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Introversion and Extroversion |
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发表时间：2005-9-29 17:00:39 浏览人次： 我要投稿 |
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>AboutPicture
Picture,thecoreelementofvisualart.Itplaysanimportantroleineveryfieldofvisualcommunicationdesign.Asknowntoall,effectivepictureisnotonlyimage,butalsomessage.Thiscommunicationofimageisevenmoreeffectivethanbywords.Someonesaidthatapictureisworthathousandwords.Yes,thisisagoodmeasureforevaluatingagoodpicturewithinacommunication.Usually,itcalledgraphiclanguageinareaofdesign.Graphiclanguagelikeword,itcomesfromcreativeideas.Itcanbepresentedbyallkindsofvisualstyle. Evenitisnotapictureasweexpected,butabroadstrokeofcolour,awordorsomethingelsethatforms animageinthegivenwork.Graphiclanguageisoneofthemostimportantlanguagesofcommunicationinposters,books,packages,identityprogrammesandtime-basedmultimedia.Nomatterhowdevelopedthemediatechnologyinthefuture,itwouldbeaeverlastingsubjectforresearch.Effectivegraphiclanguagecanreinforcethemessageormovethecommunicationalong.Thisisthereasonofitsexistenceanddevelopment.
ThediversityofaestheticsbetweenChineseandWestern
Manydifferentcharacteristicsexistedin ChineseandWesternpostergraphiclanguage.Obviously,thereasonofdifferencearepartlyrelevanttotheirrespectivetraditionalculture.Itismeaninglesstolookonthephenomenonofartregardless itsbackgroundculture.Sofirstly,weshouldunderstandthebasiccharacteristics ofChineseandWesternartintraditionalposition.
Chinese
OnChineseaesthetics,themostnotablecharacteristicisemphasizingasenseofunderlyingharmony,especiallyinChinesepainting.TaoismisoneofthemainreligionsinChina,itofferstocombinetheoppositesandbalanceeachother.Chineseaestheticswasinfluenceddeeplyby Taoism.ItwasTaoisttheorythatthingsbroughtintocontactwitheachother,orarrangedtogether,influencedeachother.(PhilipRawson,LoaszloLegeza,1973)ItssymbolYin-Yang,composedbymutualblackandwhite.Itmeansthephysicalworldiswholeofinseparabledifferences,everythingexistswitheverythingelse.ThereexistsnoYangwithoutYininit,norYinwithoutYang.(PhilipRawson,LoaszloLegeza,1973)Theobjectsrepresentedinapaintingwillhave theirproportionsofYangandYincarefully combinedandharmonized.(PhilipRawson, LoaszloLegeza,1973)Forexample,mountain andwater,heavenandearth,lightanddark,dryandwet.Inlandscape,wecanfindthesefactorscomposedaspectacularandeternal harmoniousworld.Asfarasmodernposterisconcerned,communicationisits&nb sp;coremission.Underthebackgroundofinternationalization,forfulfillingitsduty,ChineseposterdesignersstudiedalotofnotionsandmethodsfromWesterndesign.However,ChinesemodernposterwasstillinfluencedbyChinesetraditionalaestheticsinsomeextent.ManyChineseposterskeptthisaestheticscharacteroflandscapeintheirimages.Everyfactorcomprisesatwofoldaspectvisible-invisible.NamelyYang-Yin.Asthefamoussaying:AYin,aYangthistheTao!
Western
DifferentfromChinesephilosophyofart,westernartistsoftenseparatetheirconsciousness(TheSelf)fromtheirenvironment(TheNaturalWorld)intraditionalpaintings.Theytriedtoseektrueworldintheirartexpression.WecanfindthisrealityinthosemasterpiecesfromClassicalismtoImpressionism.AsearlyasperiodofRevivalofLearning,thosecelebratedartmastershadreachedaexcellentleveltocontrolnature.Theyexpressedthetruthintheirworksbyperfectskillsofdrawing,exactknowledgeofanatomyandscientifictheoryofperspective.In1860s,impre ssionistpainterswerefascinatedbytherelationshipbetweenlightandcolour.Theypaintedfreebrushstrokesinpurepigmenttoexpresstherealityoflightandcolour.Impressionismcontrolledtherealityofartinthisway.Comparedwithothereras,the20thcenturywasdevelopedinabigwayinartareawiththeprogressingoftechnology.Allkindsofartgenrecameintobeing.Asaresult,theartnotionhasalsoradicallychanged,itemphasizedmentalityandideologyofartistsmoreandmoreratherthantheirabilityofexpressingtheexternalworld. Inthefieldofmoderndesign,theaimthatbringartanddesignintothedomainofdailylifewasofferedbyBauhaus.Modernposterwasdemandedtoconveymessageeffectivelyandservethesocietyandpeople.Hencetheartformhasbecomemoreinternational.BothChineseandWesternartistshaveexperimentedwithnewvisuallanguagetoexpressnotionsorconveymessage.
ThedifferentcharacteristicsofcontemporarygraphiclanguageinChineseandWesternposters
Posterdesignsdeliveramessagetothepublicthrougheffectivevisualforms.Withthetrendofinternationalization,therearestillsomedifferencesexistinginvisualstyleof ChineseandWesternpostersformeetingdifferentdemands.Herefollowsasummaryofsomegeneralcharacteristicsbelow.
1.HarmoniousandContrastiveComparingwithwesternposters,Chinesepostershaveharmoniouscharacteristicintheirgraphiclanguage.Itisnottosaythesepostershavenocontrastingfactors.Contrarily,Chineseposterdesignersregardcontrastverymuch, butthey emphasize balancing theoppositethingsandreachingfinalholisticharmony.Chinesepostergraphicsareinfluencedbytraditionalaestheticsmoreorless.Forexample,inTaoism,Yin,YanglivetogetherasawholeinTaoism,ZhongYong(MiddleoftheRoad)ofConfucianismandsoon.ThesefactorsinfluencedChineseposterstoday.Manypostersembodiedthis principleofBalancingReciprocity.AlanChanandPeterLoofHongKongeverdesignedapairofposteraboutChinese handwriting.ThegraphicsisainkstoneinshapeofthesymbolofTaiJi(Yin-Yang). Eachposterhashalf.Theyshowedwordsandlandscaperespectively.Thispairofposterarecompact,generousandharmonizetheopposites. DifferentfromChineseposter,Westernpostergraphiclanguagetakesonthecharacteristicofcontrastgenerally.Itmainlyshowedinaspectsofcolour,shapeandlayout.Basically,Westernposterconveytopeoplethesenseofrealityorembodiment.ThisispartlyduetoWesterntraditionalaesthetics;ontheotherhand,themovementsofmodernartanddesignalsomadegreateffectonWesternposterstyles.Todayweareintheinformationera,graphicdesignershavetocatchtheeyeofaudiencebyeffectivegraphiclanguagesasquicklyaspossible.Asacontemporary posterdesigner,ifhe/shefailstoattractaudiencesbyhis/herimagesinafewseconds,thenthepieceofcommunicationmayfail.Therefore,manydesignerspursuevisualshock.Aposterisgenerallyputupinpublicplaceandseenoverlongdistances.Obviously,intensecontrastisoneofthebestmethodstomakepostermorenoticeable.Forexample,theposterofappealingtoSwitzerlandtojointheEuropeanUnion.Thisposterexpressedthesubjectaccuratelywithoutredundantwords.MorethanhalfofSwissnationalflagiscoveredbytheflagofEuropea nUnion.Thetwoflagshavesamesymbol---cross,theycomparewitheachotherandenforcethesubject.Compactformandcontrastingcoloursmadethisposterpossesspowerfulvisualappeal.
2.PacificanddynamicItwassaidthatChineseaestheticsemphasizesasenseofunderlyingharmony,anditmadeeffectonChinesepostergraphiclanguage.So,itisnowonderthatChineseposterismorepacificinitsgraphiclanguagethanWestern.InChineseaesthetics,dynamicandpacificelementsexisttogetherinaartwork.ThisunderlyingrulealsoaccordswithtraditionalTaoism.Generally,Chinesegraphicdesignersseekdynamicelementsfromthereposefulsurroundings,thenharmonizethembybalancedatmosphere.Butitisnotabsolute,manyChinesedesignershavedevelopednewgraphiclang uageswiththeirownstylesindifferentways.However,thetraditionalaestheticsinfluencedtheideologyofcontemporarydesignersinevitablyandbroughteffectontheirworks.MostChinesepostergraphiclanguagesstillkeepthischaracterofpacific.HongKongdesignerKanTai-KeungdesignedfourpostersasagrouptoexpressthesubjectofChinesewords.Theseworkspossessvividcontrastofdynamicandpacificelements.ThestrokesineachposterareChinesewords,theymeanwater,wind,cloudandmountainrespectively.Thesewordsaredynamicelementsandthestationery ;arepacificelements.Allofdynamicelementswerecontrolledperfectlybypacificframes.Thenthepostersunfoldacalmatmospherewithpoetictheme.ContrarytoChineseposters,manyWesternpostersaremoredynamicintheirgraphiclanguages.Designersarrangeeverycomponentelementofposterandmakethemexerteachactiontoattractpublicattention,theyareboldtouseallkindsofpicturecomponentelementinuniqueway.Thediversespecialitiesofpoint,thread,surfaceandcolourwererealizedandpresentedintheirworks.WecanfeeldifferentcharacteristicsoftheseelementsfromWesterndynamicposters.IntheposteroftheatredesignedbyJonSimonsen,Themainbodyisadancinggirl.Hershape&nbs p;formedtheframeofpicture.Allofthewordswerewrittenbyhandandarrangedwithhertrackofmotion.Thewordsandthefigurebalancedtheunstablelayout.Thisdynamicposteroffersusamusicalassociation.InanotherposterofJazzConcert,(designedbyNiklausTroxler)twodifferentcoloursthreadscomplectedtogethertoexpresstherhythmofJazz.Theincompactwordsintensifiedthemusicalrhythm.Thestyleofthisposterisrelaxed,activeandromantic.
3.ImplicitandexplicitFivethousandyearsChinesecivilizationhadmadegreateffectonideologyofChinesepeople.Chinesetraditionalaestheticsisharmonious,comprehensiveandimplicit.Sometimesitevencandecidethewayofseeing.Chinesegraphicdesignersshouldacceptthatandcreateaappropriategraphiclanguagetoconveymessage.Chinesepeople(especiallyoldpeople)areaccustomedtoexpressoracceptanideainanimplicitway.InChineseposters,manygraphiclanguagespossessimplicitcharacteristic.Symbolizationandmetaphorarefamiliartechniquesappliedtoposters.Itissimilartootherart sortinChina.AuthoreverdesignedapoliticalposteraboutagainstdividingChina.Thepartedpeanutfilledthepictureandimpliedtheconceptofcompatriot.Thetextisaquestion:Whyarewelookedsoalike? ItintensifiedthesubjectofOneChina.Anotherposter(designedbyAndrewPogsonofHongKong)adoptedacliptoexpressthesubjectofAIDS.TheclientisaconsultativeorganizationofdefendingAIDS.Itconveyrelevantmessagebymethodofmetaphor.ContrarytoChinesepostergraphiclanguage,Westernposteraremoreexplicitinthestyleofexpression.Toattractpubliceyeandarousetheirinterest,Westerngraphicdesignersattemptedallkindsofmethod.StrengtheningvisualstimulationandconveyingexplicitmessageinashorttimeisthemaintrendofWesternpostergraphiclanguage.Besidesusingvividcolours,strongdarkandlightcontrastorinnovativelayout,theyoftenexpresssubjectsbyadoptingintimacyofothers,eventofsex,accidentorhumor,problemofsocietyorpolityandsoon.Furthermore,some&nbs p;designersusedweirdorimpossibleimagesastheirgraphiclanguage.WecansayWesterngraphiclanguagerelatestomoreaspectsoftheactuallife,itismorerealisticthanChinesegraphiclanguage.Therefore, the Westernposterhavemoreexplicitcharacteristic in theirgraphiclanguages.MikeSands,BobPedder,andPhilipRhoadesdesignedasocialposter,designersadoptedaimtoolasthebrandofcar,andwithwords:Yourcarisalethalweapon.Audiencescanunderstanditsmeanclearly:DriveCarefully!
Findings
Ingeneral,thecharacteristicofChinesepostergraphiclanguageisintrovertedandWesternisextroverted.Thesedifferencesareduetotheeffectofrespectivetraditionalandcontemporaryculture.Inthebackgroundofinternationalization,thecommunicationofChineseandWesterngraphicdesignersbecomemorefrequent,theyareinfluencingandchangingeachother.Asregardsgraphicdesignersoftoday,theyshouldnotpursueInternationalismblindlyorshowseemingNationalityonpurpose.Afterall,postergraphiclanguageisforspreadingmessagetothepublic,nomatteritisChinese& nbsp;orWestern.Designersshouldfocusontheirtargetgroupandcreateeffectivegraphiclanguageforcommunicatingwiththem.Thisisthemostimportantjobinposterdesign.
Conclusions
Accordingtotheresultsofcomparison, analysisandinvestigation,theeffectivegraphiclanguageforcommunicationhasfivecharacteristics:1.PowerfulFunctionofCommunicationGraphic languageshouldhasgoodabilitytoattractpublicattentionassoonaspossiblebyitscolours, words, layoutorimages. Itwasdeterminedbyfunctionofposter.Inotherword,itshouldbenoticeable.2.PertinencyPostermustaimatitstargetgrouptoconveymessage.Differentpeoplehavedifferentunderstandingaboutsamepicture. Designermustthinkaboutthefactorsofage,region,religionandcustom.Itisnecessarytoarrangeappropriategraphiclanguagetocaterfordifferentpeople.3.ExactExpressionDesignersmustsurethattheirgraphiclanguagecanexpressexactlythesubjectof posterandnotbemisunderstand.So,postergraphiclanguageshouldbetypical,reasonableandmeaningful.Itcanappealtotheemotionalsideoftheaudienceandimpressonthem.4.OriginalityInnovationisthespiritofdesign.Good postergraphiclanguageisunique,andalwaysmakeaudienceseesomethinginawaytheydonotnormallyseeit.5.UnificationofNationalityandInternationalismNationalityandInternationalismarenotincompatibleinposters.Theyusuallyexisttogetherinagoodposter.Inotherword,goodposterisacross-culturalposter,itkeepsitsnativeartcharmatthesametimeofachievinginternationalismforthegoalofcommunication.Itisveryimportanttomodernposter,nomatterforitsaestheticsorfunction.
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