Traditional poster design-What are the traditional forms of poster design?

My understanding of the poster design of the national style that surprised me;

Taking my usual film selection preference as an example, it is a key factor for me to decide whether the design beauty of publicity posters appeals to me. In other words, I think a good poster should have a strong desire to make the audience want to go to the movies. For a poster designer, the most important thing is to show what is behind the film through his profound grasp of the film and visual means. If he grasps the tonality and plot of the film and expresses it skillfully, then I think this is a successful poster. Horgo Matisse, an international master of visual design, once said: "A good poster should speak in graphic language, not in words."

In recent years, the rise of the cultural and creative trend in the Forbidden City has unconsciously narrowed the distance between us and China's 5,000-year history and culture. Personally, I like this traditional, simple, elegant and profound cultural heritage, so I stopped to taste the following film and television posters with oriental aesthetic design ~

What impressed me the most was this poster of The Legend of the Demon Cat. The picture just entered the eye socket, and what caught your eye was a thick hand-painted and meticulous atmosphere. The three characters of "Legend of the Demon Cat" presented in calligraphy stand out against the background full of cool colors and China aesthetic elements. The composition of the picture is symmetrical, and the phoenix at the top of the picture is half hidden in the blue water mist, with a slight expression. The dragon face of the main body of the picture is actually a Gu Lou on the top of the cat, and the blue peony flowers on both sides set off, as if suggesting the women represented by the cat and peony, as well as the bumpy fate of women because of this Gu Lou.

One of the posters of the variety show "Here We Come" should be a close-up of local embroidery on cheongsam. Through such a beautiful and elegant dress woven by gold thread, it seems that we can get a glimpse of the graceful posture of the female guests wearing cheongsam, which can not help but make people look forward to it and find out.

I was stunned by this poster of monster hunting. First of all, the atmosphere of the whole picture is very freehand, which highlights the ethereal artistic conception of ink painting. The demon catcher waved his whip in the wind and stood in front of a mountain without fear. The straight back prepared us for a fierce battle, and the two sides seemed to be at daggers drawn. Such a picture makes people want to think about it.

The poster "I am repairing cultural relics in the Forbidden City" uses an ancient painting that is in urgent need of restoration. The broken traces of some cultural relics directly below the picture are clearly visible. People with obsessive-compulsive disorder will definitely not regard such a good work as a state of destruction. Personally, I think that the workers who restore cultural relics in the documentary treat cultural relics with the same delicacy as when doctors operate on patients. Every trace of cultural relics should be well known and restored as new. Restore their original appearance and bring them back to life, as if the paintings were still torn. After the restoration, the bamboo forest in the painting seems to shake with the wind, and the two cranes may spread their wings and fly in the wind next ~

The international poster of Legend of the White Snake seems to be a combination of international visual effects and China's traditional aesthetic thinking. The whole picture sets off the artistic conception in a blank way, leading us to shift our focus to the scene in the eyes of the white snake. A tear about to drop will set off a sad atmosphere in the hazy and beautiful memory world in your eyes, but there is a little tenderness and warmth around your heart in the cold. I don't think I need a spoiler, so I know I'm abusing my heart.

Some time ago, Guo Man's masterpiece "Nezha" really had to say that a poster about Taiyi was chosen here, just as everyone came out from the cinema to spit. The Taiyi real person who appeared this time is really refreshing, which is quite different from the immortal appearance in everyone's mind. Instead, a silly fairy riding a pig mount and drinking like a dog. The whole poster is hand-painted with lines and colors. Taiyi is a real person, lying leisurely on the pig's back, drinking with his mouth open. Above his shoulders, there are all kinds of fruits, gold and silver jewelry and cultural relics, and below, there are all kinds of gold ingots. This background also sets off the characters' hobbies. The green lotus on the right seems to be a metaphor for Nezha.

Because when I was a child, I saw in the Hong Kong version of "The List of Gods" that after Nezha got into trouble and killed the third prince of the Dragon King, the heavenly soldiers would come down to earth to condemn him. In order not to drag down his parents and the people in Chentangguan, he chose to commit suicide.

After his death, his master Taiyi took lotus root as the skeleton and lotus leaf as the muscle, and finally brought Nezha back to life. I still remember the scene when Nezha resurrected the lotus root as a corpse, so from then on, I couldn't help thinking of Nezha when I saw lotus root or lotus root.

Haha, after all, Nezha, the lotus root after resurrection, is full of treasures! Look at it if you don't believe me.

What are the traditional forms of poster design? Visual communication design is an art with "picture" as the information carrier, and it is also a design art form combined with communication. Among them, poster is an unusual communication carrier full of information and communication, which can often make people quickly identify the content and meaning conveyed by graphics without reading or prompting words. Pierre Mendel, a German design master, said: "Posters are not only for attracting people's attention and understanding, but also a beautiful language, reflecting a country's national tradition and social culture."

However, under the influence of globalization, modern visual design in China is full of visual language influenced by the West, and the "aphasia" phenomenon of "internationalized" visual symbols and "localized" visual language is very prominent. The great harmony of world design is its end. When the design loses its national personality, it not only fails to reach the goal of "world level", but is actually on the way to decline. The real "China design" should try to find something rooted in the nativity of our nation and meaningful to the whole contemporary design language. A good poster should look for "China characteristics" that can identify, analyze and interpret the wisdom, artistic conception and spirit of our nation. We should seek the right direction for "China Design" and provide the local wisdom and imagination for the enrichment of international poster art design.

(A) the inheritance of national culture and poster design

The culture and art of the Chinese nation is a rich treasure house, which has profound enlightenment and reference significance for poster design. In the face of rich national cultural resources, we can re-understand and re-explore at multiple levels and angles.

1. Learn artistic skills.

The development of China's 5,000-year-old civilization, whether it is palace art or folk art, whether it is literati painting or religious painting, has accumulated a large number of rich and diverse artistic expressions through the creative practice of painters, artists and craftsmen in past dynasties. From painted pottery in the Neolithic Age to bronzes in the Yin and Shang Dynasties, from vessels and silk paintings in the Warring States Period to sculptures and reliefs in the Han Dynasty, from paintings in the Tang and Song Dynasties to porcelain in the Ming and Qing Dynasties, as well as paper-cutting, woodblock New Year pictures, architecture, ornamentation, costumes and masks, which are widely circulated among the people, fully embody various techniques such as grandeur and dexterity, simplicity or exquisiteness, neatness or extensiveness, enthusiasm or elegance, simplicity or luxury. Whether it's the brushwork of traditional Chinese painting or the rounded decoration; Whether it is exaggerated folk paper-cutting or woodblock New Year pictures with strong colors, all these provide rich expression forms and schema language for the present poster design. Jin Daiqiang created a poster with China cultural characteristics for the Japanese "Freedom" paper workshop, and used the raw edges of traditional handmade paper on the paper grain. The change of bamboo pattern on rice paper constitutes the image of artistic conception evacuation in China's landscape natural painting, which shows China's unrestrained humanistic temperament and carefree attitude towards life. The whole poster production combines the traditional artistic expression techniques of China, and highlights the style of the works to the fullest. For today's mechanical tools, computer technology has brought a rational tendency of monotonous expression, and traditional national artistic expression has played an important balance role in the coordination of modern means and intelligent means.

2. Learn from image elements.

After a long history, China's culture and art have gradually formed figures and patterns with typical cultural connotations. They include figures, plants, animals, totems, geometric symbols and other forms of images, as well as some widely circulated allusions, idioms, legendary figures and scenery, as well as some established things and combinations. For example, Mei Zhusong's three friends symbolize faithful friendship, Sanyang Kaitai symbolizes good luck, lotus and fish mean "more than every year", and magpie and plum blossom mean "beaming". These graphic elements with strong local flavor are an important part of national culture. As Mr. Zhang pointed out, "Folk art is a primitive culture". If these elements with national characteristics are organically combined into modern poster design, it will undoubtedly bring a fresh wind to the monotonous modern design style.

For example, Han takes the ice crack (opening film) as his creative concept, combining Chinese character quotations and the poster of Suzhou Impression. The opening pattern pane and the brushwork of "three points of water" constitute the main body of the word "Zhou", highlighting the word "Su" in the plaque of "Hanshan Temple outside Gusu City" to show Suzhou. The background is the shadow of mountains and rivers and the photo of a ship, printed in black and silver, which shows the poetic artistic conception of China.

3. Learn from thinking.

The holistic, dialectical and causal thinking mode in China's traditional culture emphasizes the dialectical unity and interrelation of all aspects of things, and its thinking process emphasizes synthesis and induction. Reflected in the view of nature, it emphasizes "harmony between man and nature", "nature", "I don't care about things" and "God disposes". His thought comes from Taoism, Confucianism and Zen in the pre-Qin period, and it is the basic core of primitive and simple chaotic thinking methodology. China's unique way of thinking provides a powerful ideological weapon for modern science and technology to unlock some knowledge codes. The ideas and ways of thinking contained in the three major discoveries of modern science-quantum mechanics, relativity and chaos theory are quite consistent with the traditional ways of thinking that emphasize integrity, harmony, relativity and transformation contained in China's national culture. China's painting theory and design principles are closely related to this way of thinking. The essence of this way of thinking is revealed in the rotation of yin and yang in the ancient Taiji diagram, the abstract ambiguity of bronze decoration, and the coexistence of freehand brushwork and realism in Chinese painting. We know that the transformation of thinking mode into poster design often produces creativity, and creativity is an idea that exists in people's subconscious. The emergence of a good thinking concept can transcend any factors that hinder communication between human beings and reach a higher level of communication with each other. It is one of the indispensable conditions for "China Poster Design" to enter the international design stage. When designing posters, our designers can combine the creative thinking of their works with the traditional view of nature, philosophy and way of thinking of the Chinese nation, which often produces unexpected results.

(B) National traditional culture and contemporary poster design

The interaction and win-win between Chinese and western cultures has become an inevitable trend of the development of the world multicultural pattern. Poster design should be rooted in the soil of the essence of local culture, deeply understand the traditional "China characteristics", absorb foreign excellent consciousness and methods, and be eclectic and comprehensive, so as to have its own unique characteristics and a design concept and practice system that does not lag behind the international trend.

1. Creative transformation of the essence of national culture

For our national culture, we should not only explore the rich resources contained in it, but also see its shortcomings and defects. When designing posters, you should learn to use them flexibly. Many designers still have the tendency of "borrowing from the past to respect themselves", thinking that putting on a few ancient costumes or moving out of allusions and myths is to carry forward national culture, and the design has cultural connotations. However, this is just a superficial absorption out of culture, deliberately imitating the behavior of wearing clothes and hats.

Therefore, how to combine nationality and creativity of the times in poster design is one of the keys to embody its local cultural design. We believe that we should first transform the visual symbols and value system in China's cultural tradition, so that these symbols and value systems can become the seeds of the interests and changes of the times, take root in the hearts of China people, and maintain their cultural identity. Therefore, we should strive to grasp not only the form and content, but also the spiritual way and aesthetic connotation contained in China's traditional visual symbols, and naturally transform them into our contemporary poster design, that is, transform traditional cultural symbols into modern visual language. For example, Yu Bingnan's 1995 "A Family Across the Taiwan Strait" is a "Chinese character" poster designed for the Taiwan Province Impression Poster Conference. The oldest seal script "Jia" was selected in the work. Home is a pig under the eaves. What a beautiful image, what a stable and happy family. Although it has gone through a long period of overlapping and copying, it still cannot escape the original intention of coining words, which metaphorically refers to the theme of a family on both sides of the Taiwan Strait. Liu Xiaokang's "New Beijing, Great Olympics" takes the Nine Dragons Wall of the Forbidden City in Beijing as a vivid, powerful and dynamic background, and adds running humanoid figures and a sense of science and technology. It combines traditional culture, modern thinking and sportsmanship to show the weather of Beijing in the new era. There are many successful works, such as Hello Hong Kong designed by Chen Youjian 1987. 1993 Poster of Eight Modern Hong Kong Designers' Works Exhibition-Eight Immortals Crossing the Sea designed by Li Yongquan, etc. Re-examining China's traditional visual symbols from the perspective of visual culture has deepened the grasp of the essence of China's traditional culture, which is of guiding significance for discovering the poster design art with national characteristics in the new period.

2. Poster design of contemporary China under the background of "globalization"

In today's globalization, posters, as carriers of information and ideas exchange, have become an indispensable part of people's lives. A successful poster design should show the general ideas of people from different regions and cultural backgrounds by means of graphic culture, so as to avoid factors that hinder human communication due to culture, region, language and race, and realize direct communication between hearts through visual graphics.

The real ideal "modern poster design" should be more of a way of thinking that connects ancient and modern times and cares about human nature. It is the coexistence of multi-cultures, the embodiment of the "modernization" of the coordination between man and nature, and the life realm of "heaven and earth coexist with me, and everything is one with me" envisaged by Zhuangzi. Of course, cherishing tradition is not blindly indulging in aesthetic emotional experience. We hope that China's poster design will be based on the wind of western learning in a rational order, casting ancient traditions and cultivating a powerful force to support China's cultural life, instead of blindly cutting the excellent fragments of our ancient graphics and transplanting foreign cultures out of thin air. "National is international", put the poster design in national costume, let it accept the challenge and absorb nutrition in the impact of various cultures in the world.

(iii) Concluding remarks

Facing the strong invasion of "western culture", our culture and art will be challenged as never before. Dancing with wolves is not terrible. On the contrary, every blending of heterogeneous culture and China national culture will bring about a qualitative leap in national culture. Facing the wave of design globalization, lack of thought and negligence of faith, it will become the opponent of every poster designer. Therefore, in this soil with a long and splendid cultural history, our poster designer should be "good at learning Handan without losing the old step." The combination of Chinese and western, mainly Chinese, and the combination of origin and origin. Based on the source, we will form a national personality and let our national culture continue to be passed down. Our poster design art will surely shine in the localized soil.

How to design China folk culture poster _ traditional culture poster design I. Cultural differences and identity

Culture is not a fixed concept. The form of culture is complex and changeable, and the cultures of all ethnic groups have their own characteristics, which are constantly changing under the influence of internal and external factors. Nevertheless, we can still grasp the connection points and commonalities between the cultures of all ethnic groups and the cultures of the times from the complex cultural phenomena and forms. Culture is enjoyed by * *, and it is the ideal, value and code of conduct enjoyed by members of a specific group. However, culture can also be learned. People grow up with culture, and the cultures of different groups can also form an intersection. We always emphasize that we are in an era of global integration, and the cultures of various countries and nationalities are also influenced and infiltrated with this change, and this cultural exchange is finally implemented in all aspects of life. For example, despite the different religious beliefs between China and the West, most people in China do not understand the teachings of Christianity, which does not prevent us from taking a holiday in the name of Christmas; Although westerners probably don't know the difference between the solar 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, the cultural differences and identity reflected in poster design

Posters are also called "posters" and "posters", and the English name is "poster", which refers to printed advertisements posted on cardboard, walls, large wooden boards or vehicles, or printed advertisements 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 their root structure and anecdotes, and think that posters are converted from "posts", which means posts, so posters refer to all notices posted on posts. No Chinese dictionary has given a special explanation to the word "poster", but it is said that during the Qing Dynasty, foreigners used foreign goods carried by sea ships to dock at the coastal wharf in China, and posted posters in conspicuous places along the street of the wharf to promote their own goods. Coastal citizens call this poster. If this development continues, all posters with similar purposes and other information will be called "posters" in the future.

(A) the phenomenon of 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 passed down from generation to generation and spread to a wider range. According to different senses, symbols can be divided into auditory symbols, visual symbols and tactile symbols. Language belongs to auditory symbols, words belong to visual symbols, and graphics and 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 carriers of cultural communication 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 familiar international graphic designers 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 certain similarities in the choice of ideas and materials. For example, in the fifth competition in 2007, the theme of the competition was: victims of fashion. Three winning works in China have hanger elements, and one winning work in the United States and Canada has hanger creative elements. This phenomenon shows that at the beginning of design, when Chinese and foreign students choose the elements of poster creation, they invariably associate fashion with clothes hangers, and adopt some forms of expression in their poster design works, such as shooting in kind, drawing sketches by hand or forming different graphics.

In the historical process of increasingly close global economic ties, political and cultural exchanges between people of all countries have become increasingly 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. So I often use graphic elements that most people can accept and understand. The second "East-West" International Poster Biennale for College Students won the gold medal. It 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 little wings with a halo, just like a bloody angel. There is a row of key words at the bottom of the picture: Please don't let these wings fly away. The whole picture is mottled with colors, which reminds people of the trauma caused by the war. In this bleak scene, this little red heart warms the viewer's heart and makes people feel some different tastes in the heavy. English is not our mother tongue, but it is an international language; Most people in China don't believe in Christianity, but most people can recognize the typical characteristics of angels. So this work can be interpreted by most audiences 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 lifestyle, 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 communication of works and gain the understanding and recognition of most audiences in the shortest time; On the other hand, only using cultural identity to design posters will inevitably bring too many risks of creative "collapse". Therefore, it is important to grasp the "degree" between the two.

(b) The cultural differences contained in the poster make it unique.

Throughout the development 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, and gradually transform it 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 the famous Japanese designer Ichigo Tanaka for the traditional Japanese drama Nobu Drama are widely circulated. Neng Opera is the first Japanese national drama, which evolved from "Ape Music" born in the performance of temples and shrines, and is of great significance in the history of japanese theatre. Capable drama, with fewer characters, focuses on showing the plot and is a symbolic drama. The actors who play the characters in the play all wear masks, which is an important feature that distinguishes Nengju from other plays. Getting together starts with choosing a mask. Most posters of Tanaka Yiguang's energy drama take masks as the main graphics. In the way of expression, he used a large area of geometric color blocks to summarize the original complex and figurative masks and headdresses, summarized their main characteristics, and used high-purity complementary colors to create a strong visual impact. In addition to creating posters with geometric color blocks, there are some posters with characters and even strokes as the main creative elements. These characters are often the content of a chapter in a play, arranged on the screen in an array; Or split the strokes of the title of the play and distribute them in the picture without affecting the recognition; Sometimes different plays are distinguished by corresponding colors.

A large number of traditional Japanese images and ethnic elements are used in the poster design of Tanaka Yiguang, but these elements are expressed by relatively modern geometric forms. The application of complementary colors in posters creates a colorful 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 now is far from Tian Yiguang's heyday, and neng opera itself is a relatively 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 Persian characters, traditional Chinese characters and other ethnic elements. For example, the poster "Three Iranian Faces" he created for the oil painting exhibition of three Iranian female artists uses the change of Persian size and writing angle to form three interrelated female side faces, which perfectly fits the theme. He thinks that Persian characters 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 fluid and have more random letter combinations. Designers can design in a more novel way, and the graphic effect is more obvious than Latin characters. His other poster, 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.

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

Many poster designs designed by Chen Youjian, a famous Hong Kong designer, are full of China cultural elements, and this Chinese flavor is expressed by simple and easy-to-understand modern design techniques. He himself responded modestly: "Basically all my things are superficial. But why am I doing so well? Because I know how to express my culture, which makes people in China and foreigners feel interesting. But it doesn't mean that I know much about China culture. Ask me another question, I may not be able to give you a deeper answer. " Using this design concept of different cultures to complete the works is to "express China's culture and taste through international activities, and regain the dignity of China people on the international stage through this exhibition". Look at the poster design of his solo exhibition "(East meets West)" held in Tokyo in 1990/KLOC-0. The main body of the picture is a seal character "East" written in sand. After careful observation, we can find that this traditional stroke structure of oriental characters is divided into four English letters "East", which means "East" in English. If the poster is turned upside down from another angle, the words 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 intersection 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' works in "Hong Kong East and West" is also full of inspiration sparks generated 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 China porcelain teacup, outlined with a few strokes, but the cup is filled 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 changed to 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 poster is plain in color, prominent in the main body of the picture, concise but not simple, and contains rich and meaningful content. It is not only the "patent" of Hong Kong designers to integrate the oriental cultural tradition with the western design aesthetics. Mainland designers have also felt the unique design charm of the combination of East and West, and created many excellent poster design works. In a set of poster designs named "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 statue of Confucius, which embodies the literal meaning of these eight words. At first glance, the two posters are unremarkable, but after careful reflection, we find that the theme words are different-the strokes of Chinese characters are composed of English letters, and different English fonts also give Chinese fonts different font effects, Song Like style and bold style. Through the designer's treatment, the eastern and western characters are skillfully combined to present an unexpected harmonious visual effect in the picture.

Third, the conclusion

Culture is a broad and abstract concept, which exists in all aspects of our lives, but it is difficult to define it accurately. In the field of poster design, designers condense it into visual elements, which are reflected in the picture. When designing creativity and performance, we should not only consider the acceptance of the widest audience, but also ensure the unique cultural connotation and personality characteristics of the work, so it is particularly important to properly grasp the relationship between cultural differences and identity. This is also one of the long-term research topics that our country's design works need to be internationalized while maintaining the characteristics of China.