Who can tell me that "the continuous supply of culture and wisdom can make the design vision sharper, and it is a magic weapon to become an evergreen tree in the design field." Who said this sentence?

Comparing culture and design to the relationship between "roots and plants" or to the relationship between "foundations and tall buildings", in a word, lies in explaining its compactness. Usually, excellent design works have simple external forms and profound cultural connotations. A layman may judge the quality of a work by its "good-looking", while an expert will shed all beautiful clothes and explore the essence. The coat can be changed, but can the constituent elements be changed? The relationship between elements and culture? Why do designers use these elements instead of those? If I were to design this project, what would I think? How to select elements? These seemingly simple ideas are easily overlooked by designers who are carried away by form.

I emphasize that designers should understand the development history of design and art.

People are used to asking why. When you start watching a series in the middle, you will naturally ask, "What were the previous episodes?" For designers, it is very important to know more about "source culture" because we have accepted too many "source branches" in our design. When you are familiar with the source culture, you can set aside others and find another way. Besides, creation and discovery do not come out of thin air. Knowing more about the source culture can help you avoid detours and dead ends and climb higher on the shoulders of your predecessors. Why not? Some people say that I don't accept the style of my predecessors at all and go my own way. As we all know, if you put aside everything you are going, your predecessors may have gone as early as a century ago, and this road is recognized by history as unworkable. It is not worth the loss to waste energy and time. "Only by understanding Datong can we go to the edge alone."

Of course, the benefits of learning more about the source culture don't stop there. It's an exchange of ideas with the master and thinking with the help of the master's mind. Not to think like them, but to learn how to think.

I refer to information and source culture as "existing materials". The relationship between designers and these "existing materials" is quite subtle-completely different from each other. We should always pay attention to its dynamics, pay attention to it, learn from it, abandon it completely at a certain moment and never forget it. This moment is when the designer is engaged in a project design and completes a scheme, and needs it at this moment. As mentioned earlier, "keep your own sky, think independently, occasionally close yourself up and be a frog in the well." At this time, reading and inspiration can only hinder the generation of inspiration, because the usual worries have already been decomposed, integrated and reorganized in the brain, becoming a subconscious and a rare treasure. Once designed, they will be constantly stimulated, accumulated and become

It is not difficult to say that design is difficult, and it is not easy to say that design is easy. Maybe that's the beauty of it. There are only two kinds of designs, which become improved designs when related to existing works; When it is associated with fantasy and the future, it becomes creative design. No matter the former or the latter, design is always inseparable from the accumulation of life, and it is a blend of rationality and sensibility. Undeniably, excellent design works originate from the designer's "good mentality+superior life+'s calm thinking+absolute self-confidence+profound culture".

Promoters and salesmen sell products to customers, and designers sell themselves. Their selling point-inspiration, wisdom and thinking-is a rare treasure and a standard to distinguish design from design. It is a sad thing to leave a good attitude, at least for designers. This makes it difficult for him to balance himself all day, experience life, integrate into life, refine life and improve life. Life is a mess. How can I have a good mood to engage in design? The spark of inspiration will never be generated in the haystack. A superior life may be absolute, but imagine that in a spacious and bright coffee shop, you are feeling the rich fragrance of Italian latte; While doodling on the manuscript paper, I sometimes stop for a sip of coffee and lazily sweep the busy crowd through the French window; Sometimes leaning on the soft sofa, no one will interrupt your thinking, affect you and interfere with you, but inspiration will quietly approach you. Try again, you are squeezed into an office of four or five square meters, with a room full of staff, a room full of information, a room full of smoke and a room full of noise. I'm afraid it's hard to squeeze out fresh inspiration! In my opinion, a good attitude and a superior life are like twin sisters. I'm not advocating petty bourgeoisie, emphasizing the limitation of objective conditions, and denying that there must be no excellent design works in a civilian's life. What I want to say is that "the influence of a superior life on the design of excellent works cannot be underestimated."

In fact, we are comparable to world-class design masters in the simple use of design elements. The same point, line, surface, body, color and design rules, why can't we reach their heights? Aside from "opportunity" and "culture", "calm and independent thinking" is the key. City life is helpless, complicated and hectic. A truly excellent designer, if he is not overwhelmed by the word "busy", will take a break from his busy schedule, calm his mind, keep his own sky and think independently. It's not bad to shut yourself up once in a while and be a frog in the well.

The present design is worthless. The printing fee includes the design fee, and it is not a mall promotion-buy one and get one free! Design is not as important as it used to be. Why? The design has not depreciated, but the designer has depreciated. There are too many irresponsible designers making up the numbers. It is a big joke to grab a picture and arrange a few fonts, and then complete the design. A picture with a few lines of text is collage, not typesetting. No layout, no contrast, no visual process ... It's important to make money quickly. It doesn't matter whether you are creative or not. Just fooling people in the form of "jumping out". Pay a little attention to leaflets, DM, brochures ... quite a few of them are "masterpieces" Design is naturally worthless. The existence of this designer is a blasphemy to design and a waste of design elements. When designers are eager for quick success, greedy for profits and selfish expansion, the design itself is not pure and has gone out of shape.

Really good designers are often "stingy" and will be very cautious when using one element at a time. Because using them is justified, "waste is a crime" and "less is more", they will warn you like this.

"Imitation" in design is understandable, because worship and yearning are normal psychology. Deeply influenced by master XXX's style, there are traces in his works, which is not the same as plagiarism. Plagiarism is a shameless act, because we stole other people's treasures. Since we have the same design elements as world-class designers, why not use them to express ourselves boldly and publicize ourselves? How important is originality to designers? It can make the design work have vitality, not be assimilated, not repeat the same thing, not arty, not unconventional. Designers must be confident, firmly believe in their personal beliefs, experiences, eyes and tastes, respect individuality, and do not insist on individuality for individuality's sake. Of course, there must be reasons to insist. If it is purely for grandstanding and novelty, it is all wet. A designer is not a juggler who attracts everyone with a gong.

The appearance of digital technology is of epoch-making significance. Traditional paper, pen and compass have been replaced by keyboard and mouse. Complex calculations and accurate drawings can be done by computers, but at the same time, the digital age is of disastrous significance for inspiration. Any stupid idea can be handled in a very professional and fancy way. On the one hand, it helps designers to complete wonderful ideas, on the other hand, it devours their ideas. Make it lazy to think. A good designer can't rely entirely on digital technology. No matter how sophisticated the technology is, he is only a producer and a skilled worker at best. He must always remind himself that "I am an excellent designer, and perfecting ideas is far more important than updating means." Knowing the benefits of saving money, about 80% of things others do better than you. Don't let too many technical problems bother us and block the design idea.

Today's world is an integrated and open world.

The only constant in 2 1 century is "change".

In this case, the designer's thoughts should not be conservative or rigid. The biggest advantage of first-line designers is to enjoy the same information resources as top designers in the world in the first time. Various media, magazines, networks, forums, lectures and exhibitions provide instant information every minute. Faced with such a dazzling world, designers must distinguish between good and bad, and there are tutors in the school to correct them. What's not good? But people can't rely on others all their lives. Designers should have their own keen, unique and keen eyes. Otherwise, they may lose themselves and deviate from the right track at any time. Or be replaced by a rising star and disappear from the scene. So how is this incisive, unique and keen vision established? It is formally built on a profound cultural foundation and accomplishment. The continuous supply of culture and wisdom can make this vision sharper and become a magic weapon for the evergreen tree in the design field.