Third, the visual uniqueness symbol generally emphasizes “seeking common ground†so that it can be easily understood. However, “differing†in the logo design is the key. Similarly for a topic, we must be able to conceive of the appropriate expression of the object content. The sign form. Human beings as living organisms have limited ability to perceive them. If the shapes of various designs are too similar, people will bring difficulty in understanding and thus weaken the information transmission function of the design. The more complicated the process of differentiation, the more functional the symbol becomes. weak. With the gradual deepening of the concept of brand image, people have given a lot of new understanding of the logo, and thus put forward higher requirements for design. As the identification image of a company, we must be able to clearly express its own specific cultural and spiritual concepts, and through the dissemination of the image, to achieve consensus within and outside the company, that is, to increase internal cohesion and external awareness. Here, the shaping and dissemination of images has become a means of enterprise management and management, and has become an important way for enterprises to create their own good ecological environment. Therefore, an accurate and unique visual image of an enterprise cannot be underestimated.
Visual psychology tells us that when the perceptual object coincides with the standard in the memory, although it is highly recognized, it only reproduces the objective image, and there is a lack of dynamic connection between the two, that is, lack of visual stimuli, and it is difficult to attract people's attention. So we often consciously create a certain degree of “destruction†between the two in our creations to enhance our unique performance. This kind of motherhood, which originates from the standard imagery in memory, grows and transforms the power of new graphics. The perceptive activity is filled with a living vitality that makes it easy to remember and easy to remember. Innovation is the life of all arts. The same is true of logo design. We should strive to explore the new face and spirit of traditional symbols. We must not be satisfied with the general borrowing and collage, and we must have the spirit of “not stop stunnedâ€. At a glance, it's funny, and you can't forget it.
The birth of the restrictive symbol of communication originates from the creation activities of different nationalities and represents the aesthetic taste and value orientation of people of different ages and different nationalities. From the history of the development of human culture, human culture is largely composed of artifacts, social systems, and spiritual life. Human culture follows the steps of creating artifacts, establishing institutions, and creating ideas. In order to survive, primitive humans created various types of objects or objects to meet the needs of clothing, food, housing, and transportation. This is the beginning of design. In these design processes, it is inevitably influenced and dominated by culture. George Welson once said: "The artifacts are traces of cultural legacy in its exclusive spacetime." Therefore, the symbols with national tradition significance are inevitably branded with cultural imprints and given different symbolic meanings, such as “The Kaogongji†contains: The circle of cover is also like heaven, spoke 30, like the sun and moon, etc.
Therefore, we can see from the geographical attributes and cultural attributes of the traditional elements mentioned above that there are corresponding geographical and cultural limitations in the propagation of symbols. Some familiar national symbols, such as figure gourds, which are familiar and affectionate and moving, are the collection of auspicious wisdom in Chinese traditional culture and people's minds. Its intention extends to modern ideas that are equally intelligent, innovative, and inclusive, but Westerners may remain indifferent. After all, different cultures are teeming with different blood. The logo of the Suntory Hall designed by Wu Siwei, which was designed by Wei Chang, gradually blends the old European emblem with the traditional Chinese character “Ringâ€, and is regarded as “a model that combines artificially limited East-West cultureâ€. However, the author discovered through interviews. It is difficult for many audiences to understand because of the cross-cultural characteristics of the elements they use.
Fives. The variability of meaning The new space-time environment has changed the value patterns of traditional symbols, which will eventually lead to the fission and sublimation of traditional symbols and all of their traditional cultural values ​​from social psychological functions to cultural history. Traditional symbols range from direct use of functions to social and psychological functions to cultural and historical functions. The meaning of the traditional symbol has a variable of time, and its relevance is not constant. Because people's ideas will constantly develop and change, and people's feelings about objective things will continue to increase as people's ability to understand the world increases, the relevance of graphical symbols will also mutate and expand. As we are familiar with the dragon, during the Shang and Zhou dynasties, people regarded it as a feast or a totem that could be both good and bad. In the Qin and Han dynasties, the dragon was one of the five spirits that symbolized auspiciousness, and later became one of the four gods. After the Song Dynasty, the dragon became a symbol of noble imperial power and it extended to the end of the feudal society. In modern times, the dragon became a symbol of the Chinese nation and the Chinese. In the modern logo design, the dragon often appears as a symbol of the Chinese nation or oriental culture.
Therefore, every variation of the concept associated with traditional symbols is not an obliteration of the original concept, but coexist with it. The original concept still exists to some extent. This variation enriches the connotation of the symbol and makes the traditional symbol. The signified tends to be diversified. It can be said that the concept variation associated with graphic symbols is an ever-enriching process of its symbolic connotation. In addition, there are spatial variables in the meaning of traditional symbols, and the same figure has different understandings in different countries and nations. For example, in the eastern countries, dragons that gather Jixiangru and Mana are all represented in the West. Haier’s mascot, Haier Kid, was boycotted in Middle Eastern countries because the exposure of the body in Middle Eastern countries was banned. Therefore, as a symbolic design of a symbolic expression, the symbol it uses should be consistent with the space, time, and social reality in which it is used, and it can play its due role properly. This requires that designers must grasp the variables that may exist in the space and time of symbols, and ensure that the current meaning of these symbols is exactly what designers need to express their thoughts and feelings, rather than what they already have, what they once had, Or may have other meanings.
As a special cultural carrier, the traditional symbol is an important resource and basis for us to explore the national character of modern design. Any "new creation" or "modern creation" cannot cut off the connection with the original culture, and will be an outstanding traditional resource. Integration into modern design has become a universal view in the world. Modern design trends are global, and each designer explores his own national tradition to create his own exciting new fashion. Tradition and modernity have always been parallel, and we often have to admit that we cannot innovate because we do not understand or understand the tradition.
Chen Zhenwang, Shenzhen University
Source: Art and Design
Visual psychology tells us that when the perceptual object coincides with the standard in the memory, although it is highly recognized, it only reproduces the objective image, and there is a lack of dynamic connection between the two, that is, lack of visual stimuli, and it is difficult to attract people's attention. So we often consciously create a certain degree of “destruction†between the two in our creations to enhance our unique performance. This kind of motherhood, which originates from the standard imagery in memory, grows and transforms the power of new graphics. The perceptive activity is filled with a living vitality that makes it easy to remember and easy to remember. Innovation is the life of all arts. The same is true of logo design. We should strive to explore the new face and spirit of traditional symbols. We must not be satisfied with the general borrowing and collage, and we must have the spirit of “not stop stunnedâ€. At a glance, it's funny, and you can't forget it.
The birth of the restrictive symbol of communication originates from the creation activities of different nationalities and represents the aesthetic taste and value orientation of people of different ages and different nationalities. From the history of the development of human culture, human culture is largely composed of artifacts, social systems, and spiritual life. Human culture follows the steps of creating artifacts, establishing institutions, and creating ideas. In order to survive, primitive humans created various types of objects or objects to meet the needs of clothing, food, housing, and transportation. This is the beginning of design. In these design processes, it is inevitably influenced and dominated by culture. George Welson once said: "The artifacts are traces of cultural legacy in its exclusive spacetime." Therefore, the symbols with national tradition significance are inevitably branded with cultural imprints and given different symbolic meanings, such as “The Kaogongji†contains: The circle of cover is also like heaven, spoke 30, like the sun and moon, etc.
Therefore, we can see from the geographical attributes and cultural attributes of the traditional elements mentioned above that there are corresponding geographical and cultural limitations in the propagation of symbols. Some familiar national symbols, such as figure gourds, which are familiar and affectionate and moving, are the collection of auspicious wisdom in Chinese traditional culture and people's minds. Its intention extends to modern ideas that are equally intelligent, innovative, and inclusive, but Westerners may remain indifferent. After all, different cultures are teeming with different blood. The logo of the Suntory Hall designed by Wu Siwei, which was designed by Wei Chang, gradually blends the old European emblem with the traditional Chinese character “Ringâ€, and is regarded as “a model that combines artificially limited East-West cultureâ€. However, the author discovered through interviews. It is difficult for many audiences to understand because of the cross-cultural characteristics of the elements they use.
Fives. The variability of meaning The new space-time environment has changed the value patterns of traditional symbols, which will eventually lead to the fission and sublimation of traditional symbols and all of their traditional cultural values ​​from social psychological functions to cultural history. Traditional symbols range from direct use of functions to social and psychological functions to cultural and historical functions. The meaning of the traditional symbol has a variable of time, and its relevance is not constant. Because people's ideas will constantly develop and change, and people's feelings about objective things will continue to increase as people's ability to understand the world increases, the relevance of graphical symbols will also mutate and expand. As we are familiar with the dragon, during the Shang and Zhou dynasties, people regarded it as a feast or a totem that could be both good and bad. In the Qin and Han dynasties, the dragon was one of the five spirits that symbolized auspiciousness, and later became one of the four gods. After the Song Dynasty, the dragon became a symbol of noble imperial power and it extended to the end of the feudal society. In modern times, the dragon became a symbol of the Chinese nation and the Chinese. In the modern logo design, the dragon often appears as a symbol of the Chinese nation or oriental culture.
Therefore, every variation of the concept associated with traditional symbols is not an obliteration of the original concept, but coexist with it. The original concept still exists to some extent. This variation enriches the connotation of the symbol and makes the traditional symbol. The signified tends to be diversified. It can be said that the concept variation associated with graphic symbols is an ever-enriching process of its symbolic connotation. In addition, there are spatial variables in the meaning of traditional symbols, and the same figure has different understandings in different countries and nations. For example, in the eastern countries, dragons that gather Jixiangru and Mana are all represented in the West. Haier’s mascot, Haier Kid, was boycotted in Middle Eastern countries because the exposure of the body in Middle Eastern countries was banned. Therefore, as a symbolic design of a symbolic expression, the symbol it uses should be consistent with the space, time, and social reality in which it is used, and it can play its due role properly. This requires that designers must grasp the variables that may exist in the space and time of symbols, and ensure that the current meaning of these symbols is exactly what designers need to express their thoughts and feelings, rather than what they already have, what they once had, Or may have other meanings.
As a special cultural carrier, the traditional symbol is an important resource and basis for us to explore the national character of modern design. Any "new creation" or "modern creation" cannot cut off the connection with the original culture, and will be an outstanding traditional resource. Integration into modern design has become a universal view in the world. Modern design trends are global, and each designer explores his own national tradition to create his own exciting new fashion. Tradition and modernity have always been parallel, and we often have to admit that we cannot innovate because we do not understand or understand the tradition.
Chen Zhenwang, Shenzhen University
Source: Art and Design
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