Design concept of print advertising design

All kinds of graphics, images and even text symbols in design works can be refined into the presentation of shapes. Because shapes are usually perceived and captured first in people's visual consciousness, they play a guiding and directional role in visual arousal and thinking.

L, the cognition and understanding of various shapes, mostly benefit from the inspiration of nature.

For example, the fullness, reunion and auspiciousness brought by the circle are closely related to the sun and the moon; The toughness and coldness of J-shape are related to the character of rock and roll. Jumping waves and winding paths make us realize the liveliness, smoothness, softness and femininity of curves. This cognitive psychological foundation is very conducive to accurately and quickly positioning the styling design according to the expression intention.

2. All shapes are divided into four categories: points, lines, faces and bodies.

The salient features of points are location and connection, and the greatest charm lies in forming the center of interest, attracting visual movement, thus generating psychological tension and triggering potential ideas. The understanding of points can be divided into three levels: one is the relativity of a single point, the other is the visual guidance of multiple points, and the third is that the composition of points will have an impact on the light, shadow and texture effects of the picture. Pissarro's stippling can help to understand this point. Mobilizing "touch" from "vision" and letting two-dimensional design convey "three-dimensional expression" play an important role in stimulating psychological affinity and emotional resonance in advertising design.

Line is the most basic part of design. Winkelmann, an aesthete, said: "The shape of an object is determined by lines." The most emotional part of line language is to convey emotion, and the effect is stronger than that of point. But lines are rational and have strong modeling power. The length, thickness, shape, trend and various brush strokes of lines depict its character, and at the same time represent a specific style and form, which can bring us different feelings. In particular, the relationship between multiple lines, that is, the arrangement and combination of lines, gradual change, turning, dilution and directional extension, can stimulate continuous thinking on the basis of modeling, bring the beauty of rhythm and rhythm, and even produce some illusory and symbolic images.

Face is the most direct design vocabulary in visual form, and its substantive content is much richer than points and lines, and its sense of form and descriptive form are also stronger. Faces can be graphical, visual, patterned, symbolized and worded, which is the carrier for viewers to directly or indirectly read and appreciate design ideas and creativity. It conveys the corresponding information, image and connotation. Through personalized form, this is generally the refinement of the theme and theme of advertising design works. The combination of different shapes and surfaces in the design is an effective means to create whimsy, expand perceptual space, reproduce life order and explore the thinking potential of the audience. In addition, there is a very important point in thinking about the opposite structure, which is the relationship between the map and the ground. The purpose of classifying the body as a plane form is to prompt the design thinking of plane advertisements. It is a "virtual body" that expresses three-dimensional space image with plane shape, which comes from the optical illusion of depth. This illusion stems from the spatial tension formed by the body itself, which makes it feel a psychological space on the intuitive level. Many fantastic compositions in the design are inspired by this, and some surreal and unconventional extraordinary thinking also comes from this. Based on this kind of thinking design, it is easier to break the "stereotype" of routines and experiences and find the best breakthrough point for information transmission.

3. Point, line, surface and body are interrelated, influenced and restricted.

The line of sight flows from point to point, 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 composition of surfaces will bring the appearance and characteristics of the body. In the design, we should grasp two points: order and integrity. Order means beauty, and the whole means religion. Multi-element design, no matter how complex and diverse shapes are used to convey whimsy, as long as it belongs to order and integrity, the theme and intention of design will reach the self-evident realm.

Color: Creating the Life of Design

Color has the strongest intuition and the greatest synaesthesia, so the interpretation of color from the perspective of design thinking should be the most delicate, subtle and skillful. We can feel and design thousands of colors. The seven basic colors of red, orange, yellow, green, cyan, blue and purple, together with the different properties of black, white and gray, make our creativity and expressiveness endless. There is a factor that can't be ignored in the perception of color: visual physiology, that is, from a physiological point of view, self-regulation can meet various balances.

For example, the "first impression color" instantly perceived by the eyes is considered to be objective and accurate, the aesthetic category of color emphasizes the simple unity of colors, the great improvement of color discrimination ability in neutral gray environment and its psychological stability and harmony, the fusion of visual perception between colors with similar attributes, and the transformation of colors with strong contrast in the opposite direction, all of which are the results of the reconciliation and influence of visual physiology.

Poster advertisements with strong, bright and eye-catching color contrast, propaganda slogans with scarlet letters on a white background, exquisiteness and exquisiteness of "five-color ink" in China traditional ink painting, the principle on which screen making is based, mixed-air imaging of color TV sets, etc. The more subtle and potential psychological inducement of color is color psychology, which is an interactive process between people and color. For example, a certain color tone that we directly feel may create a color atmosphere due to its own combination or the performance of its personality attributes. This is the information of color, just like some common feelings such as cold and warm, soft and hard, light and heavy, and space for advance and retreat. This shallow perception is the result of people's memory and visual experience of life, which is relative. Further thinking will lead to concrete things, such as warm orange sunrise and cold blue sea, but at this time it will often bring obvious personality characteristics, and the result of directly feeling external information will inevitably lead to emotional experience. For example, people who think of fire when they see red will naturally experience a warm and exciting feeling.

Vital color design can naturally guide people's emotional accumulation into some kind of emotion to achieve their goals, which 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.

Color aesthetics should guide and grasp four aspects in design: (1) simplicity of color in print advertisements. The simplicity of design color is the first principle, and the simple use of color will make it more lasting. In principle, there are generally 2-3 colors. ⑵ The rhythm and rhythm of color. Rhythm is the order of change, and rhythm is the change of order. The most attractive colors can be understood from music. The jumping and rhythm of seven tones and seven colors have many similarities and reciprocity in emotional rendering, emotional stimulation and memory preservation. (3) Master-slave and hue of color.

The distinction between primary and secondary reflects the essence and also becomes the thinking order for people to know and understand the attributes of things. In the design of color, there should also be a master and a slave. The key lies in where the design guide is, what the theme is, and the color master-slave and basic tone of the picture should be created according to this idea in design. (4) Color contrast and harmony. Contrast and harmony are the basic principles of color design. There are many factors that can mobilize the contrast in design, such as the lightness, hue and chroma of color, the size of color area, the shape and direction of color, etc.

To achieve reconciliation, we can grasp several points: First, achromatic color is the easiest to reconcile. For example, China's traditional calligraphy, ink painting, color separation and so on. Secondly, pay attention to the charm of various colors in achromatic environment. For example, gray, many colors and gray will have a "color" taste after mixing. In addition, dealing with the master-slave relationship between lust and pitch is also the basis of achieving harmony.

Texture: a means to strengthen connotation

The various structures and organizational forms of things bring us different perceptual feelings, which are called texture or texture, mainly through visual and tactile perception. Paying attention to the successful reproduction or creation of design elements, especially the texture of the main elements, plays a decisive role in strengthening the theme, expanding the connotation and revealing the essence, and can also enhance the attraction, increase the attention and even trigger the dramatic effect. There are two ways to express the texture of the design picture: to reproduce the texture and to create the texture. The best way to reproduce the texture is photography, which can accurately and truly restore the texture of the subject to the greatest extent, even highly concise and finely portrayed. Creative texture mainly refers to the creativity and production 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 the comprehensive quality of space transformation consciousness and unit modeling ability. Techniques include: (1) strengthening various contrasts, light and shade, convexity and concavity, and trends. For example, the color of projection and flare is unstable, the shape and shape edge overlap and reflect each other, and the arrangement of thick and thin lines is gradually intertwined. (2) mobilize design factors, modeling, color, light and shadow. For example, various texture formation methods of points, lines and surfaces, and the effect of enhancing contrast between different attributes of colors. (3) Adopt special structural forms, such as gap, division, depth, level, vertical and horizontal, density and overlap. (4) Use illusions and hallucinations. Such as the illusion space of visual contradiction, the fluctuation grating effect of visual persistence, the distance illusion of visual experience and so on. 5] simulate nature. Unique texture marks of common painting tools, different texture effects of common painting techniques, and computer design software to simulate the feeling of materials. [6] Accidental harvest. It is sometimes subtle, interesting and even dramatic to get inspiration from the casual and accidental "works" of nature and reality and get similar destructive and random texture. The reproduction and creation of texture, no matter what way, mainly comes from authenticity, richness and association. The beauty of texture lies in truth, and real things are more likely to trigger trust and affinity. Texture can be expressed from simple to rich. Visual texture can realize perceptual transmission, mobilize emotional association and strengthen connotation.

Composition: a Bridge between Form and Interest

There are many elements in the layout design of print advertisements, but it is simple to sum up: shape, color and quality. The thinking of composition is to arrange, plan and construct these elements as a whole. A good composition is a bridge to express meaning and interest in form. The communication and connection between form and connotation aims at revealing the theme and conveying ideas. First of all, no matter how many design elements there are, a hair will touch the whole body. Form to form, form to color, color to color, and qualitative expression are all interrelated and work together. For example, the arrangement of a line of title words is placed vertically in the center of the picture at normal intervals, which can be regarded as a whole shape, and the picture is divided by the central axis composition. However, if the spacing is widened and then distributed vertically with a gradually changing font size, each line can feel a separate shape. The former has a sense of balance and symmetry, while the latter has a flowing line of sight and a lively jumping space for radiation. Its ideographic meaning and theme connotation are different, which can be reversed according to product positioning and target population. Secondly, we should take the traditional formal law and basic aesthetic law as the basis of thinking. Such as blank, stability, trisection, the center of interest in sight, the guidance of sight flow, the principle of simplicity, the order in diversity and unity, etc. This is the best way and means to connect formal expression with spiritual touch and emotional trigger, and it is a shortcut. The exploration of unconventional composition and transcendence in advertising design has become a breakthrough point for contemporary thinking to create novel and unique labels, deconstruct dreams and attract attention. There are some common types of layout combination and layout planning of print advertising design elements, namely, basic composition modes, such as standard, central axis, eccentric and free; Text type, full map type, indicating type, scattered type and so on. Some common types and idiomatic patterns have their own origins and foundations, their own characteristics and characteristics, and their own advantages and disadvantages. The key is to understand and grasp the characteristics, connotations and adaptation modes of various forms of composition. Only by comprehensively considering the relevant factors in the specific application, such as theme appeal, information bearing, product characteristics, target audience, media characteristics, etc., can we have a correct choice.

Creativity: Eternal Memory and Breakthrough

For creativity, the starting point of every design is zero. The meaning of zero here has three layers: first, the starting point of thinking returns to primitive and essence, and the source of creativity should be the direct accumulation of objective images rather than indirect experience; Second, the way of thinking breaks the "stereotype" of traditional habits and creates new ways of thinking; The third is the personalization and breakthrough of expression and communication. The creativity, wisdom, otherness and originality of print advertisements are mostly attributed to this "zero" thinking. This is a cycle of regression and breakthrough, just as zero can be represented by a circle with no beginning and no end, representing eternity. In essence, it has the significance of philosophical speculation and is the thinking basis of successful creation.

1, the starting point of creative breakthrough. The creative breakthrough lies in itself. The essence of "Inspired generate" is not the "enlightenment" of objective, external and physical images, but the "enlightenment" of subjective, internal and spiritual, which is interlinked with enlightenment. The generation of advertising creative inspiration emphasizes its long-term accumulation. James webb young's metaphor of "magic island is emerging" in his brewing process helps us to understand this point vividly. After years of accumulation, coral corpses grow into coral reefs and form a "magic island" floating out of the sea, which is a process from "here" to "there" and from "quantity" to "quality". The accumulation process of quantity is long-term, gradual and potential, while the qualitative change can be instantaneous, sudden and obvious. This accumulation should be conscious, conscious and all-round. For example, the study 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 cognitive level of natural, social and humanistic knowledge.

2. The source of creative inspiration. Although all kinds of "original" works with fantastic ideas can be called "originality" and "creation", they never come out of thin air and come from "creative library", which is the source of inspiration. The most important breakthrough in the inspiration of creative design works is to find the design elements that best fit the design theme and information transmission, and dig out the essential relationship between them. This internal connection may sometimes be potential, primitive and subtle, but it is the most critical and important connection point. In this way, it is easy to capture the breakthrough point and expression of the best performance.

3. The inspiration of creative thinking. Innovative thinking is a conscious thinking process, and it is a targeted intellectual potential development initiated by intuitive consciousness. The way to open your mind 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 characteristics, different cut-in methods and different expression techniques.

⑵ Break the constraints of subjective and objective and thinking. The interweaving of reason and madness is the fashion of today's business design, and finiteness is the foundation of infinity. Abandoning the original experience and habits is the premise of all innovations and breakthroughs.

(3) Pay attention to inspiring imagination. Some strange, supernatural, anti-popular, anti-regular expressions are easy to attract attention and deepen memory because they use the laws of human physiological induction and psychological cognition. For example, many surreal expressions violate people's normal and regular understanding of objective images, the balance from physiological induction to psychological perception is broken, people's thinking and association with intuitive experience are blocked, which is bound to stimulate their curiosity of multi-dimensional imagination and exploration.

(4) Many new, strange and special performances can always find deja vu factors and forms, all of which are the result of the new combination of old elements under the new order. The decomposition and reconstruction of elements and the collage and fusion of different objects can create endless changes, which is an effective method commonly used in design thinking.

5. Break away from the habitual, rational and logical longitudinal thinking, and try and study the horizontal, divergent, reverse and paradoxical thinking mode. The complementary and comprehensive application of various thinking modes will significantly improve efficiency.

[6] Don't ignore the accidental revelation. Graffiti on the wall, accidental association between unrelated things, intuitive understanding of a certain appearance, the ups and downs of natural things, the combination and form of interesting humor suddenly discovered, and the unexpected and peculiar effect in the process of computer design are all valuable assets.