Decomposition and Reconstruction in the Development of Modern Chinese Graphic Design

Abstract: How will the future design evolve? What is the purpose of future design? How will the criteria for future design evaluations change? What will future design mean for human development? While modern design has shaped an “artificial world” and “artificial world” has in turn shaped humanity today, we have to think about these issues.

As a major part of visual communication art, modern graphic design art has undergone a transition from an industrialized society to an informational society. In terms of concept, Chinese graphic design art is influenced by Eastern and Western cultures and artistic styles in terms of function, semantics, and formal expression. Under the general trend of diversified development of modern design, the involvement of new ideas in the way of human survival, the guidance of thinking, and the expression of emotions, we have found that the rules that have been used throughout the design of the plane are gradually being broken down, and the inherent symbolism is Deconstruction, humanity strives to find a rational visual space in the span of the century. The development of modern Chinese graphic design has created new design requirements.

(A) to have personalized design needs. The emergence of computers in the mid-1980s brought us unprecedented speed—the speed and speed of change in commercial operations. What is important is that the dramatic changes in the global business environment mean that customers can be contacted directly through direct mail and television advertising. All this has created a fierce environmental element for graphic design industry designers. At present, there has been overlap in the commercial and design industries, and design work must identify its own territory in this new environment with high demand. Design must not only keep up with the development of aesthetics, it must also catch up with the progress of science and technology. With the increasing number of logos around, designers need to re-adapt to new areas that are not familiar with. One of the dominant cyber areas in design and production is one. Under the pressure of science and technology, the graphic design industry seems to be gradually declining. But on the contrary, the new challenges posed by the business community not only enhance the importance of design, but also increase the potential of the design. When graphic design is stylized, its design ideas must be personalized. Personalization is the designer’s unique insight into the differences in graphic design personalities. The design becomes infinite self-transcendence and obtains arbitrary expressions. Graphic design industry practitioners have sought to develop individuality and advocate design styles through the reorganization of design elements, layouts, and other design elements. To display his extraordinary energy and creative spirit, the design is more vital to the expression of individuality.

(B) Have international and diversified design needs. In an almost constantly changing international environment, graphic designers have to keep pace with their customers as much as possible; one of the biggest changes experienced by customers is the shift toward a more diverse workforce, which has changed in the past decade or so. fierce. Therefore, people have to try to face the public in the design, in the modern graphic design work, the different national images need to be re-combined, and strive to take into account all the new compositional factors, design the drawing surface as wide as possible to achieve The purpose of conveying the diversity of cultural information.

In the 1990s, the internationalization of telecommunications and the corresponding commercial and international characteristics have given new meaning to the understanding of cultural and national differences. This is especially true when countries become more and more important in the interdependence of finance and trade exchanges. At the same time, in terms of culture, especially youth culture, becoming more and more globalized, music and advertising have become particularly powerful forces, and they are accompanied by the ability to follow the national changes and self-renewal ideas. The combination of design images from various nationalities and different national cultures has entered into the exchange activities of various countries and even led the more integrated young generation. In the field of graphic design, the graphic is its visual language. It gives people a common feeling. Its greatest feature is the pursuit of an international vision and the design has first-rate quality. The globalization and diversified design needs put forward a rationalized concept of cognition for the creation of graphics, thinking angles, and public understanding. In terms of conception and performance, the language representation of modern graphic design is consistent. “Concise, clever, clever, and smart, watching the trend of modern design in the world, studying the impact of modern society on graphic design, it is very necessary to maintain a keen design thinking and make the design and design of the modern world in alignment.

(iii) Time-space design requirements. The position of graphic design is different from that before. In terms of viewing methods, whether it is through the eyes or using the mouse to click, the way of deep design space is different, the most important is the speed faster than before. In the past, graphic design was often created in a two-dimensional state. After experiencing two-dimensional stylized design, designers are exploring new interfaces and are trying to open up new thinking spaces. Technological progress and global informatization have shortened the space-time difference to some extent. People's imaginations have expanded with the change of the concept of time and space, and the graphic design has also gradually extended from two-dimensional to three-dimensional to four-dimensional space. The space-time and technology in design have also been extended. To show us a rich space symbol. The mystery outside the universe, the existence of the sky stars. The imaginative factors of the eastern and western spaces are the superposition, perspective, dislocation, and gradient of the design images. It seems to us to bring us to the large space of three-dimensional thinking. It is in line with the formulation advanced by the graphic design community to surpass and break through the two-dimensional plane. To create an out-of-control landscape in the visual space, for example, in the case of a flat layout, in the 1980s, the designers of traditional journals often highlighted the main points of the article by changing the headlines and subtitles in the layout of the same typeface, using the size and shape of the font. Distinguish between size headings, rather than grouping all of the headings together, and separating them from size headings. Now, we can see the headlines arranged in various ways: some are at the edge of the page, some are slanted across the entire page or across two pages, and some are erected next to the article, and others are close by. Even in the middle of the text, these arrangements will undoubtedly give the layout a three-dimensional impression. In the process of the graphic designer stepping into other media designs, transcending the two-dimensional design is an important requirement.

In addition, the prominent ways of highlighting content have also changed. Designers no longer make the entire title larger than the body text. On the contrary, the size of the text in the title can vary. Designers break this design rule, so that they can design a line of text in any new style that they think is appropriate. Through this design, text graphics will vividly jump on the page, on the screen, the box On the surface, on the label of the bottle or in more places, this dynamic sensation is typical of prints and interactive graphics, and it is a requirement for the design of a new era.

(4) The design requirements for localized localization refer to the design ideas that designers gradually formed through the consideration of the local environment. No matter how influential the design is, because of the geographical, thinking, and lifestyle that determine their design style, the local culture has a certain influence on its design. Therefore, the geographic growth of the designer determines its perception of design. If designers can complete graphic design works based on local culture, the images they create will have their own ideas and independent expression skills. Through this, they will realize the context of historical development. In terms of form and form, the modern design concept has a certain origin with the traditional Chinese visual modeling elements from the perspective of art development. We know that many schools of modern graphic design originate from modern painting styles such as impressionism, cubism, and constructivism. These western modernist paintings were more or less influenced by oriental arts in their enlightenment, especially in China. The traditional Chinese painting emphasizes on the perspectives of scattered perspectives, imaginary and actual density, and blank forms, as well as forms of treatment. Their revelations are indisputable. Through this sort of combing, it should be said that finding the point of agreement between the old styling elements and the modern design should be a matter of course. For the morphological transformation of the old styling elements with Chinese geographical features, the elements not only conveyed the concept of modern design, but also enabled the old elements to truly convey the modern information of the carrier, in line with the function of modern design, so as to get rid of elements in use. Limitations and semantic deviations. For local designers, it is very important to keep one's own water and soil research self-contained graphic design.

(five) humanized design needs and green design. The humanized design and green design ideas are the themes of the 21st century design. The design bears the heavy responsibility for human spirit and spiritual comfort. Young people buy goods in order to promote their individuality and radiant youthful vitality. The Zhuang Zhuang is to fill the loss of youth and display mature and self-fulfillment; the elderly people have a sense of nostalgia and a sense of calm that has experienced many vicissitudes. All the designs are based on people's needs and are centered on people's needs. Graphic design is no exception. The aesthetic concept of stimulating consumption has once become the only criterion for modern graphic design, resulting in energy waste, resource destruction, and ecological imbalances. The crisis brought about by industrial civilization is awakening more and more people.

The demand for green design presents a serious topic for graphic designers. It emphasizes the protection of nature, ecology, full use of resources, people-oriented, and the environment. As a graphic design industry and its outer edge, no matter from idea to performance, it will bring new life connotation to the design. With the development of the times, people’s aesthetic concepts change, the design works improve the practical functions on the one hand, and satisfy them from the demand. On the one hand, it follows the trend of modern aesthetics and pursues the sentiments of beauty. Blind visual stimuli often cause visual catastrophes. Human beings are trapped in intense colors and dull graphics. Therefore, visually applying the concept of green design allows graphic design to maintain a reasonable visual order, stops visual pollution, and perfects coordination between design works and human beings. On the other hand, it conveys images and words related to the environment by communicating environmental concerns. The phrase also has very important meanings. The graphic design professional language has gradually begun to adapt to these changes. Designers are beginning to realize their role as the main decision makers in paper consumption and pollution technology applications. In 1996, the American Institute of Graphic Arts published the Guide to Environmental Responsibility in Graphic Design. It also drafted a "Design Ecology" manual for a paper manufacturer to provide American designers with guidelines on reducing environmental impact. In China, people have also gradually realized the importance of people-oriented green design. People-oriented green design will be the long-term demand for the development of Chinese graphic design.

After undergoing decomposition and reconstruction of modern graphic design art, the future design will focus on the design of the environment related to graphic design. The relationship is connected, intrinsic, interactive, and general. Of course, it is no easy task for designers and entrepreneurs to immediately change their minds and design work that meets future standards. This will face too much difficulty. Especially in today's atmosphere of stimulating consumption and the market economy that envelopes the entire world, it is very difficult to do a good design that is truly beneficial to the long-term interests of mankind. However, the industrial "civilization" and the crisis brought by the market economy to human beings are awakening more and more people with conscience. From the various types of design products used every day to the modern, international metropolis that recognizes itself as modern, how much of it is necessary? . "Rational consumption" and "moral economy" change are inevitable. It is also the direction of future human self-help. In the future, the responsibility of graphic design is to maintain ethical and moral.

A good design will be a reflection of the correct values ​​in the future.



Author: Wu Yi Zhi