Detailed classification categories such as expression forms, creative techniques, and screen expressions of graphic advertising design!

In terms of its form, print advertising is just a way of transmitting information and a medium between the advertiser and the audience. The result is to achieve certain commercial or political purposes. Advertising is indispensable in countries with rapidly developing economies. Of course, advertising, as a special product of modern human life, has different opinions and opinions, but we must face the fact that we may receive advertising information at any time in our daily lives, open newspapers, Turn on the TV, surf the Internet, and you will see advertisements everywhere. It can be said that it has penetrated into every aspect of our lives. People in modern cities have become accustomed to this kind of life.

Modern advertising has developed over a hundred years since the mid-19th century. After the Industrial Revolution in Europe, with the development of printing, color slate and screen printing technology were widely used; the economic boom brought market prosperity, and people's demand for advertising also greatly increased, which laid the foundation for modern advertising. The basis for the rise. With the emergence of radio and television, the forms of advertising have also become diversified and three-dimensional. Today's advertising has become mature in economically developed countries and has formed a complete system in terms of theory and practical operation, playing an important role in economic and political life. Faced with numerous advertising forms, as a professional engaged in graphic design, you should have a basic understanding of advertising as a whole, so as to grasp the characteristics of different advertising forms and better utilize their advantages.

On the whole, advertising can be divided into media advertising and non-media advertising. Media advertising refers to advertising that spreads information through the media, such as television advertising, newspaper advertising, radio advertising, magazine advertising, etc.; non-media advertising refers to advertising media forms that directly face the audience, such as street sign advertising, graphic poster advertising, and advertising in commercial environments. Point of purchase advertising, etc. Different advertising forms have different design requirements.

Graphic advertising design occupies an important position in non-media advertising. It is also a course that must be mastered to learn graphic design. It is very broad in both form and content. The forms of expression can be diverse, unlike painting, which is limited by a certain medium. Painting, photography, collage, all forms can be used by me, realistic, freehand, abstract, all kinds of means can be used. You can use their strengths. This is not because graphic advertising design has a distinct personality, because advertising creation is a fashion art, and its works must reflect the trends of the times. Designers should maintain professional sensitivity, absorb nutrients from different art forms, and create products that are both in line with the times. Works that appeal to the public's aesthetics and are in line with the trends of the times. Advertisements are also very wide-ranging in terms of content, ranging from national policies to as small as a product. The specific content can be political propaganda, environmental protection, culture and sports, movies and dramas, beverages and food, home appliances, travel and sightseeing, etc. There could be many more to list like this, which seems a bit complicated. I also tried to divide the content into several categories, such as cultural categories, commodity categories, etc. In fact, when we face an advertising work, you will find that the content is not independent. For example, a product advertisement may be advertised from an environmental perspective. Therefore, there is no need to divide the content too clearly. If a specific content is placed in a fixed range, it may limit our creative thinking. . The reason why we list it like this is to illustrate the scope of print advertising design, which pays attention to people's lives from different angles. This is why we say that it occupies an important position in non-media advertising.

After having a preliminary understanding of the nature, form, and content of print advertising, you should understand its basic creation rules. In summary, print advertising creation includes two aspects, namely creativity and performance. Creativity refers to thinking ability, and performance refers to modeling ability. They are conceptually different, but unified in the creative process. The reason is very simple. If you only have an idea and no modeling ability, no matter how good the idea is, it will be impossible to express it. On the other hand, without creativity and aesthetic awareness, the idea is absurd and unfeasible. In addition, it is impossible to call it advertising design if it only has modeling ability and lacks creative thinking, because advertising has a strong functionality, and its most basic function is to convey information. How this information is conveyed reflects the creative thinking ability. Modern advertising is no longer just a simple information function. Unique creative thinking and appropriate performance are the keys to the success of an advertisement. Therefore, the two are different but also unified with each other. The cultivation of abilities in these two aspects is highly professional.

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Design is purposeful planning, and graphic design uses visual elements (text, pictures, etc.) to spread the ideas and plans of advertising projects, and through visual elements Express

the advertiser’s appeal to target customers. In addition to inspiration, the quality of graphic design is more important whether it accurately expresses the appeal points and whether it meets the needs of business.

Plain advertising, if defined from the concept of space, generally refers to the existing advertising media of various advertising media that convey visual information in two-dimensional forms of length and width; if defined from the production method, it can be divided into printing types There are three forms: non-printing type and photoelectric type; if defined from the place of use, it can be divided into three forms: outdoor, indoor and portable; from a design point of view, it includes copywriting, graphics, lines, Color, arrangement and other elements. Print advertising has become one of the main means of advertising because it conveys information concisely and clearly, and can capture people's hearts instantly. Graphic advertising design requires the means of expression to be condensed and symbolic in creation. An excellent graphic advertising design has a sense of novelty full of contemporary consciousness, and has unique expression techniques and emotions in design.

The excellence of advertising design plays a key role in the accuracy of advertising visual communication information. It is an indispensable and important link in advertising activities to deepen and visualize advertising planning. The ultimate goal of advertising is to pursue advertising effects, and the key to the success or failure of advertising effects lies in the success or failure of advertising design. The task of modern advertising design is to clearly and accurately convey the information of goods or services through fascinating artistic expressions according to the requirements of corporate marketing goals and advertising strategies, and to establish a brand image and corporate image that is conducive to sales.

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The composition of print advertising is composed of points, lines and surfaces.

Excellent print advertising works should be a harmonious combination of points, lines and surfaces. It also doesn’t lose its general appearance and doesn’t feel different. Suitable for the general public.

It can also be said to be pictures and copywriting.

The pictures and copy are combined concisely to meet the requirements of the designer and the demander.

Edit this paragraph design software Graphic advertising design software

Main content: Photoshop, Illustrator, PageMaker, Freehand, CorelDraw and other design software commonly used by advertising companies.

Photoshop: Learn image processing, editing, comprehensive use of channels, layers, and paths; image color correction; use of various special effects filters; production of special effect words; image output and optimization, etc., and use them flexibly Layer styles, fluid deformation, fades and masks create ever-changing image effects.

PageMaker: Learn the basic rules, usage methods and techniques of typesetting design, the use of toolboxes and shortcut keys, menu functions and operating techniques, publications, books, promotional color pages, and film output precautions. Methods for advanced professional typesetting and production of newspapers, magazines, etc.

Illustrator: Learn graphic drawing, packaging, and promotional page production, allowing you to design LOGO and CI more conveniently. In less than a month, you will become a true art master, using Photoshop If you learn it based on the basics, you will be even more powerful, and your efficiency will be doubled.

Freehand: Whether it is personal work design, company logo, poster production, it can be easily completed, and can be used in advertising, printing and other industries

CorelDraw: Through the comprehensive design and development of CorelDRAW9 Integrate web functionality into existing design solutions to create vector illustrations, designs and images for excellent company logos, presentations, color pages, brochures, product packaging, logos, web pages and more

Graphic Design ——————————The key is to have a bold attempt.

Edit this paragraph of advertising 3i standard Impact (impact)

Measured from the perspective of visual performance, visual effects are to attract readers and convey the benefits of the product in their own language. A successful print advertisement should have a very strong appeal on the screen, scientific use and reasonable combination of colors, accurate use of pictures and attractiveness. However, we must avoid abusing visual effects to attract readers' attention. The use of visual effects must make the advertising image and the advertising appeal content closely and organically combined.

The title is also a key weapon to gain readers' attention and convey benefit information. The title must be simple and clear, so that readers who have a busy day can quickly understand and understand. A vague title will lose the attention of a large number of readers. Without The title of an advertisement directly affects its recall and persuasiveness. DMB research shows that colorful theme slogans can help increase the attractiveness and recall rate of advertisements, and can also help improve the effectiveness of appeals to key points of interest.

Information (information content)

A successful print advertisement accurately conveys the key points of interest through simple, clear and clear information content. Advertising information content must be able to systematically integrate consumer needs, interests, support and other communication elements. There is no need to make readers work hard to find the content. When readers need to spend a lot of energy to figure out "what is it about", the advertisement will lose a lot of readers; print ads should not distract readers with redundant content. , if the advertisement piles up redundant content to distract readers, don't expect readers to take the initiative to discover the efficacy of your product, because they are not used to doing too much extra thinking.

The function of the main text is to support the benefit points mentioned in the title through vivid description, and to deepen the reader's impression of the advertised product through benefit support information. It is additional content.

The text of the advertisement should be clear and easy to read. Text that is too compact or difficult to read will lose a large number of readers; small illustrations and subtitles can enhance persuasion to a certain extent, but the more is not always better; white space in the text can help It is good for recall, but not conducive to persuading readers; humorous expressions can enhance the freshness and entertainment of advertisements, thereby improving recall rates, but they cannot be abused and cannot be used as the creative goal of print advertisements

Image (brand image)

Measured from the height of the brand’s positioning strategy, a successful print advertisement should conform to a stable and unified brand personality and comply with the brand positioning strategy; different advertising versions under the same promotional theme, the The style and overall performance of the creative presentation should be consistent and coherent.

The evaluation of advertising creation should be from the perspective of readers, understand their true feelings about advertising, put aside the professional perspective, and return to the origin for analysis. The love of a few people or the amount of creative spending can never be used as a criterion to evaluate the success of an advertisement. Even if an advertisement may be perfect from a professional perspective, it may not be acceptable and understandable to readers.

Edit this paragraph Advertising design ideas Design ideas shape: the basis of visual expression Various graphics, images, and even text elements in design works can be refined into the presentation of shapes. Since shapes are in people It is usually the first to be perceived and captured in visual consciousness, so it plays a leading and directional role in visually arousing and triggering thinking.

l. The recognition and understanding of various shapes mostly benefit from the inspiration of nature. For example, the fullness, reunion and auspiciousness that a circle brings to us are closely related to the sun and moon; while the tough and cold feeling of a j-shaped shape is related to the character of rocks; jumping waves and winding paths , making us realize the liveliness, smoothness, softness and feminine tenderness of curves. This cognitive psychological basis is very beneficial to accurately and quickly positioning shape designs based on expressive intentions.

2. All shapes are summarized into four categories: point, line, surface and body.

The distinctive characteristics of dots are positioning and cohesion. Their greatest charm lies in forming an interesting center and attracting visual movement, thereby creating psychological tension and triggering potential ideas. The understanding of points can be analyzed into three levels: the first is the relativity of individual points, the second is the visual guidance of multiple points, and the third is the impact of the composition of points on the light, shadow and texture effects of the picture. Pissarro's "pointillist" paintings can assist in understanding this. Mobilizing "touch" by "vision" and conveying "three-dimensional expression" through two-dimensional design plays an important role in inducing psychological affinity and emotional resonance in advertising design.

Print advertising

Line is the most basic component in design. Aesthetician Winkelmann said: "The form of an object is determined by lines." The most perceptual aspect of line language is to convey emotions, and the effect is stronger than dots. But lines are rational and have strong modeling power. The length, thickness, shape, direction and various stroke effects of the line depict its character and represent a specific style and form, which can give us different feelings. . In particular, the compositional relationship between multiple lines, that is, the arrangement and combination of lines, gradualness, turning, fading, directional extension, etc., can inspire continuous thinking on the basis of shaping, bring about the beauty of rhythm and rhythm, and even Certain illusions and symbolic images will be produced. Surface is the most direct design vocabulary in visual form, and its substantive content is much more concrete and richer than points and lines. Its sense of form and narrative shape are also stronger. The surface can be graphic, pictorial, patterned, symbolic and textual, and is a carrier that allows viewers to directly or indirectly read and appreciate design ideas and creative concepts. It conveys corresponding information, imagery, connotation, etc. in a personalized form, and is generally the refinement of the theme and main content of advertising design works. The configuration and combination of different shapes and surfaces in design are an effective means to create whimsical ideas, expand the perceptual space, reproduce the order of life, and explore the audience's thinking potential. In addition, another very important point in thinking about the structure of the face is the relationship between the picture and the ground.

Classifying the body into a flat shape is a reminder of the design thinking of print advertising. The use of plane shapes to express three-dimensional space images is actually a "virtual body", which is caused by the visual illusion of depth. This illusion originates from the spatial tension formed by the composition of the form itself, making it felt as a psychological space at an intuitive level. Many dreamlike compositions in the design were inspired by this, and some surreal and anti-traditional extraordinary thinking also originated here. Design based on this kind of thinking makes it easier to break the "fixes" of convention and experience and find the best entry point for information transmission.

3. Points, lines, surfaces and bodies are interconnected, influenced and restricted. The flow of sight between points has the feeling of lines. The distribution of multiple points or the different composition and combination of lines can form various forms of surfaces, and the turning, connection, and gradual formation of surfaces can bring about the appearance of a solid. with characteristics. Two points, order and wholeness, should be grasped in the design. “Order” is “beauty” and “wholeness” is “zong”. A multi-element design, no matter how complex and diverse shapes are used to convey the whimsical meaning, as long as it is integrated into order and wholeness, the theme and intention of the design will reach the state of being self-explanatory and self-explanatory.

Color: Creates the life of design

Color has the strongest intuition and the greatest synaesthesia. The interpretation of color from the perspective of design thinking should be the most delicate, subtle and visible. Of skill.

There are thousands of colors that we can feel and design. The combination and matching of the seven basic colors of red, orange, yellow, green, cyan, indigo and purple plus black, white and gray with different attributes enable us to have endless creativity and expression. There is a factor that cannot be ignored in perceiving color: visual physiology, which is to satisfy various balances through self-regulation from a physiological point of view. For example: the "first impression color" that the eyes instantly perceive is considered objective and accurate. The aesthetics of color emphasizes the simplicity and unity of color. The color discrimination in a neutral gray environment is greatly improved and the consequences it brings. A sense of psychological stability and harmony, the visual perception of colors with similar attributes blending together, and the contrasting colors moving in opposite directions, etc., are all the result of the coordination and influence of visual physiology. Posters with strong, bright and eye-catching colors, slogans with red letters on a white background, the fineness and subtlety of "five colors of ink" in traditional Chinese ink, the principle of dot plate making, the air-mixed imaging of color TV, etc.

A more subtle and potential psychological induction effect related to color is color psychology, which is an interactive process between people and colors. For example: a certain hue that we intuitively feel may create a color atmosphere due to its own combination and matching or its individual attributes. This is color information, just like some kind of sexual feeling such as cold and warm, Soft and hard, light and heavy, space for advancement and retreat, etc. This shallow perception is the result of people's accumulation of memory and visual experience of life, and it is relative. Further thinking will lead directly to concrete objects, such as the warm orange sunrise and the cool blue sea. However, at this time, they often have obvious personality characteristics, and the result of direct perception of external information will inevitably trigger people's emotional experience. , for example, people who see red and think of fire will naturally experience a feeling of warmth and excitement. Vibrant color design can naturally guide people's emotional accumulation into a certain emotion to achieve the goal. This process is called emotional association. Emotional association is a profound, mature, and relatively stable advanced psychological experience. The key to successful design lies in how to guide the audience to this level purposefully.

The aesthetics of color should govern four aspects in design:

(1) Simplicity of color. The primary principle of design is to keep colors simple. Simply using colors will have a longer lasting appeal. In principle, generally use between 2 and 3 colors. (2) Rhythm and rhythm of color. Rhythm is the changing order, and rhythm is the changing order. The most attractive use of color can be understood from music. The jumps and rhythms performed by the seven notes and the seven colors have many similarities in terms of emotional rendering, emotional stimulation and memory retention.

(3) The master, slave and hue of color. The clear priority reflects the nature of nature and has become a thinking order for people to understand and understand the attributes of things. There should also be master and slave in the use of colors in design. The key lies in where the design guidance is and what the theme is. The main colors and basic tones of the picture should be created based on this idea in the design.

(4) Color contrast and harmony. Contrast and harmony are the basic principles of color design. There are many factors that can be used to manipulate contrast in design, such as the three attributes of color brightness, hue, and chroma, the size of the color area, the shape and direction of the color, etc. There are several points that can be mastered to achieve reconciliation: First, achromatic colors are the easiest to reconcile. Such as the brushwork of traditional Chinese calligraphy, color separation in ink painting, etc. Secondly, pay attention to the charm of various colors in an achromatic environment. For example, gray, many colors will have a "colorful" smell after being mixed with gray. In addition, dealing with the master-slave relationship and basic tones of lust are also the basis for achieving harmony.

Texture: a means of strengthening inner content

The various structures and organizational forms of things bring us different perceptions, called texture or texture, which are mainly perceived through vision and touch. Paying attention to design elements, especially the successful reproduction or creation of the texture of the main elements, plays a decisive role in strengthening the theme, expanding the connotation and revealing the essence. It can also enhance attraction, increase attention and even cause dramatic effects. There are two ways to express texture in design pictures: reproducing texture and creating texture. The best way to reproduce texture is photography. Photography technology can accurately and truly restore the texture of the subject to the greatest extent, and even create highly condensed and detailed depictions. Creating texture mainly refers to the creativity and generation of visual texture in design. The key to success lies in the designer's ability to refine, summarize, and imagine design elements, as well as his awareness of space transformation and unit modeling ability, and other comprehensive quality qualities. Techniques include:

(1) Strengthen various contrasts, such as light and dark, convex and concave, and direction. For example, the use of the instability of color light in projections and flares, the overlapping and mutual reflection of shapes and edges, the gradual interweaving of thick and thin lines, etc.

(2) Mobilize design factors, shape, color, light and shadow. Such as various texture composition methods of points, lines, and surfaces, the effect of enhancing contrast between different attributes of colors, etc.

(3) Adopt special structural forms, such as gaps, divisions, depth, levels, vertical and horizontal, density, overlap, etc.

(4) Use illusions and hallucinations. Such as the illusory space of visual contradictions, the wave grating effect of visual persistence, and the illusion of distance in visual experience.

(5) Simulate nature. The unique texture imprints of commonly used painting tools, the different texture effects of common painting techniques, the feeling of simulated materials by computer design software, etc.

(6) Obtained by accident. Getting inspiration from the inadvertent and accidental "works" of nature and reality, and getting a destructive and random texture feeling are sometimes very subtle, interesting, and even have exaggerated dramatic effects.

The role of reproducing and creating texture, no matter what method, in deepening the theme mainly stems from authenticity, richness and association. The beauty of texture lies in authenticity, and real things are more likely to arouse trust and affinity. Texture expression can turn simplicity into richness. Visual texture can achieve perceptual transfer, mobilize emotional associations and strengthen connotations.

Composition: the bridge between shape and taste

There are many elements listed in print advertising layout design [1], but the overarching summary is very simple: that is, shape, color and quality of expression. Constitutive thinking is to arrange, plan, and structure the elements of these representations into a whole. A good composition is a bridge that uses form to express meaning and form to express taste. The purpose of this communication and connection between form and connotation is to reveal the theme and convey ideas. First of all, no matter how many design elements there are, one touch affects the whole body. Forms and shapes, shapes and colors, colors and colors, as well as qualitative expressions, are all interconnected and synergistic. For example, if a line of title text is arranged vertically in the center of the screen with normal font spacing, it can be regarded as an overall shape and the screen is divided with a central axis composition. However, if the font spacing is widened and the font size is gradually increased, it will also be distributed vertically. , you can feel the individual shape of each hen. The former is regular and has a balanced and symmetrical sense of form, while the latter is lively and jumping, with flowing sight guidance and radiating space. Its meaning and theme connotation are different, and it can be reversely thought based on product positioning and target groups.

Secondly, traditional formal laws and basic aesthetic laws should be regarded as the basis of thinking. For example, blank space, stability, the rule of thirds, the center of interest in the visual field, the guide of the visual process, the principle of simplicity, the order in the unity of diversity, etc. These are the ways and means to best connect the formal expression with the touching of the soul and the elicitation of emotion. Follow this It's a shortcut. Advertising design explores unconventional compositions and super-experience techniques, and has become a starting point for contemporary thinking to create novelty, unique symbols, deconstruct dreams, and attract attention.

There are some commonly used types of arrangement, combination and layout planning of graphic advertising design elements, that is, basic composition patterns, such as standard type, central axis type, eccentric type, free type; text type, full picture type , indicator type, scatter type, etc. Some common types and idiomatic patterns have their own origins and foundations for their emergence and existence, their own characteristics and characteristics, and their own advantages and disadvantages. The key is to understand and grasp the characteristic connotations and adaptation methods of various composition methods. In specific applications, the correct choice can be made by comprehensively considering relevant factors such as the theme appeal of the advertisement, information carrying, product characteristics, target objects, media characteristics, etc.

Creativity: Eternal memories and breakthroughs

For creativity, the starting point of every design is zero. The meaning of zero here has three levels: first, it is the starting point of thinking and returning to the original and essence. The source of creativity should come from the direct accumulation of objective objects rather than indirect experience; second, it is the way of thinking that breaks the "set" of traditional habits and creates new ones. The thinking method; the third is the personality and breakthrough of performance and communication. Print advertising creativity, wisdom, extraordinary, and originality are mostly attributed to this "zero" thinking. This is a cycle of return and breakthrough, just like zero can be expressed by a circle connected end to end, without beginning or end, representing eternity. It essentially means philosophical speculation and is the thinking basis for successful creativity. 1. The starting point of creative breakthrough. Creative breakthroughs lie within oneself. The essence of the often-talked about "sudden inspiration" lies not in the "enlightenment" of the objective, external world, and physical phenomena, but in the subjective, inner, and spiritual "enlightenment". "Enlightenment" and "enlightenment" are connected. The generation of advertising creative inspiration emphasizes its long-term accumulation. James Webb Young's metaphor of the "emerging magic island" of his gestation helps us to understand this vividly. The corpses of corals accumulate over the years and grow into coral reefs to form the "magic island" emerging from the sea. This is a process from "here" to "that", from "quantity" to "quality". The quantitative accumulation process is long-term, gradual, and potential, while qualitative changes can be instant, sudden, and apparent. This kind of accumulation should be conscious, conscious and all-round. For example: learning and in-depth understanding of advertising professional knowledge, targeted research on psychology and physiology, understanding of philosophical thinking methods, depth of aesthetic and artistic thinking, and cognition of natural, social, and humanistic knowledge. wait.

2. Source of creative inspiration. Although all kinds of "original" works with fantastic ideas can be called "creations" and "creations", they do not come out of thin air. They come from the "creative library", which is the source of inspiration. The most important breakthrough point for the inspiration of creative design works is to find the design elements that are most consistent with the design theme and information communication, and to discover the essential relationship between the two. This inner connection may sometimes be latent, primitive, and subtle, but it is the most critical and important connection point. In this way, the entry point and expression method of the best performance can be easily captured.

3. Inspiration of creative thinking. Innovative thinking is a conscious thinking process and a targeted development of intellectual potential initiated by intuitive awareness. The ways to open up ideas can start from the following aspects:

(1) Pay attention to the collection, research and absorption of advertising design works with different design styles, different creative features, different entry methods, and different expression techniques.

(2) Break the shackles of various subjective and objective limitations and thinking. The intertwining of rationality and madness is the fashion of today's commercial design. The basis of the limited is the infinite. Abandoning the original experience and various habits and stereotypes is the prerequisite for all innovations and breakthroughs. (3) Pay attention to inspiring imagination.

The reason why some bizarre, supernatural, anti-popular, and anti-regular expressions easily attract attention and deepen memories is that they take advantage of the rules of human physiological induction and psychological cognition. For example: Many surreal performances contradict people's normal and regular understanding of objective objects. The balance from physiological induction to psychological perception is broken, and people's thinking and association of intuitive experiences are blocked, which is bound to stimulate their multi-dimensional thinking. imagination and curiosity to explore.

(4) In many new, strange, unique and unique expressions, familiar elements and forms can always be found, which are all the result of new combinations of old elements in the new order. The decomposition and reconstruction of elements and the collage and integration of different objects can create endless variations and are commonly used effective techniques in design thinking.

(5) Break away from conventional, rational and logical vertical thinking, and try and study horizontal, divergent, reverse, paradoxical and other thinking styles. The mutual complementation and comprehensive use of multiple thinking styles will significantly improve efficiency. (6) Do not ignore occasional revelations. Random graffiti on the wall, accidental connections between unrelated things, intuitive understanding of a certain representation, the process of growth and decline of natural objects, interesting and humorous combinations and forms suddenly discovered, strange things unintentionally obtained during the computer design process Effects, etc., are all valuable assets.