Analysis of the combination of modern logo design teaching and traditional graphic arts (2)

Three, the trend of "grasping and inheritance

"Potential" usually refers to the implied charm of a figure and the state and atmosphere it expresses. "Potential" can convey the spirit of the whole figure. In the traditional graphic "potential", we must mention in particular the Chinese national quintessence - calligraphy. Calligraphy is inspired by observing the attitudes of all things in nature. It has been developed through ingenuity. After several thousand years of development and evolution, it has formed a variety of different personalities and styles, such as: powerful and bold, realistic and bold; Rigorous; Li dignified quaint; Ruanshu neat and beautiful; writing lively and joyous, Qiyintongtong; cursive flow, flying fast. Calligraphy not only has a structure but also a gesture. The structure is only the basis of calligraphy and calligraphy, and the formation of the calligraphy personality style is based on the “potency” of the “pen and intent”.

Grasping and inheriting the “potential” of traditional graphics and eventually integrating them into the design of modern logos is a difficult combination of traditional graphic arts and modern logo design. For the traditional graphic arts in the "form" and "meaning" of the follow-up, students are better to understand, but also better to grasp, but this use can only be said to a shallow level of understanding and understanding of traditional graphic arts, and a The creation of a new national form requires teachers to lead students together to escape from their materialized surface and into their spiritual realm when studying traditional graphics. Because only after thoroughly understanding the essence of the traditional art of graphics, and then on the basis of modern Western design trends, eclectic and integrated, find the convergence point between tradition and modernity, in order to create a modern symbol of our own people at the same time is an international .

The world-renowned Beijing 2008 Olympics logo can be said to be a classic in modern logo design. The overall structure of the logo is also taken from the traditional auspicious symbol "plate length", but it is valuable that it does not directly borrow from this traditional shape, but uses the unique "pen and intent" freehand brushwork in Chinese calligraphy. It is just right to pass the two trends 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 company. The company's logo is designed by Hong Kong designer Cai Yongyao. Because it is an aquarium company, the basic shape of the logo will be considered as a "fish" shape; and because the company is a modern enterprise in Hong Kong, so the designer used the company's initial letter "L". "L" is written using the technique of Chinese cursive cursive script. When the gesture reaches, plus two points, it becomes two vivid and lively games. Such a design, which combines cleverness with modernity, is very representative.

In addition, China Post’s logo also makes good use of the “potential” in traditional graphics. The basic element of China Post’s logo is the Chinese “Chinese” character. Based on this, the designer integrated the movement of the geese into the shape of the logo in accordance with the ancient Chinese “Lucky Goose Biography” story. The logo is composed mainly of horizontal and vertical parallel lines. The shapes and potentials are combined with each other, and they are summarized and transformed. They express the corporate tenet of service and tens of millions of households, as well as corporate images that are fast, accurate, safe and omnipresent.

Finally, combining the modern logo design with traditional graphic arts, teachers should also warn students that the application of traditional graphics is not a simple "take-up" because:

First, not all content is good in traditional graphic arts. Because traditional Chinese graphic arts sprouted in human childhood and grew and developed in a long feudal society, it has its own imprint on fetuses from the feudal society. Therefore, teachers should let students understand that some traditional graphics also have superstitious and backward elements. To apply the traditional graphic arts to the modern logo design, we should follow the scientific and realistic attitude, to preserve the truth, and to promote its nationality and practicality.

Second, when students use classic traditional graphics, if they don't seek solutions or draw on the hyacinth, they only use a little folk or original symbols, and they begin to superficially combine the beauty of form and modern beauty. Then the design logo will inevitably fall into the routine. Therefore, teachers should guide students to grasp the essence and connotation of traditional graphics, and let such a cultural charm naturally appear in their designs.