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哲学论文 > 美学论文 Papers > Philosophy Papers > Aesthetic Papers

On Traditional Aesthetics and Visual Communication Design

编辑: 毕业论文 Release time: 2016-08-19 Editor: Graduation Thesis

Thesis Abstract: Chinese traditional culture emphasizes rigidity and flexibility complementation, and the use of various visual means is endless. It is believed that absorbing the essence of traditional Chinese aesthetics and integrating technology, culture, nature, and individual creativity can realize real design innovation, and explore the design space from Chinese traditional big aesthetic thinking.

Thesis Keywords: Design Aesthetics, Traditional Aesthetics, Visual Communication Design

Visual communication design sprouts in a relatively young modern posture due to its wide communication field and operability. In fact, today, as some people call it the “picture-reading era”, even if the subject does not actively pay attention, it still cannot avoid a lot of mandatory instillation in visual transmission. From the perspective of perception only, the use of technological transformation to pursue various novel visual effects has become a "fashion" in the past. As our visual environment becomes an era of unprecedentedly rich and colorful multimedia information, and the public aesthetics With the enrichment and improvement of needs and fun, the design road to attract eyeballs by pursuing visual stimulation or simply implementing visual transformation has become narrow and endless.

Design aesthetics arises from the rise of modern design. As a new field of aesthetics research, marginal characteristics cannot be ignored. It is precisely because of these "edges", such as different disciplines, doctrines, perspectives, nature, gender, ideological realm, eastern and western culture, ancient and modern culture, north-south region, etc., that design aesthetics has infinite vitality and a wide range of aesthetic characteristics. The separation and opposition of many cultural phenomena during the period of modernism, and today with a postmodern temperament, from rigid boundaries to integration and dialogue with each other. As Jin Qiangqiang, a famous graphic master, said, there are three principles of virtue: one is to make an idea-the idea goes first, to get the gods by shape; the second is to innovate-to inherit the old, to create a new one; and the third is to use-suitable for the body, flexible and vivid. Under the care of the great aesthetics formed in China for thousands of years, exploring the modernity and creative context of visual communication design from historical and aesthetic sources is not only a kind of marginal dialogue, but also an inheritance and running-in. It will produce extreme breadth and depth. Large plastic space.

I. Traditional Chinese Aesthetics and Western Modern Semiology

Design aesthetics, as a practical aesthetic, first insists that the design solves practical problems before it can be meaningful original style. The EU's 1995 Green Paper on Innovation states that innovation is "successfully producing, absorbing and applying new things in the economic and social spheres. It provides new ways to solve problems and makes it possible to meet the needs of individuals and society." . Functionality in the field of graphic design is not as versatile as product design or environmental design, but its biggest function is effective information transmission. Therefore, although the innovation of visual communication design is mainly limited to the way of expression in the field of planes, it is obviously not a painting on the same plane as the plane, unconstrained self-releasing or free expression, but means the successful realization of design elements in specific scenarios. New combination. All available visual elements are now transformed into symbols, with signifier and signified properties. These combinations can be achieved by designing new finished products and new features, or by creating new design methods and exploring new areas. But no matter how diverse the design innovation is, it needs practical basis in essence. These basis exist in the context of the spirit of the times and regional culture. That is to say, the effectiveness of information transmission must be based on an understanding of aesthetic habits, thinking patterns, etc., and form a context for continuous association.

Successful visual communication design uses addition in concept and subtraction in modeling. The design elements are often concise and clear, which is convenient for the audience to have a strong memory and effective and accurate information reading in a short time. The extensive use of symbolic methods and metaphors in visual communication design realizes and confirms the meaning of signifiers and referents in semiotics: through the expression of modeling symbols, the internal connection between the referent and the object triggers timely association. The dialogue between the design work and the viewer is realized through the association from the signifier to the signifier.

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