Poster Designer of Taoist Descending the Mountain-How to Design Posters about China Folk Culture _ Poster Design of Traditional Culture

The poster of Broken Bridge designed by Huang Hai is full of suspense and details. What good posters did Huang Hai design?

Huang Hai is a very famous graphic design master in China. His works are often learning models for design students. It is also famous in the design world. He pushed China's graphic design to the world by himself. Every movie poster he designed. Have been widely circulated and lamented by everyone. His posters also contain a lot of China flavor. His excellent works are also very many. Then let's list some of his good works. To show you.

First, the Golden Age

The posters of the Golden Age series all have the charm of China. In this main poster, the macro and micro are done very well. Ink was originally a relatively small thing. Wang Hai narrowed down the role and put it next to the ink. You are one year older, which is very interesting in comparison. Ink was originally a very Chinese thing. That will not only reflect the interest in the poster. And show that taste of China.

macro and micro comparisons are used in this series of posters. Huang Hai enlarges the three-dimensional Chinese characters. Intersperse characters in it. The persona is next to the pen of the word. Such posters are also very interesting.

similarly, the American poster of the golden age. It is also an amazing work. He used the projection of gold as the main body of the pen, and then the silhouette of the gap in the middle of the pen was used as the silhouette of the protagonist.

The Japanese version uses black and white ink and wash style, and the protagonist is two people playing in the land. Then ink-and-wash smoke floated around them.

In the Korean version, the watercolor style is used, and the only close-up of the heroine is surrounded by watercolor style.

Second, let the bullets fly

In the production of the poster "Let the bullets fly", Huang Hai also skillfully used the technique of silhouette. In the middle is a close-up of the faces of the three protagonists. Then in their close-up, the outline is a silhouette of a man with two guns and a hat.

Third, monster hunt

The poster of monster hunt is also a typical poster of Chinese style. The whole poster is a feature of traditional Chinese ink painting. The visual subject is a huge monster. Under the monster Yao stood a demon catcher with a whip. The human body

is all black and white. At the top of the altitude newspaper is the characteristic of Chinese painting, the feeling of mountains floating in the distance.

The other poster is a green subject. The demon catcher with a whip stood on the monster's head. The monster has big eyes. The main body of the poster is the monster's eyes and the green grass on his head.

Fourth, the Taoist priest goes down the mountain

The Taoist priest goes down the mountain uses symmetry skillfully. There are high mountains on the left and right sides of the poster. Then the protagonist stood in the middle of the basket. How to design a poster about China folk culture _ Poster design of traditional culture

1. Cultural differences and identity

Culture is not a fixed concept, its forms are complicated and changeable, and the cultures of all ethnic groups also have their own characteristics, which are constantly changing with the internal and external factors. Nevertheless, we can still start with the complicated cultural phenomena and forms, and grasp the connection points and * * * similarities between cultures of all ethnic groups and times. Culture is enjoyed by * * *, and it is the ideal, value and code of conduct enjoyed by members of a particular group. However, culture can also be learned. People grow up with culture, and cultures of different groups can also form an intersection. We always emphasize that we are in the era of global integration, and the cultures of various countries and nationalities are also influencing and infiltrating with this change, and this cultural exchange is finally implemented in all aspects of life. For example, despite the differences in religious beliefs between China and the West, most people in China don't understand the teachings of Christianity, which does not prevent us from having a holiday in the name of Christmas; Although westerners probably don't know the difference between the Gregorian calendar and the lunar calendar, it doesn't affect them to enjoy the festive atmosphere of the Spring Festival with overseas Chinese all over the world.

Second, cultural differences and identity reflected in poster design

Posters are also called "posters" and "posters", and the English name is "poster", which means printed advertisements posted on cardboard, walls, large wooden boards or vehicles or displayed in other ways. It is the main form of outdoor advertising and one of the oldest forms of advertising. Some people interpret the meaning of posters according to the root structure and anecdotes of poster, and think that poster is converted from "post", and the meaning of "post" is column, so poster refers to all notices posted on columns. No Chinese dictionary has given a special explanation to the word "poster", but it is said that during the Qing Dynasty, foreigners berthed at China's coastal docks with foreign goods carried by sea boats, and posted posters at conspicuous places along the street of the docks to promote their goods. Coastal citizens called this poster. According to this development, all posters with similar purposes and other messages are called "posters" in the future.

(1) Cultural identity in posters

The transmission of culture is based on symbols. For example, language is the most important symbol. With the help of language, culture can be transmitted from generation to generation and spread to a wider range. Symbols can be divided into auditory symbols, visual symbols and tactile symbols according to different senses. Language belongs to auditory symbols, while words belong to visual symbols, and graphic images are also important visual symbols. Posters have the characteristics of large screen, extensive publicity content, rich artistic expressions and strong long-distance visual effects. They are excellent cultural communication carriers and an important part of graphic design works. It is widely spread because of its rich content, clear theme expression, diverse communication channels, simple display and no excessive restrictions on environmental props. Many international graphic designers we are familiar with have outstanding representative works in this field. Many international graphic design competitions are also conducted through this form of expression. Seven consecutive international college students' anti-fur poster design competitions were held, requiring participants to use original poster works to guide consumers to think about the moral issues of fur clothing. When we appreciate the outstanding design works that won the final prize, it is not difficult to find that similar ideas or similar graphic elements are often used in poster works from different countries, that is to say, college students from different countries, different cultural backgrounds, different educational backgrounds and different growth environments have some similarities in the selection of ideas and materials. For example, in the fifth competition in 27, the theme of the competition was: the victim of fashion. Three of the winning works in China have the element of clothes rack, and one of the winning works in the United States and Canada has the creative element of clothes rack. This phenomenon shows that at the beginning of the design, Chinese and foreign students invariably associate fashion with clothes hangers when choosing the elements of poster creation, and adopt some forms of expression such as shooting in kind, sketching by hand, or forming different graphics in their own poster design works.

in the historical process of increasingly close global economic ties, political and cultural exchanges among people of various countries have become more frequent, forming an interdependent relationship to a certain extent. As a designer, I always hope that my works can be widely spread and understood and accepted by more people. Therefore, I often use graphic elements that most people can accept and understand. The gold medal in the second "East-West" University Student International Poster Biennale is an anti-war poster named "warm", with the English word "War" written in the center of the background, next to a broken heart, which looks like a pair of small wings with a halo on them, just like a bloody angel. There is a row of theme words at the bottom of the picture: Please don't let these wings fly away. The color of the whole picture is mottled, which reminds people of the trauma brought by the war. In this bleak scene, this little red heart warms the mind of the viewer and makes people realize some different flavors in the heavy. English is not our mother tongue, but it is the international common language; Most people in China don't believe in Christianity, but most of them can recognize the typical characteristics of angels. Therefore, this work can be interpreted by most viewers at home and abroad. It can be seen that despite growing up in different cultural and educational backgrounds, international exchanges are getting closer and closer, and now the younger generation in the East and the West are gradually converging in their lifestyles, behavior habits and even ways of thinking. This is both an opportunity and a challenge for designers: on the one hand, using internationally accepted visual elements to create works can improve the spread of works and gain the understanding and recognition of most viewers in the shortest time; On the other hand, only using cultural identity to design posters will inevitably lead to too many risks of creative "crash". Therefore, it is very important to grasp the "degree" between them.

(II) Cultural differences contained in posters make them unique

Throughout the development process of poster design, most of the poster works of internationally renowned graphic designers contain unique and personalized visual language related to their own background culture, which is gradually transformed into a strong personal style, so that viewers can understand who the designer is as soon as they see the poster screen. A series of posters created by a famous Japanese designer, Ichigo Tanaka, for the traditional Japanese drama, Nobu Drama, are widely circulated. Neng Opera is the first kind of Japanese national drama, which evolved from the "ape-like music" which was born out of the performances of the temple shrine, and it is of great significance in the history of japanese theatre. Nengju, which has fewer characters and focuses on the performance of the plot, is a symbolic drama. Actors who play the characters in the play wear masks, which is an important feature that distinguishes Nengju from other plays. Nengju begins with choosing masks. Most of Tanaka Yiguang's posters of energy drama use masks as the main graphics. In terms of expression techniques, he sums up the original complex and figurative masks and headdresses with a large area of geometric color blocks, summarizes their main features, and uses high-purity complementary colors to create a strong visual impact. In addition to using geometric color blocks to create posters, there are also some posters with characters and even strokes as the main creative elements. These characters are often the contents of a chapter in a drama, which are arranged on the screen by array; Or split the strokes of the title of the play without affecting the recognition and distribute them in the picture; Sometimes different plays are distinguished by corresponding colors.

A lot of traditional Japanese images and ethnic elements are used in the poster design by Kazuo Tanaka, but these elements are expressed by relatively modern geometric forms. The application of complementary colors in posters creates a colorful and gorgeous drama world, and through clever division and spacing, it reflects the overlapping of levels, which makes the poster picture form a sense of space similar to the western perspective effect. This is an excellent embodiment of tradition and modernity, cultural differences and identity. Some people may say that nowadays it is far from the heyday of Tian Yiguang, and Nengju itself is a more traditional cultural field, so it is inevitable that some unique national cultural symbols will appear in posters. Then, the new Iranian designer Me-hdiSaeedi is another vivid example. MehdiSaeedi's works always contain ethnic elements such as Persian characters and traditional characters. For example, his poster "Three Iranian Faces" for the oil painting exhibition of three Iranian female artists uses the size of Persian and the change of writing angle to form three interrelated female side faces, which perfectly fits the theme. He believes that Persian and Latin characters are very different in structure, Latin characters are between two parallel lines, and the structure of square characters is easier to deal with the problem of balance. Persian characters, on the other hand, are more mobile, and the combination of letters is more random. Designers can design in a more innovative way, and the graphical effect is more obvious than that of Latin characters. His other poster work, Impression of Iran, was made for the exhibition of Iranian photographers: the main graphic of the picture is the image of a traditional Iranian man with his head wrapped, showing strong local characteristics. As a designer who has studied in Britain and France, MehdiSaeedi understands that for most people, the recognition of Persian is limited, so there are always themes marked in English in his works, which are organically combined with the original Persian characters. In his own words, it is "trying to combine the characteristics of these two languages". MehdiSaeedi tells us through his successful poster design that the collision between different cultures can often spark unexpected sparks.

(3) The "chemical effect" caused by the collision between Chinese and Western cultures

Many of the poster designs designed by Chen Youjian, a famous Hong Kong designer, are full of China cultural elements, and this Chinese flavor is expressed by concise and easy-to-understand modern design techniques. He himself responded modestly: "Basically, all my things are superficial. But why do I do it so well? Because I know how to express my culture, so that both China people and foreigners can feel interesting. But it doesn't mean how much I know about China culture. Just ask me one more question, and I may not be able to give you a deeper answer. " Using this design concept of different cultures to complete the work is to "express the culture and taste of China through international activities, and take back the dignity of China people on the international stage through this exhibition". Looking at the poster design of his solo exhibition "(EAST meets West)" held in Tokyo in 199, the main body of the picture is a seal character "East" written on the sand. Looking closely, we can find that the stroke structure of this traditional oriental character is divided into four English letters "East", which is the meaning of "East" in English. If you put the poster upside down from another angle, the characters and strokes will form "WEST" and become the meaning of "West". He skillfully combined the English words "East" and "West" in the same ancient China script, which not only covered the theme of this solo exhibition "(East meets West)", but also reflected the blending and convergence of East and West. The overall picture is warm yellow, and the font depiction in the gravel reflects the mystery and vicissitudes of ancient oriental culture and history.

The poster designed by Chen Youjian for the exhibition of seven Hong Kong designers of "Hong Kong East and West" is also full of inspiration sparks caused by the collision of different cultures. There is a cup of hot tea in the center of the light-colored picture, which is a typical Chinese porcelain teacup outlined by a few brush strokes, but the cup is soaked with black tea. The label composed of red and yellow is reminiscent of Lipton, a British classic brand with the reputation of "the king of black tea in the world", but the text on the label has been replaced with the theme of this exhibition. The tea in the cup is steaming, and the rising gas is composed of colored lines, which seems to mean that the design works of Hong Kong designers who have grown up under the influence of eastern and western cultures will surely shine in the design world through the presentation of this exhibition. The color of the poster is plain, the main body of the picture is prominent, concise but not simple, and it contains rich and meaningful content. It is not only the "patent" of Hong Kong designers to blend the oriental cultural tradition and western design aesthetics. Mainland designers also feel the unique design charm of combining East and West, and have created many excellent poster design works. In a set of poster designs entitled "A Hundred Flowers Let a Hundred Schools of Thought Contend" designed by Shenzhen graphic designer Liu Yongqing, he skillfully combined Chinese and Western characters. In the picture, "a hundred flowers blossom" is combined with traditional flower graphics, and the word "a hundred schools of thought contend" is combined with the Confucius statue, which embodies the literal meaning of these eight words. The two posters look flat at first sight.