European and American retro illustrator Pop Weibo-What are the artistic styles of common illustrations in fashion design? Can you elaborate on it?

What is the popular mode? The Development of British Popular Culture and Popular Design

If you want to use a noun to describe the design style of the 1960s, it should probably be "Pop", which comes from the English word popular. But when it is closely linked with the culture, art, thought and design in the 1960s, it not only refers to the culture enjoyed by the public, but also means rebellion against orthodoxy, which is the greatest feature of this era. Among western countries, the most concentrated expression of "Pop" design style is Britain.

What must be clear here is the difference in meaning between "popularity" and "popularization". Many people think that "pop" originates from popularization, so "pop" culture and "pop" art are mass culture and mass art ... In fact, popular culture is mass culture, and "pop" culture is intellectual culture, just borrowing some forms of mass culture. The "Pop" movement is a typical intellectual movement. Some of its contents, such as artistic forms and design forms, are welcomed by young people, but this cannot change their ideological basis and intellectuals' anti-cultural elite stance. RichardHaoilton, one of the most important representatives of British "Pop" art, repeatedly emphasized this difference in a TV interview with American critic Robert Hughes.

The British "Pop" design has a very distinctive feature in this movement. Although Britain lags behind other developed countries in the modern design movement, its avant-garde characteristics in the "Pop" design movement have attracted the attention and attention of all countries in the world, and also influenced the design development of other countries.

Although British design fell far behind the international advanced level due to policy mistakes in the 1950s, and almost completely lost its vanguard position and role when the "Arts and Crafts" movement was launched in the mid-19th century, British design made great achievements in the "Pop" movement in the 1960s. Especially in the design of consumer products for the domestic market, there has been a very obvious breakthrough, which has attracted the attention of all countries in the world.

Britain 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 developed modernist design at a high speed, Britain basically ignored it and never entered the real modern stage. From a psychological point of view, this is very natural. I hope it will not lag behind advanced countries, and the way is through the stage of modernist design movement. Although it is 10 years later than others, it seems that it is still in time to catch up. The British advocated "gooddesign", which was put forward by the Germans as early as the beginning of the 20th century, but it was not put forward by the British until after the Second World War. Therefore, from the perspective of design circles in western countries, British design is 30 years late, which is really out of date. For the British themselves, it is very difficult to catch up with the modernist design standards of Germany, America, Italy, Holland and Scandinavia. The "Pop" movement with the anti-unification culture as its core just gave British designers a shortcut to avoid the modernist stage.

In 1960s, one of the most remarkable changes in British design was that it stopped trying to restart the modernist design movement. But through the special national and international conditions at that time, according to the market situation and the needs of consumers, according to the new atmosphere of the cultural circles at that time, a new design road was opened up. Although modernist design has the characteristics of paying attention to good functions, emphasizing rationality and paying attention to service objects, it is an obvious fact that the style is monotonous, indifferent and lacking in human feelings. For the younger generation born after the war, this style is already the embodiment of outdated ideas. A new generation of consumers hope to have their own design style to represent new consumption concepts, new cultural identity positioning and new self-expression centers. The indifference, impersonality and high rationality of modernist design are obviously contrary to their requirements. The unpretentious design during the war was due to the lack of material plaques and monotonous colors during the war, and was also influenced by the overall atmosphere before and after the war. Nowadays, new consumers, especially teenagers and professional women, want to show their favorite, new and contemporary styles, and the colors must be bold and strong, and the design and modeling should break through the old modeling framework. Only in this way can design serve the new society and new market. Only in this way can the design of Britain and even Europe compete with the internationalist design style advocated by the autocratic United States and form its own national contemporary design style, instead of following the internationalist design advocated by Americans. Otherwise, British design cannot have its own real development prospects and future. This understanding was very common in British design circles at that time, especially among young designers. Therefore, British design began a completely different stage, namely "Pop" design stage.

If, in essence, the "Pop" design movement is an anti-modernist design movement, its purpose is to oppose the Bauhaus-centered modernist design tradition in Germany since 1920. The root of this movement thought actually comes from American popular culture. At that time, British teenagers were inspired by American pop culture, including Hollywood movies, rock music, consumer culture and so on. They believe that American consumer culture and American pop culture are in line with their own appetites, and pop culture is the best way to counter the internationalist style advocated by mainstream American design circles. Therefore, the British design community responded to the psychological needs of British youth and launched this campaign. The worship of dry matter in American popular culture and the constant emergence of various new products are very attractive to the British in the post-war material shortage period. British young people prefer American pop music. They call themselves eggheads. British designers noticed this demand and designed new products and new graphic designs that ran counter to the mainstream internationalist style, rationalism and reductionism at that time, thus producing the "Pop" design movement.

The "Pop" movement in Britain was developed under the influence of the "Pop" movement in artistic creation. The "Pop" art movement first appeared in some independent organizations, and its members included artists, critics, architects and designers. The earliest organization with the color of "Pop" in Britain was formed in the mid-1950s, and its members included richard hamilton, Eduardo Poloz, Reynet Banham (19 17-), John mccall, Lawrence Lowe, Alison Peter Smithson (. 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 advertisements, American movies and American car styles in the formation of popular culture. Ban Han put forward the problem of money connotation behind American pop culture, and put forward that American car style contains symbolic meaning of sex and power. Hamilton used some special contents of American pop culture in 1956, such as the portrait of American movie star Marilyn Monroe, TV sets, tape recorders, popular posters, American furniture, living rooms, bodybuilders, tennis rackets and other photos. , created a film called "What makes today's home so different and so attractive? Through this photo collage, the connotation of American pop culture is vividly rendered, which has a great influence on the younger generation of British artists and designers.

At the beginning of the "Pop" movement, the work of this British "Pop" art organization was basically based on artistic creation. After 1960s, British "Pop" art became popular, and a number of new "Pop" artists appeared, including Huo Keni: Life in Pictures, Allen Jones, Derek Porschel and Rankitai. They formed a second independent organization, and they also concentrated on the creation of "Pop" art, with different motives, mainly from other aspects of American pop culture, such as comics, science fiction, advertisements and other more visually influential content, which comprehensively reflected the face of pop culture, that is, the face of "Pop".

The British "Pop" art was quickly responded to in the design. Britain can be said to be the birthplace of "Pop" design, starting from Britain and then influencing other countries. A group of young designers are very dissatisfied with the monopoly of modernist and internationalist design styles, and actively resist with the "Pop" style, thus launching this design movement. Their target market is the affluent youth market, that is, the post-war baby boomers. The British business community also saw 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 college. They have little dependence and affection on tradition, including modernism, and pay more attention to the habits and love of their generation. So they are most motivated to break the traditional shackles. They started to break through from three main aspects: product design, fashion design and graphic design, thus creating a "pop" design style in these three basic areas. British "Pop" product design, "Pop" clothing design and "Pop" graphic design are all very distinctive. The direction of these designers' efforts is to find their own visual symbol characteristics, find their own style, find their own generation, and clearly show that they are on the side of their parents. So all kinds of strange product shapes, special surface decorations, very special pattern designs and unconventional design concepts have emerged, which is really lively for a time. However, it was lively because it was mainly the catharsis of youth, but it soon disappeared without a trace. As Ban Han said: the momentum is very strong, but the sustained strength is very weak.

British "Pop" design mainly emphasizes pattern decoration. Many patterns are directly borrowed from some "pop" art at that time, such as the patterns extracted from the paintings of JasperJohns, victorvasarely and BridgetRiley, to make the surface decoration of the design. The main sources of product design motivation are space technology and children's innocence. For example, the kitchen is designed as the interior space of the spaceship, and the women's clothing is designed to imitate the astronaut's clothing (the silver foil suit of Andre Corregis Andrecourreges), or the women's clothing is designed as a little girl's clothing style (MaryQuant's little girl dress). In fact, these British "Pop" designers themselves are the positive and optimistic spokesmen of that affluent era. Through their design works, they reflect this exciting new era of material richness, this young era.

British "Pop" design is mainly embodied in clothing design, furniture design, interior design and graphic design. Among them, clothing design is the most prominent. Fashion design is also the first movement of British "Pop" design. Its biggest feature is that it focuses on the fashion of teenagers, rather than the well-behaved clothes of the middle-aged generation. Its target market is not only the high-level part of a few powerful people, but also a broader mass market. The more important designers are Mary Kwant, MarionFoale, SallyTurrin, ossieclack and others.

Fashion design is the most concentrated embodiment of "popular" culture. Through their designs, these designers give new meanings to clothing, which strongly shows the characteristics they want to emphasize in materials and patterns. Their clothes are the new manifesto of this group of teenagers in this era, which is very characteristic of the times. This book is not mainly about fashion design, so I won't discuss it in detail.

British "Pop" furniture is also very distinctive. Compared with the field of fashion design, the field of furniture design is more difficult to completely get rid of the influence or bondage of traditional furniture style, because furniture has the characteristics of durability and is more related to traditional style, so it is not easy to completely reform. For a long time, apart from modernism and internationalism, furniture design is an all-round revolution and a complete breakthrough to tradition, and other furniture designs still have a heavy traditional influence. The furniture in the 1950s was either modernism or eclecticism, and there seemed to be no other way to develop it.

But in the mid-1960s, British furniture design finally appeared "Pop" style, which completely broke the tradition, but also broke the shackles of modernism and internationalism. British "Pop" furniture is mainly promoted by Terrence Conlon's furniture retail store "Habitat". His furniture store was originally opened at 1964. Later, due to the successful business, it gradually developed into a professional center, specializing in selling cheap, colorful and specially designed furniture and household items, targeting teenagers. The colors of the furniture and articles here are simple, but the shapes are colorful and simple. Cheap ceramics and jewelry are also sold here, many of which are imported from Scandinavian countries. Because of its distinctive style, "Pop" is deeply loved by teenagers and its business is booming.

In addition to "habitat", there are also some individual designers engaged in the exploration of "Pop" style furniture design in Britain. One of them is Peter Mudosh, who designed a paper chair decorated with English letters (actually made of fiberboard, but it looks like a paper product through laminating technology), which has the dual "popular" characteristics of cheapness and expressiveness. Other such designers include MaxClendenning, his serrated furniture, RogerDean and his inflatable chair. These designs all have the characteristics of games, bright colors and special shapes, and often have a cynical psychological characteristic of teenagers. Their message is very clear: in mass culture and disposable new material civilization, functionalism is no longer the primary consideration in design. Designers should pay more attention to the requirements of market segments and try to meet the psychological needs of consumers, rather than just creating durable and functional classic furniture. This "popular" cultural phenomenon was not only loved by young people in Britain and European countries in the 1960s, but also formal British design institutions, such as the British Design Association, had to face it squarely, because it was not just the personal exploration of a few young intellectuals, and "popularity" had become a cultural, commercial and economic phenomenon.

The "Pop" movement pursues novelty, eccentricity and novelty, but lacks a solid social and cultural foundation, so although it is fierce, it disappears quickly. Since the mid-1960s, the efforts of "Pop" design to find design motivation from novelty have been inadequate, and it is difficult to find a more eccentric style to maintain the development of this movement. So there is a situation of looking for reference from historical style. As for the design reference sources of British design circles, there are mainly two periods of styles for reference: one is the Victorian style that has long been criticized by the design circles as vulgar and pretentious, and the other is the British "arts and crafts" movement style that appeared in the middle of19th century. This is a very strange change, because "popularity" was based on flaunting and denying tradition. Finally, it's ironic to go back to history and look for style references. It can also explain how thin and unreliable it is to explore and develop purely in form.

Fashion design, especially fashion patterns, first appeared in this renaissance. In the late 1960s, many "popular" clothes began to adopt Victorian styles. Later, Victorian style appeared on furniture surfaces, curtains, tablecloths and other items as decorative motives. With the passage of time, the British "Pop" design not only adopted Victorian and arts and crafts styles, but also adopted Edwardian and Art Nouveau styles. A movement centered on opposing tradition, a movement flaunting youth style and the last hodgepodge of historical style can be said that this movement has come to an end.

This retro phenomenon in the British "Pop" design movement is mainly reflected in poster design, record cover design, shop design, window design and other fields that use graphic design more. One of the most important designers is Martin Xia Bai, who simply adopted the decorative style of Art Nouveau, especially the illustration styles of AlphonseMucha and AubreyBeardsiey, two major artists of Art Nouveau, as a reference. In addition, they also used many eastern religions (such as Buddhism) for reference. Their graphic design in this period has a very strange feature, a retro feature of the younger generation shortly after the war. This retro design tendency soon spread to the United States and France. In France, when this "fashion" and retro style handed down from Britain rose, the French immediately gave it a new name "retro style". This retro style continued in Britain until the 1970s, which was longer than the early authentic "Pop".

In addition to the retro style, the British "Pop" design was later influenced by it, and the "Pop" design in the United States, France and other countries also showed the revival of traditional handicrafts. For example, the love of Scandinavian furniture, whether it is furniture, jewelry, textile design, clothing design, metal product design, etc. , is designed and made by hand or try to imitate handicrafts to achieve the purpose of handicraft characteristics. It basically repeats the work done by the British "Arts and Crafts" movement and the European and American "Art Nouveau Movement" since the middle of the19th century. This is very special in an era when aerospace technology is highly developed and electronic technology is changing with each passing day. This is also a response to the "popularity" in the early 1950s.

Since the late 1960s, there have been some phenomena in the British "Pop" design movement, which make its style characteristics changeable and it is difficult to determine its unified style. It can be said that the British "Pop" design has various eclectic characteristics, but it also has a unified basis: it is a reaction to orthodox modernism and internationalism design. In this view and position, all designers belonging to this movement are basically the same.

The "Pop" design movement is a formalism design trend of thought, and its background is closely related to the increasingly formed western "affluent society", the youth consumer market, the rebellious position, and especially the aversion to modernist design and internationalist design. It is precisely because this movement is basically groped out in the circle of formalism and has no deeper ideological foundation. Therefore, its own form is constantly changing, and it can never become a unified design movement.

Put forward the concept of design ethics

During this period, in the noisy wave of "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 of modern design ethics and modern design purpose theory. It is precisely because of this starting point that the future design theory will develop further.

The person who put forward this topic is Victor Papanek, an American design theorist. He published his most famous book "Design for the Real World" in the late 1960s. Through this book, he put forward his new view on the design purpose. The theorist clearly put forward three main questions in this controversial book at that time:

L) Design should serve the broad masses of the people, not a few rich countries. Here, he particularly emphasized that design should serve the people of the third world;

2) The design should not only serve the healthy people, but also consider serving the disabled;

3) The design should seriously consider the utilization of the limited resources of the earth, and the design should serve to protect the limited resources of the earth where we live.

His theoretical viewpoints protect the important factors that have been neglected since the appearance of modern design. This is the first time that the design must be considered from the standpoint of internationalism and serve the people of third world countries. It is also the first time to clearly put forward the problem of designing for the disabled; More importantly, he put forward the main points of considering the limited resources of the earth in design. At that time, few people could understand this, but since the outbreak of the world energy crisis in the early 1970s, Babanak's view on limited resources has been widely recognized.

After the 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 sounded the alarm very calmly: the purpose of design must be clear, and design must serve the whole society. Babanak's theory is regarded as heresy by American design circles. 199 1, he himself mentioned to the author of this book in Los Angeles: Because of this book, he was expelled from the American Institute of Industrial Designers in the late 1960s because of his alarmist design theory. At that time, the departmentalism and conservatism of American design circles were unimaginable. However, there is no way to eliminate the great influence of this book.

After Babanak, more and more designers and design theorists began to rethink the design itself from these serious angles, which produced many very effective results. People began to look at Scandinavian design from a different angle and found that this design system contains many reasonable factors that were not paid much attention to before. Scandinavian designers have long considered the protection of natural resources, and their designs are oriented to the whole society, not just a few powerful people. Ergonoluitoam, a Swedish design group, began to design tableware and cutlery for the disabled as early as the 1960s. These achievements have been widely studied and studied after Babanak put forward his views, so the overall design level has been improved, and design is not just a formalistic movement.

Babanak's most important contribution is that he put forward the concept of design ethics. The purpose of design is not only to serve the immediate function and formal purpose, but also the main significance of design lies in the fact that design itself has the factors to form a social system. Therefore, design considerations must also include short-term and long-term social factors. Modernism puts forward design for the public, but from the perspective of contemporary design ethics, design must also consider the purpose of the third world, people in developing countries, ecological balance and the inclusion of natural resources. This consideration has greatly deepened the level of design thinking and promoted the development of design concepts.

The painter Jiao Cha, who puzzles me, is an excellent Japanese illustrator, and his paintings are highly recognizable.

Maybe someone is still using his works as mobile phone wallpaper, or maybe it is the first time for someone to hear the name Jiaocha. Whoever sees his paintings will be attracted by those beautiful lines and rich colors at the first time. Black lines outline the outline, and rich colors give people room for fantasy. In the paintings of burnt tea, we can see dreams, loneliness and even hope.

His paintings are eye-catching, blending the atmosphere of pop art in the 1980s with the colors of Japanese painting. Impressionist color style is amazing, and it is a kind of retro painting style-(Ligne Claire). Coke Chaze is regarded as the first person to promote this style in secondary illustration.

This style of painting uses clear and powerful lines without shadow lines, which dilutes the contrast. It is a typical Fabian cartoonist style, and its original meaning is: laligneClaire with clear lines.

Modern illustrators, represented by burnt tea, have made improvements on the basis of the original painting style: firstly, strong colors, exquisite solid lines and obvious color block distinction make the whole picture present a dreamy feeling. Secondly, add light source and shadow to the picture, instead of using background color and black as shadow color, use brighter color as shadow color, in other words, "light the shadow". Under the action of illuminating the shadow, the depth of field caused by the shadow is reduced, and the whole picture is smoother, clearer and cleaner, even with the readability of the picture structure.

It's just a pity that the envy of talents has led to such a painting style. At the age of 25, the leader of such an era was in his prime, but he died unexpectedly.

On 202 1 1 15, the family of the painter Jiao Cha posted an obituary through Jiao Cha's Twitter. Jiao Cha died in June 2020 due to a work accident.

On the day the news came out, there were many mourners in Weibo. They forwarded paintings and wrote eulogies. They are either moved by the paintings of burnt tea or feel sorry for the fall of such a talent. The only good thing is that many people still remember him and his paintings.

What are the artistic styles of common illustrations in fashion design? Can you elaborate on it? 1. Popular style

Pop-style illustration art appeared and became popular in 20_ Lan50 _ Nafen, mainly through the creative techniques of commercial art, forming a brand-new artistic style integrating popular culture and commercial art. At the same time, the relatively grandiose cartoon images, newspaper prints and humorous slogans in pop style are unique to pop style, and pop style is very artistic [3]. Andy warhol is one of the most outstanding figures who have contributed to the development 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 for the first time. His illustrations contain subversive design concepts, which are characterized by bright colors, avant-garde design concepts and bold color selection. To this day, the illustrations in Pop style still retain many similarities with andy warhol.

2. Abstract style

Works with abstract style are generally based on geometric points, lines, surfaces, circles, triangles and squares for in-depth creation, which has typical abstract characteristics in creative style. Mondriaan is one of the early successful figures in abstract style works. His abstract style is unique, and he pays attention to using various rectangular patterns as illustration content. This illustration art form has a far-reaching influence on abstract style. Take Red, Yellow and Blue, an abstract work created by a famous French fashion designer, as an example. Inspired by mondriaan's abstract style, this work uses various colors such as lines, triangles and rectangles to give the audience a unique artistic appreciation experience and give the work a strong visual impact and freshness.

3. Metaphorical style

The figurative style is different from the above two styles, and its graphic characteristics are generally realistic and realistic. Furthermore, the figurative style works show relatively direct lines, which can be generalized, exaggerated and deformed for decoration, thus improving the color sense of the works and highlighting the simplicity and exquisiteness of the works. Take miuccia prada, a famous Italian fashion designer, as an example. She used to have the ability to use illustrations directly in fashion design creation. She can fill illustrations in fashion design works, and her works pay attention to carefully shaping characters, highlighting the color and gorgeous feeling of her works [4]. In addition, the lines in the figurative style are elegant, which can give the audience a fantastic psychological experience, especially in fashion design, which can effectively improve the exquisiteness of design works and give people a smart aesthetic feeling.