Chinese traditional graphic art has been in existence for thousands of years. According to research, before the birth of the text, there were records of prehistoric humans using graphics to convey ideas and communicate feelings, such as the painted pottery in the Neolithic Age and the carving on the cliff. The rock carvings on the wall not only record the ancestors' understanding and expectation of nature, but also become the earliest graphic art of mankind.
Chinese graphic art has not only originated early, but has been continuously developed. Although it is fast and slow, it has never been interrupted, such as the sinuous figure on the bronze ware of the Shang Dynasty; the literary and plum blossoms in the Spring and Autumn Period and the Warring States Period; the phoenix on the lacquer ware of the Han Dynasty. The treasure pattern of the Tang Dynasty and the later appearance of the golden form. Chinese traditional graphic resources are extremely rich. They have both a consistent and colorful appearance in their own development and evolution. They show their uniqueness, deepness and charm with their diverse and unified style. National tradition and national spirit. These patterns have gradually precipitated, extended, and evolved over time, forming a unique traditional Chinese art system. This system embodies the wisdom of the Chinese nation for thousands of years, and also reflects the Chinese nation. Unique artistic spirit.
The combination of traditional Chinese graphic art and modern logo design, the author believes that the three aspects of the traditional form of "form", "Italian", "potential" can be analyzed and used:
"Shape" generally refers to the shape and structure of the object represented by the figure. Chinese traditional graphics are rooted in the traditional artistic origins of Chinese nationality and regionality. They have many different places with the modern graphic modeling. The traditional Chinese graphics mainly focus on the integrity and decoration of the real (or called the formal), paying attention to the echo, courtesy and interspersed relationship between the shape and the shape. When constructing, the structure is more consistent and symmetrical. Bone type. For example, the most primitive and basic auspicious figure in China, composed of black and white fish-shaped patterns, is “Taiji patternâ€; the upper, lower, left and right sides formed by the clever connection of the head, body, hands and feet of two dolls can I saw the four-person pattern of the four dolls; the nine-square grid formed by the five-line and five-party concepts, the rice-character graphics, and the fish-shaped characters that consist of the basic strokes of the fish-shaped features and the basic strokes of the vehicle-shaped features. Car-shaped text, etc.
Applying the "shape" in the traditional graphics to the modern logo design, the logo can not only preserve the charm of traditional art, but also have distinctive characteristics of the times, and fully express the ideas and concepts contained in the logo. personality.
After deriving traditional graphic elements and applying them to modern logo design, Hong Kong's design masters can barely be said to be a good example. The logo of his "Reluctant Design Co., Ltd." is based on the company's "people-oriented" concept, and adopts the traditional auspicious figure of "Fang Sheng", which stands for "concentric double and mutual communication" as its basic framework. Although the original shape of the standard was taken to “Fang Shengâ€, Mr. Qiang’s keen visual sensibility and his profound understanding of the traditional graphic connotation made him not copy the original shape, but through the shape extraction, derivation and reconstruction. To make the logo more oriental ethnic personality, but also more suitable for future use, which is not a successful revelation for us! Therefore, Chen Hanmin said in his evaluation of the logo: "I think that the design of Mr. Qi is successful. One of them is the combination of nationality and modernity, and it is naturally appropriate and has no sense of intimidation. Second, the logo Focus on the concept, the content is large, philosophical, for people's association; Third, the image can be variability, and the application is very good. Of course, this is first of all the original 'credit'."
Similarly, the symbol of the spiritual civilization of the capital is a good example of combining traditional graphics with modern compositional expression techniques. The basic elements of the symbol of the spiritual civilization of the capital are the "Tiantan Hall of Prayer" and the "Heart" shape. The "Tiantan Hall of Prayer" symbolizes the capital, and the "heart" shape reflects the abstract meaning of spiritual civilization. Designer Li Lin perfectly combines the two in the modern form of the "bottom conversion" method, and carries out the formal beauty treatment on the top of the logo, so that the "heart" concave and the "Tiantan Hall of Prayer" are joined at the top. It is natural and smooth, which not only makes the meaning of the logo fully and intuitively expressed, but also brings a new visual performance.
From ancient times to the present, people have repeatedly traced the same figure for generations, not only because of the beautiful appreciation value of its shape, but more importantly, behind the traditional figures we have seen. It often contains more and deeper auspicious meanings. The external form is the way in which the inner meaning is expressed. It is the externalization and materialization of the inner meaning. Therefore, it is originally derived from the traditional pattern of people's worship of nature and religion. After the evolution of time, it extends to expect "life to flourish." Many rich symbolic meanings, such as living rich and happy.
For example, the traditional Chinese graphic “Pan Chang†is often used in the folks to combine the “Fang Sheng†pattern to express the four people’s four-ring implementation and all the bright wishes. The logo of China Unicom is derived from The shape of "Pan Chang", one of the "eight auspicious" of Buddhism Babao, takes its original meaning of "long source, endless life, complement each other" to extend the communication business of Unicom to the endless and long-lasting meaning. The four squares in the logo shape have everything in all directions, and everything is the same; the six rounds have the same road and the smoothness of the road; and the 10 empty spaces in the logo are full and perfect. Whether from symmetry or even number, the whole logo is filled with the auspicious spirit that has been passed down by the ancient East.
Therefore, the traditional graphic “meaning†that has been established and has reached a consensus in the hearts of the Chinese people will be used in the inherent connotation of the company to which the logo belongs, thus extending the spirit of renewal and deeper ideas to make it more cultural and Social, this is also a good way to design modern logos.
Mr. Qiang Qiang’s logo for the Ronghua Cake House is also a good example of the traditional auspicious meaning of traditional graphics. Founded in 1950, Hong Kong Ronghua Cake House has a history of more than 50 years. The basic elements of its logo are square cake, peony flower and bright moon. In the logo, the element of “square cake†is owned by the enterprise itself. “Peony flower†and “Mingyue†are traditional figures, and the peony flower gives a feeling of grace and luxury. Together with Mingyue, it also has a good moon. Auspicious meaning. The word Ronghua is calligraphy. It is very important. Chinese calligraphy is the most brilliant crown in Chinese traditional graphic art. Its composition is just a few simple ink lines. However, it is indeed the “shape of modeling, the abstraction of abstraction, the intersection of movement and static. The cohesion of time and space, the deepest manifestation of the self." (Li Yuzu). Ronghua's "Ronghua" strokes have many irregular curves, but they are very characteristic, like the petals of peony flowers. The peony pattern has not changed by modifying, strengthening, and reshaping. Golden flowers, blue cakes, very Chinese, very traditional, very auspicious, and very modern.
“Potential†usually refers to the rhyme contained in the graph and the posture and atmosphere it displays. “Potential†can convey the spirit of the whole graph. In the traditional graphic "potential" point, it is especially mentioned that China's national quintessence - calligraphy. Calligraphy is inspired by the observation of the posture of nature in nature, and the ingenuity is formed. After thousands of years of development and evolution, various personalities and styles have been formed, such as: bold and powerful, realistic and unconstrained; small cymbals are round and soft, structure Rigorous; Lishu dignified and quaint; the book is beautiful and beautiful; the book is lively and joyful, the gas is connected; the cursive is flying, and the wind is running. Calligraphy not only has a structure, but also has a gesture. The structure is only the basis of calligraphy and calligraphy, and the formation of the personality pattern of calligraphy is still based on the pen's "potential".
The Beijing 2008 Olympic bid, which is highly regarded by the world, can be said to be a classic in modern logo design. The overall structure of the logo is also taken from the traditional auspicious pattern "pan length", but it is valuable that it does not directly borrow this traditional shape, but uses the unique meaning of "not enough to write" in Chinese calligraphy. It just happens to convey the two movements and images of "Chinese knot" and "athlete", and to express the theme of the logo and convey the wishes of the people.
Long Island Aquarium is a modern aquarium supplies company whose logo is designed by Hong Kong designer Cai Yongyao. Because it is a aquarium company, the basic shape of the logo is considered to be the shape of “fishâ€; and because the company is a modern enterprise in Hong Kong, the designer adopted the initial letter “L†of the company name. "L" is written using the technique of cursive in Chinese calligraphy. Wherever the gesture comes, plus two points, it becomes two lively, fish in the game water. Such a design combines tradition and modernity and is very representative.
Chinese traditional graphic art has been in existence for thousands of years. According to research, before the birth of the text, there were records of prehistoric humans using graphics to convey ideas and communicate feelings, such as the painted pottery in the Neolithic Age and the carving on the cliff. The rock carvings on the wall not only record the ancestors' understanding and expectation of nature, but also become the earliest graphic art of mankind.
Chinese graphic art has not only originated early, but has been continuously developed. Although it is fast and slow, it has never been interrupted, such as the sinuous figure on the bronze ware of the Shang Dynasty; the literary and plum blossoms in the Spring and Autumn Period and the Warring States Period; the phoenix on the lacquer ware of the Han Dynasty. The treasure pattern of the Tang Dynasty and the later appearance of the golden form. Chinese traditional graphic resources are extremely rich. They have both a consistent and colorful appearance in their own development and evolution. They show their uniqueness, deepness and charm with their diverse and unified style. National tradition and national spirit. These patterns have gradually precipitated, extended, and evolved over time, forming a unique traditional Chinese art system. This system embodies the wisdom of the Chinese nation for thousands of years, and also reflects the Chinese nation. Unique artistic spirit.
The combination of traditional Chinese graphic art and modern logo design, the author believes that the three aspects of the traditional form of "form", "Italian", "potential" can be analyzed and used:
"Shape" generally refers to the shape and structure of the object represented by the figure. Chinese traditional graphics are rooted in the traditional artistic origins of Chinese nationality and regionality. They have many different places with the modern graphic modeling. The traditional Chinese graphics mainly focus on the integrity and decoration of the real (or called the formal), paying attention to the echo, courtesy and interspersed relationship between the shape and the shape. When constructing, the structure is more consistent and symmetrical. Bone type. For example, the most primitive and basic auspicious figure in China, composed of black and white fish-shaped patterns, is “Taiji patternâ€; the upper, lower, left and right sides formed by the clever connection of the head, body, hands and feet of two dolls can I saw the four-person pattern of the four dolls; the nine-square grid formed by the five-line and five-party concepts, the rice-character graphics, and the fish-shaped characters that consist of the basic strokes of the fish-shaped features and the basic strokes of the vehicle-shaped features. Car-shaped text, etc.
Applying the "shape" in the traditional graphics to the modern logo design, the logo can not only preserve the charm of traditional art, but also have distinctive characteristics of the times, and fully express the ideas and concepts contained in the logo. personality.
After deriving traditional graphic elements and applying them to modern logo design, Hong Kong's design masters can barely be said to be a good example. The logo of his "Reluctant Design Co., Ltd." is based on the company's "people-oriented" concept, and adopts the traditional auspicious figure of "Fang Sheng", which stands for "concentric double and mutual communication" as its basic framework. Although the original shape of the standard was taken to “Fang Shengâ€, Mr. Qiang’s keen visual sensibility and his profound understanding of the traditional graphic connotation made him not copy the original shape, but through the shape extraction, derivation and reconstruction. To make the logo more oriental ethnic personality, but also more suitable for future use, which is not a successful revelation for us! Therefore, Chen Hanmin said in his evaluation of the logo: "I think that the design of Mr. Qi is successful. One of them is the combination of nationality and modernity, and it is naturally appropriate and has no sense of intimidation. Second, the logo Focus on the concept, the content is large, philosophical, for people's association; Third, the image can be variability, and the application is very good. Of course, this is first of all the original 'credit'."
Similarly, the symbol of the spiritual civilization of the capital is a good example of combining traditional graphics with modern compositional expression techniques. The basic elements of the symbol of the spiritual civilization of the capital are the "Tiantan Hall of Prayer" and the "Heart" shape. The "Tiantan Hall of Prayer" symbolizes the capital, and the "heart" shape reflects the abstract meaning of spiritual civilization. Designer Li Lin perfectly combines the two in the modern form of the "bottom conversion" method, and carries out the formal beauty treatment on the top of the logo, so that the "heart" concave and the "Tiantan Hall of Prayer" are joined at the top. It is natural and smooth, which not only makes the meaning of the logo fully and intuitively expressed, but also brings a new visual performance.
From ancient times to the present, people have repeatedly traced the same figure for generations, not only because of the beautiful appreciation value of its shape, but more importantly, behind the traditional figures we have seen. It often contains more and deeper auspicious meanings. The external form is the way in which the inner meaning is expressed. It is the externalization and materialization of the inner meaning. Therefore, it is originally derived from the traditional pattern of people's worship of nature and religion. After the evolution of time, it extends to expect "life to flourish." Many rich symbolic meanings, such as living rich and happy.
For example, the traditional Chinese graphic “Pan Chang†is often used in the folks to combine the “Fang Sheng†pattern to express the four people’s four-ring implementation and all the bright wishes. The logo of China Unicom is derived from The shape of "Pan Chang", one of the "eight auspicious" of Buddhism Babao, takes its original meaning of "long source, endless life, complement each other" to extend the communication business of Unicom to the endless and long-lasting meaning. The four squares in the logo shape have everything in all directions, and everything is the same; the six rounds have the same road and the smoothness of the road; and the 10 empty spaces in the logo are full and perfect. Whether from symmetry or even number, the whole logo is filled with the auspicious spirit that has been passed down by the ancient East.
Therefore, the traditional graphic “meaning†that has been established and has reached a consensus in the hearts of the Chinese people will be used in the inherent connotation of the company to which the logo belongs, thus extending the spirit of renewal and deeper ideas to make it more cultural and Social, this is also a good way to design modern logos.
Mr. Qiang Qiang’s logo for the Ronghua Cake House is also a good example of the traditional auspicious meaning of traditional graphics. Founded in 1950, Hong Kong Ronghua Cake House has a history of more than 50 years. The basic elements of its logo are square cake, peony flower and bright moon. In the logo, the element of “square cake†is owned by the enterprise itself. “Peony flower†and “Mingyue†are traditional figures, and the peony flower gives a feeling of grace and luxury. Together with Mingyue, it also has a good moon. Auspicious meaning. The word Ronghua is calligraphy. It is very important. Chinese calligraphy is the most brilliant crown in Chinese traditional graphic art. Its composition is just a few simple ink lines. However, it is indeed the “shape of modeling, the abstraction of abstraction, the intersection of movement and static. The cohesion of time and space, the deepest manifestation of the self." (Li Yuzu). Ronghua's "Ronghua" strokes have many irregular curves, but they are very characteristic, like the petals of peony flowers. The peony pattern has not changed by modifying, strengthening, and reshaping. Golden flowers, blue cakes, very Chinese, very traditional, very auspicious, and very modern.
“Potential†usually refers to the rhyme contained in the graph and the posture and atmosphere it displays. “Potential†can convey the spirit of the whole graph. In the traditional graphic "potential" point, it is especially mentioned that China's national quintessence - calligraphy. Calligraphy is inspired by the observation of the posture of nature in nature, and the ingenuity is formed. After thousands of years of development and evolution, various personalities and styles have been formed, such as: bold and powerful, realistic and unconstrained; small cymbals are round and soft, structure Rigorous; Lishu dignified and quaint; the book is beautiful and beautiful; the book is lively and joyful, the gas is connected; the cursive is flying, and the wind is running. Calligraphy not only has a structure, but also has a gesture. The structure is only the basis of calligraphy and calligraphy, and the formation of the personality pattern of calligraphy is still based on the pen's "potential".
The Beijing 2008 Olympic bid, which is highly regarded by the world, can be said to be a classic in modern logo design. The overall structure of the logo is also taken from the traditional auspicious pattern "pan length", but it is valuable that it does not directly borrow this traditional shape, but uses the unique meaning of "not enough to write" in Chinese calligraphy. It just happens to convey the two movements and images of "Chinese knot" and "athlete", and to express the theme of the logo and convey the wishes of the people.
Long Island Aquarium is a modern aquarium supplies company whose logo is designed by Hong Kong designer Cai Yongyao. Because it is a aquarium company, the basic shape of the logo is considered to be the shape of “fishâ€; and because the company is a modern enterprise in Hong Kong, the designer adopted the initial letter “L†of the company name. "L" is written using the technique of cursive in Chinese calligraphy. Wherever the gesture comes, plus two points, it becomes two lively, fish in the game water. Such a design combines tradition and modernity and is very representative.
Article source address: http://
NINGBO ZHONGJIA ELECTRICAL APPLIANCE CO., LTD. , https://www.foodzhongjia.com