(27) The ratio is very important.
Size is not equal to space, huge and great is not a concept. The proportion of the past is often based on the proportion of people. When you go to the Temple of Heaven, you will feel the power of proportion. Modern design should also pay attention to the proportions. For example, the National Grand Theatre, which is located on the west side of the Great Hall of the People, must take into account the fact that the surrounding area around Tiananmen Square is very dry and lacks water. It is also necessary to consider the height problem. It must not be too high and exceeds the Great Hall of the People. Or Tiananmen, we must press on. Therefore, the building uses semi-underground and utilizes water and greenery. There are two levels of meaning for this building: one is the problem of surface and height, and the other is the proportion of the entire square. In addition, we are doing an antique building or a building with a sense of the times, not a fake antique.
Content and form of design (28) Content and form of logo design
Everything has a certain content and form. As a concept, the content and form are firstly a philosophical concept with a wide range of meanings. It can be applied not only to artistic phenomena but also to various things that exist in the field of life. In order to analyze and study, people generally regard the objective real life described by the works of art and the artist's knowledge and evaluation of these lives as the content of the works of art; the subject matter and the theme are the basic factors that constitute the works of art; the organizations used to represent the contents of the works are The synthesis of structure and expression means as the form of artistic works, structure and artistic language become the formal elements of artistic works.
The British scholar Arnold Reed once made a distinction between the different forms of art. The most basic meanings are: 1. The “body†of the “embodied†or “spiritual†of the works, in the visual arts. Including colors and shapes, stands against the meaning they express. If the form means a body that is opposed to the content, if the form of the art reveals its content, it means that in the aesthetic embodiment, the body can really express its content. 2. Form may mean the aspect of the "body" relative to the sensation. For example, the shape of the color; the melody of the rhythm, speed; structure of the space value it depends on to constitute. Generally speaking, in the art of molding, the form means a "shape" that is symmetric with a material or a medium. 3. Form may also mean a particular form or a more general type of art than a particular piece of art, which may mean a certain type of form. Arnold 'Artwork'
(29) The scale of freedom should be grasped in the design
Creativity is freedom: creation (including the process of design) is a transformation and use of natural materials by humans. It is also a creative design and production of objects. In the relationship of humans to objects (materials, natural objects), creation The person (designer, worker) is the subjective and active, that is, the relationship between the creator and the natural object is a dynamic relationship. In this relationship, the creator is free and dominant. Hegel had a special section devoted to the relationship between master and slave in the book “Psychology of Phenomenologyâ€. He said: “It is mainly through efforts to indirectly relate to things. If it is a general self-consciousness, it also has a negative relationship with objects and can Throw away things.... The master places the slave between himself and himself. In this way, the master can only combine himself with the non-independence of the object, and he will accept it as he pleases, but it will be independent of the object. Give it to work and let slaves transform and remould things."
The freedom of man in the broad creation is the freedom of man to transform nature. In the artistic creation, in the narrow sense, people (designers, creators) have another freedom: the freedom of art form and artistic expression. This kind of freedom is often based on the establishment of functional structures on various forms. The freedom of choice and creation. In design, we must grasp the scale of freedom. In the free design, people need to consider the natural scale, the functional scale of the design, the aesthetic dimension of the design, and the ethical dimension of the design. Freedom is limited freedom. Only above these restrictions can we create with free techniques. Freedom without scale is nothingness and useless.
(30) Nine contrasts between signs, two-level graphics, and paintings
Painting has image, rhythm, perspective, volume, level, space, light and shadow, performance, and beauty. The logo and the second-level graphics also have these points. However, there are differences between the use and the role of painting. The first is the image. The things that are flattened must be the most expressive angles, such as the unfolding of the hands and birds' wings to express their strength. Secondly, in the performance of volume, the sign and the secondary graphic are compared with the surface area by the plane method: the larger the area, the stronger the "quantity" sensation. Third, structurally, we must seize the main features of the structure and remove the secondary ones. For example, the leaves are opposite or opposite, and they are back in their heads. Folk artists do not pay attention to sketching, and they can use their inheritance and their own feelings to perform a greater degree of play. Drawing students often rely on sketch objects, leaving them difficult to create. And this is out of the essence of art: its own play and not entirely sketch. Fourth, perspective. The logos and secondary graphics are not limited by perspective, and are similar to Chinese paintings. Multi-point perspectives and scattered perspectives are related to Chinese philosophy and are integrated into the world of heaven and earth. At the time of sketching, I traveled mountains and rivers, swept through the drafts and drew drafts, and came back overnight. Sometimes I opposed the rules of the big, small, and small. The West, from the point of view of "man", starts from one point and separates from the world. Fifth, space: Mark and secondary graphics should emphasize the positive and negative space when creating, using negative and positive shapes to create space.
Sixth, hierarchy. Use the plane, size, black and white, overlap, cumbersome and concise, personality and ordinary, complete and broken hierarchical relationships to express and create. This is different from the simple use of Western paintings in perspective, black and white, and reality. It has its own unique style.
Seventh, light and shadow. The logo and secondary graphics are also black and white, but not in terms of an objective angle, but in black and white. Summarized as dotted lines, using dot lines as the basic language, and then doing comparative and harmonious processing, and finally the performance of light and shadow. It is as if prints are more distinct than three-dimensional drawings. Eighth, performance. The creation of logos and secondary graphics is closely linked to the personality of each designer. Designers grasp the characteristics of objects in their lives, and then exaggerate their visual experience to a very high degree to perform the most possible exaggerated distortions, which makes the work very expressive. Because of the limitation of the plane characteristics, the logo and the secondary graphics have no volume, so they can only be represented by the things of the form itself. But if there is only a simple outline, there is too little to see, so it must attract people with a strong exaggeration. Ninth, beauty. Signs and secondary graphics also need beauty. Beauty has its basic laws: such as the relationship between proportions, rhythm and rhythm, coherence and repetition, contrast and harmony, balance and symmetry, movement stability, change and unity, all the things that form beauty, can be called as beauty. Using these basic laws, signs and secondary graphics will become vivid.
(31) Criteria for marker evaluation are more complex: emotions, rationality, intuition, reasoning, instinct, reason, spontaneousness, compulsion, fantasy and imagination, scientific evidence, satisfaction and dissatisfaction, generosity and calculation, sensibility and reason, spirit and substance, Manual and mechanical, artistic and technological, natural and artificial, integrated and distinguished, publicity and poetic, indivisible and divided, subjective objective, religious secular, sacred utilitarian, ethical They are relatively ethical, abstract and figurative, succinct and cumbersome, plain and gorgeous, rigorous and lively, classical and fashionable, and they all need to be united in their manifestations.
(32) Integration of target focus.
The basis of the market - product function, customer base, humanities, economic power, information, market space.
Conceptual orientation - product branding, compatibility and specificity, industry characteristics.
Creative development - public consensus, visual transformation.
Image design - element selection and processing, overall clarity and typicality, transitivity and creativity.
(33) CI is the integration, image, communication, branding, marketing, and integrated operations.
Read people and read things. Deal with entrepreneurs. listen. You must be a director. You must brainwash your clients. Fonts, colors, dot lines are your actors.
(34) Why some scenes were eliminated because it was outdated. The logo has its permanence and cannot be like a local opera.
(35) Logo design should have a style.
Style is arrogance and prejudice. We serve some customers. No company can buy the logo we design for it.
(36) The entire design is a "meaning" and a "form." Shape - meaning - shape, because - fruit - because.
(37) Active acceptance of Western civilization, Western learning, practical reason, and moral reason.
(38) There are seven precepts in writing, and there must also be seven abstentions in the design. The purpose is to avoid miscellaneousness, defiance, bureaucracy, language quitting (conventional thinking), word confession, non-discriminatory facts, and detailed abstention matters. The most important thing is miscellaneous confusion. Many confusions and confusions are lost. Fans are chaotic. Chaos are empty. It is counterproductive.
(39) I do not know, but still. I do not know, ill already. Wisdom knows a little every day. Ming is known to know the yin.
(40) The threshold of the sign is very low and it is impossible to distinguish the imagination of an undergraduate student and a doctoral student.
(41) Modern painting emphasizes automatic painting, intuitive sketching, intuitive painting, and unconsciousness. Subconsciously think of something further rational thinking, critical integration, release the state. For the study of complexity, the intersection of chaos and order. Art is a chaotic thing, and completely orderly things have no meaning. (Text / Chen Dan)