There is an urgent need for an introduction to art design and a paper on design aesthetics.

The Influence of China's Traditional Aesthetics on Modern Design Aesthetics Abstract: Traditional aesthetics has a great influence on China's modern art, and they are imperceptibly influencing our modern design thoughts. Of course, we are also constantly impacted by foreign cultures and benefit a lot from it. Therefore, in this global cultural exchange and competition, any advantage of our nation will not be lost, but will only be carried forward. Keywords: traditional aesthetics; Modern design aesthetics; Function; What is the beauty of the introduction? Beauty is inseparable from people's aesthetic activities. According to China's traditional aesthetics, aesthetic activity is to construct an image world outside the material world, and this image world is the aesthetic object, which is what we usually call "beauty" in a broad sense. Under the influence of China's traditional aesthetics, modern design aesthetics should also look for incomparable thinking advantages and unique styles in our traditional culture. We are in a highly modern and information-based society, and new materials and technologies are constantly emerging, which makes us dizzying. The influx of new ideas, new concepts and various foreign artistic trends has also brought unprecedented impact to modern design aesthetics. In this situation, we are faced with the problem of how to understand the relationship between traditional aesthetics and modern design aesthetics, that is, how to deal with traditional plastic arts in our modern design aesthetics. It is obviously not advisable to completely deviate from tradition. Pure imitation and simple application of western modern art will make our art lose its national personality. It is necessary and inevitable to inherit the tradition, and anything new is built on the tradition. Second, the first essence of modern design aesthetics is that "new" has different levels, which can be improvement or creativity. But in any case, only novel design will take the first step to success. The second essence of design aesthetics is "rationality". Design can not exist independently of society and market, and conforming to the law of value is the direct reason for the existence of design. If designers can't bring more surplus value to enterprises, I believe there will be no design industry in the world. Third, the influence of traditional aesthetics on modern design aesthetics (I) The influence of traditional aesthetics on advertising design The aesthetics in China's traditional aesthetics have a subtle influence on modern design aesthetics, which in turn affects traditional national aesthetic concepts. These advertising designs, which are closely related to our lives, are becoming more and more mature. We can summarize them from the following points. 1. Be clear at a glance, concise and clear. Advertising design is different from oil paintings or prints on shelves. It needs to be clear at a glance, concise and clear, so that people can see clearly what they want to promote at a moment and a distance. In order to achieve this goal, advertising design often adopts a series of hypothetical methods, highlighting the key points, deleting minor details and even the background, and combining activities that take place in different time and space. Therefore, its conception should go beyond reality, its composition should be summarized and concentrated, its image should be concise and exaggerated, and it should use strong and bright colors as a means to highlight and highlight what it wants to publicize, show the internal relationship between things, and give the picture a wider meaning, so that people can think of a broader life and feel new meaning in a limited picture. In these respects, China's traditional aesthetics can provide designers with a lot of nutrition. For example, the refinement of the concepts of "one to ten" and "use less and use more", the conciseness of the composition of "white is black" and "no painting is wonderful", the contrast of "sparse but impenetrable" and the exaggeration of "likeness and dissimilarity" are all precious treasures left by our ancestors, which have been fully reflected in the advertising art design in China. Jin Daiqiang, a famous Hong Kong graphic designer, used China's ink painting techniques in his poster design "Freedom" series, which combined the special mechanism effect of modern science and technology, and was modern without losing tradition. 2. Generalization and deformation China traditional aesthetics has both form and spirit, and pays attention to generalization and deformation. Qi Baishi's "painting shrimp for several decades, only to get its spirit" has a process of continuous generalization and deepening, and finally dares to abandon the minor parts of shrimp and highlight its main characteristics, making the image of mother shrimp more perfect and vivid. 3. Decoration and color The color treatment of traditional art is mainly decorative color. Because of the characteristics of poster art, the role of decorative colors in painting is determined. Decorative color is subjective to some extent, which is also the deliberate pursuit of advertising pictures. On posters, there are often such examples. A blue painting with several bright fireworks in the upper corner will naturally be accepted as a deep blue sky. It is also a blue background, and several white jib shadows are drawn. This blue color will be regarded as an endless ocean. Draw a pair of frolicking lambs on a piece of green paper, and this piece of green becomes a lush lawn. Because it is only a simple background color, it has more space and gives people more associations. (II) Extension and development of China's traditional aesthetics in modern design aesthetics Through the historical extension of China's traditional aesthetics, we can see that modern design aesthetics itself is an open system, which is constantly updated and expanded under the impact of new technologies and new concepts. Its subsequent connotation and spirit are the result of long-term accumulation of national history, unique to the Chinese nation and the soul of national form. Therefore, in order to continue and develop China's traditional aesthetics and create new national forms in modern design aesthetics, we must take its "form", expand its "meaning" and convey its "spirit" on the basis of understanding. 1. Taking its "shape" is naturally not a simple copy, but a re-creation of China's traditional aesthetics. On the basis of understanding, this re-creation transforms, refines and applies some elements of China's traditional aesthetics with modern aesthetic concepts, making it full of characteristics of the times; Or we can apply the traditional modeling methods and forms to modern design, express the design concept, and also reflect the national personality. For example, the logo of the Chinese channel of Phoenix Satellite TV borrows the picture of the phoenix bird in painted pottery and adopts the unique structural form of "welcoming" in China, which embodies a solid cultural heritage, while the wings of the phoenix bird are very dynamic and reflect the characteristics of modern media. 2. Extending its meaning, the meaning behind China's traditional aesthetics is the key to people's infatuation with its modeling, so the auspicious meaning behind China's traditional aesthetics is also applicable to modern design, conveying modern people's design ideas. For example, the logo of China Unicom adopts the shape of "Panchang", which is one of the "Eight Auspiciouss" derived from the Eight Buddhists, meaning "a long history and endless life". The continuation of this auspicious implication has made our modern design aesthetics less commercial and more cultural and friendly. 3. Spreading its "spirit" and following "form" and "meaning" can be said to be a superficial development and promotion of China's traditional aesthetics, while the creation of new national forms requires us to get rid of the materialized representation of aesthetic tradition and enter the deep spiritual field to explore. Only on the basis of deeply understanding the traditional artistic spirit and fully understanding various design trends from the modern west can we make a national form that conforms to the new era and find a modern design that truly belongs to our nation and can be recognized by the international community. In this regard, the logo of the 2008 Olympic bid can be said to be a good example. The whole logo modeling does not directly borrow the traditional style, but uses China's unique freehand brushwork technique between similarity and non-similarity, and appropriately conveys the two images of "Chinese knot" and "athlete". This logo not only embodies the unique style of China, but also is recognized by the world. Four. Conclusion What I have said above reflects the great influence of traditional aesthetics on China's current design aesthetics. These aesthetic views have a subtle influence on our modern design concept. Of course, we are constantly impacted by foreign cultural design concepts and benefit a lot from them. Reference: [1] Wang Shouzhi. History of World Graphic Design [M]. Hubei Fine Arts Publishing House, 199 1. [2] Li Yanzu. The beauty of creation [M]. Jiangxi Science and Technology Press, 2000. [3] Yellowstone. What is the beauty of design [J]. Decoration.