine to form the characteristics of the Pop style, and the artistry of the Pop style is very strong [3]. Andy Warhol is one of the most outstanding figures who contributed most to the expansion of Pop style in the field of fashion design. He pioneered the use of paper, plastic, and artificial leather as the basic materials for clothing production, and included it in his illustrations. In order to subvert the traditional design concept, it has distinctive features such as bright colors, avant-garde design concepts and bold color selection. To this day, Pop style illustrations still retain many similarities with Andy Warhol.

2. Abstract style

Usually, abstract style works generally use geometric points, lines, surfaces, circles, triangles, and squares as the main body for in-depth creation, and have unique characteristics in the creative style. Typical abstract characteristics. Mondrian was one of the relatively successful early figures in abstract style works. His abstract style creation method was relatively unique, focusing on the use of various rectangular patterns as illustration content, and this type of illustration art form had a profound impact on abstract style. Take the work "Red, Yellow, and Blue" created by the famous French abstract style fashion design master as an example. This work is deeply inspired by Mondrian's abstract style and uses lines, triangles, and rectangles in a variety of colors to give the audience a unique art appreciation experience. Feel, and give the work a strong sense of visual impact and novelty.

3. Figurative style

The figurative style is different from the two styles mentioned above, and its graphic features are generally realistic and lifelike. Furthermore, the presentation of lines in figurative style works is relatively direct, and decorative generalization, exaggeration and deformation can be carried out to enhance the color sense of the work and highlight the simplicity and sophistication of the work. Take the famous Italian fashion designer Miuccia Prada as an example. She once had the ability to use illustrations directly in fashion design creation. She can fill her costume design works with illustrations, and her works focus on carefully and delicately creating character shapes, highlighting the The color and splendor of the work[4]. In addition, the line display in the figurative style is relatively elegant, which can give the audience a psychologically dreamlike experience. Especially when applied to clothing design, it can effectively improve the sophistication of the design work and give the design work a flexible beauty.