Fuzzy analysis of visual communication in advertising design

Fuzzy analysis of visual communication in advertising design

The fuzziness of visual communication is a new visual communication creativity, which is based on the principles of clarity, balance, conservation and stability emphasized by traditional visual communication theory. In traditional philosophy, fuzziness is rejected, which means irrationality and unscientific. Let's take a look!

However, with the development of post-modern industrialization and scientific theory to a certain extent, the emergence of theories such as eternal movement of the objective world and multiple sciences makes it possible to formally define fuzziness as a theory, such as fuzzy set theory in modern mathematics theory and dissipative structure theory in modern physics, which have supported fuzziness as a formal scientific concept. After the position of "fuzziness" theory in the field of traditional rational science was established, this concept immediately entered the category of aesthetics and philosophy. No matter what kind of science you are engaged in. Fuzzy theory focuses on the instability, uncertainty and mutual permeability of materials, which is quite different from the traditional understanding and has become a new bright spot of advertising design innovation and creativity.

First, the fuzzy characteristics of visual communication

One of the most prominent features of fuzziness in visual communication is instability. Unlike most people who habitually think that the objective world is stable and relatively constant, fuzzy theory holds that the objective reality is unstable as a constant, while stability is relative and temporary. This view holds that the seemingly stable real world remains relatively unchanged only because the unstable factors have not reached the critical value, but in essence, instability occurs and accumulates anytime and anywhere. Once this instability accumulates to a certain extent and reaches saturation, stability will be destroyed, thus making the original hidden instability dominant. It is precisely because of the gradual transition between these continuous instabilities that fuzziness appears, instability becomes the premise of fuzziness, and fuzziness is the inevitable result of instability.

If instability is a feature formed by excavating the micro-nature of fuzziness, then another remarkable feature of fuzziness from a macro perspective is "integrity". That is, the parts that make up a concept or definition seem to be independent individuals, but in fact these parts are internally related. These parts are connected by a hidden chain and have the function of explaining or explaining each other. At the same time, these seemingly separated parts are constantly intersecting, merging, and even constantly interspersed and infiltrated. In this continuous separation and integration, some parts form a whole. However, because the whole is in an unstable state, the fork does not have a relatively clear outline, but only a vague general framework, but it is precisely because of fuzziness that this outline or framework has a special aesthetic feeling.

In the above-mentioned "whole" features, seemingly independent individuals have been interrelated and merged, so the third feature of fuzziness is its "interpenetration". It mainly refers to the mutual penetration between intermediate links due to constant changes, mutual penetration, transition and continuous transformation, so fuzziness cannot be determined and predicted because of its "mutual penetration".

Second, the characteristics of fuzzy visual communication in advertising design

The fuzziness of visual communication has its own characteristics in essence, and when it is applied to advertising design, it also has corresponding characteristics. For example, "randomness" is the feature that advertising design creativity does not need constant thinking. Even the same type of advertisement is always changing and moving in the creative thinking of design, and there is no relatively stable standard. For example, the advertising design of the famous American beverage "Coca-Cola" is also a print advertisement, and the design idea of "Coca-Cola in the Olympics" is completely different from "Coca-Cola's environmental protection". "Coca-Cola in the Olympic Games" uses silhouette painting technology. In front of the big red background is a silhouette of a black human figure, with a black torch in his right hand and his body running. A long string of twisted "white ribbons" at the torch mouth constitutes the letter "Co", while the white cursive letter "CocaCola" and the white Olympic rings are in the lower left corner of the picture. Although "Coca-Cola's environmental protection" is also a big red background, the silhouette pattern becomes a woman's two hands. The white and slender woman's arm cuts in from the upper left corner and the lower right corner of the picture, with the upper palm facing down and the lower palm facing up. The fingers of the last hand gently rested on the wrist of the next hand, and there was a green seedling just sprouting at the wrist. It can be understood from the figure that the upper hand touches the bud seedling on the hand, and it can also be understood that the upper hand plants the bud seedling on the wrist of the palm. Obviously, the silhouette of running people fits the main orientation of "Olympics" in advertising design, and "seedlings" is obviously the focus of environmental protection. Both advertisements are graphic designs of Coca-Cola, but their styles, themes and connotations are completely different.

The above two Coca-Cola advertising designs also reflect another feature of the fuzziness of advertising design, that is, "multidirectional". The patterns formed by two women's arms can have opposite meanings to different audiences, such as "growth" or "cultivation". This shows that fuzziness will take into account the understanding and feelings of most audiences in advertising design, so that advertising creativity can cover as many potential people as possible.

Application of Ambiguity of Visual Communication in Advertising Design

(A) Isomorphism

The so-called "heterogeneity" refers to the complete difference in form and form, and "isomorphism" refers to the internal and essential commonality. Take two side-by-side print advertisements of Olivia's pizza place as an example. At first glance, the shapes of these two advertisements are very similar to pizza slices, but on closer inspection, they are "unique". A fan-shaped pale white painting on the left depicts several skyscrapers with different heights, dotted with sporadic green plants, much like the pattern of commercial buildings and writing rooms in downtown areas in real life. The strong light on the left represents sunlight, which makes these tall buildings cast different shadows on the right. The one on the right is also a fan-shaped light white background painting, but there are more green plants in the painting, and the buildings dotted between them have become shorter buildings. In detail, these low buildings and green plants together constitute a community with typical American middle class characteristics. Compared with the strong light on the left, the advertisement on the right is much darker, and there seems to be lights flashing between small houses, which is obviously depicting the scene at night. It is easy to see the intention of advertising design from the left picture and the right picture, that is, "Olivia pizza is suitable for office workers to taste during the day and share with the whole family at night".

(2) Heteromorphism and Isomorphism

Heterogeneity refers to different materials, materials or substances, and isomorphism refers to the same or similar shapes. In other words, it is of deeper significance to update the design display with similar appearance but different materials. Take the print advertisement design of "Park Mansion" as an example. Just looking at the pattern, this advertisement can easily be mistaken for a luxury gold watch. On the left is the printed golden English letter "PARK CHATEAU", and on the right is a rectangular gold watch with diamonds around the dial. The criss-crossing gold stripes on the dial of a gold watch are like decorative gold threads. However, a careful observation of the stripes inside the dial will surprise people. Those criss-crossing "golden lines" constitute the thumbnail of the hotel lobby ceiling. If combined with the design of diamond outer ring, it can be understood as a gorgeous hotel door decoration. Through the door, you can see the golden arch support and transparent curved glass ceiling in the interior lobby. The originality of this advertising design lies in the use of the common characteristics of diamond gold watch and top-class hotel (mansion) buildings-luxury as the starting point. Diamond gold watch refers to the high-end route and exquisite and gorgeous design of "park mansion" real estate.

Visual contrast

Use strong visual conflict to create a strong sense of contrast, thus breaking through the mediocrity easily caused by the inertia of traditional design ideas. Take ORANGINA original orange juice print advertisement as an example, the main colors of the advertisement are only blue background and orange graphics, and the contrast between cold and warm colors has caused a preliminary sense of conflict. The picture is surrounded by many orange petals splashed with juice, as if spinning in mid-air. In the middle of the picture is a glass beverage bottle with orange stripes, but if you look closely, you can see that it is actually an extremely long orange peel, which is curled and wound into the shape of a bottle. Because the central pattern adopts the perspective of looking up, you can see the orange peel wrapped in the "bottom of the bottle", which can be understood as both the bottom of the orange glass bottle and the orange juice rotating in the transparent glass bottle. The originality of this advertisement lies in that orange peel replaces the traditional structure of beverage bottles. At the same time, the orange peel as the outer frame can also imply that the bottle is filled with real orange meat and orange juice. At different distances, it looks like an empty bottle surrounded by orange peel at close range, but at a distance, it looks like a beverage bottle full of juice. The two lines of sight give viewers obvious visual differences, which makes people feel that the advertisement is bold and interesting.

(4) contradiction space

Space in real life is a space that exists according to physical principles such as perspective, so human beings have become accustomed to measuring the surrounding environment with orientation, distance, distance and so on. When physical principles such as perspective are deliberately applied to non-objective and real scenes, the human eye will produce surreal spatial composition in its mind because of this design that violates the physical principles. Take the print advertisement of Peugeot 508 as an example. The central theme of this advertisement is to highlight the strong driving force of Peugeot, so that no slope will embarrass this car. The close-up of the advertising map is a balanced logo car, but the terrain it relies on is quite special. Although the car is located on a very standard horizontal road, there are quite steep slopes on both sides of the horizontal road. On the left is a slope from upper right to lower left, and on the right is a slope from lower left to upper right. Therefore, on the whole, Peugeot seems to have just climbed a trapezoidal road with an extremely sharp angle from left to right. However, the creativity of advertising does not stop there. The secret lies in the street tree design at the rear of the car. There are three rows of street trees in the background of the picture, which are set by left, middle and right respectively. The street trees on the left and right sides are normal, keeping a vertical angle with the ground. The trees in the middle row are inclined and arranged at an oblique angle of about 45 degrees, which is the same as the slopes of the upper and lower slopes. Through the comparison between street trees and cars, there will be a very strange and confusing logical reasoning problem, that is, whether the car is in an inclined position or the street trees are off-angle. This creative thinking of advertising design lies in the use of the perspective principle of the objective world, but it is applied to unrealistic graphic design, so a strong sense of instability arises at the historic moment, and its advertising effect is self-evident.

Concluding remarks

Fuzziness principle is a new professional theory born with the development of post-modern industry and the progress of science and technology. This concept, which breaks through the traditional concept of localization and constancy of thinking, not only profoundly affects academic majors such as physics and chemistry, but also plays an increasingly important role in the fields of art and philosophy. The application of the fuzzy principle of visual communication in advertising design can not only re-examine the focus of design creativity from a macro and overall perspective, but also play a more important role in making designers break through the inertia track of ideology and free people's eyes from the existing design framework. The fuzziness of visual communication is not limited to the specific technical operation level in advertising design, but liberates the thinking of people engaged in design and allows them to get inspiration for change and innovation in a more unrestrained state.

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