1、1Explore the Application of Chinese Traditional Graphics in Modern Graphic Art and DesignAbstract. The Chinese nation has a history of 5,000 years, and a long history of traditional culture. In the traditional culture of the vast river of traditional graphics as an important manifestation of culture
2、 and the arts, which has been constantly enriched and developed. Especially in modern graphic art design, how to properly use traditional Chinese graphics, the perfect blend of classic and stylish, this is worth every plane designer continue to explore the problem. Key words: Traditional graphics, G
3、raphic design, Proud rather Forgotten, Traditional graphics, Development 1 Introduction Reasonable application of traditional graphics in graphic design has a very important significance. It can enhance the cultural taste of modern graphic design works, and enhance the cultural connotation of modern
4、 graphic design, and more in line with the philosophy of contemporary multicultural conducive to the realization of socialist culture the great development and prosperity. Therefore, we should attach great importance to the 2Chinese traditional graphics in modern graphic design. 2 Overview of Develo
5、pment of the Traditional Graphics Our traditional graphics have a long history, a long history, a large number of different styles, as early as in primitive society; its development reflects the original religious understanding and budding self-awareness, abstract graphics to levy allegorical. Shang
6、 and Zhou dynasties graphics reflect the strange, strict look. In Han Dynasty, due to changes in the ideological development, traditional graphics began to appear quaint, Hung thick style characteristics. In the Tang and Song dynasties, with a high degree of development of the political, religious,
7、philosophical, economic, traditional moral of the graphics, symbolically reinforced auspicious concept has been strengthened during this period, such as PO phase flower Tang grass with auspicious meaning national character graphics. After the Tang Dynasty, due to socioeconomic development, the secul
8、arization of social life, the traditional graphics a wide range of diverse performance practices, stylized graphics development trends, decorative emphasis on graphics, emphasize the graphic sense of diversity, lucky, thus the quest for good luck, the species in the Qing Dynasty reached the extremit
9、y of the “pattern will be 3interested, Ibices auspicious“. Traditional graphics are widely used in sculpture, architecture, craft, design, printing and dyeing, embroidery, folk art and other aspects, the formation of ethnic characteristics Art Deco design system. 3 The Chinese Traditional Graphics w
10、ith Modern Design Integration Problems 3.1 Traditional Graphics with Beautiful Contact Traditional Chinese aesthetics emphasized the harmony and unity of the United States, that everything is a harmonious and unified whole, the emotions of the people given the form of matter, by - lyrical to shape f
11、reehand, Vividly. Because of this “Heaven,“ the overall view of the world and the things I same aesthetic ideas, forms of artistic expression in China “write real “heavy“ vivid. “ It focuses on the overall shape of the momentum, rather than the unavoidably overall objective object described. Some ae
12、sthetic ideology of future generations also has a far-reaching impact, many artists aesthetic ideal, aesthetic taste is the word “and“ at the core. 3.2 The Value of the Traditional National Culture Multiplicity Successful use of the China-US national folk factors, we first asked designers love this
13、nation, to understand and become familiar with this nation, so that it can make us rich 4aesthetic ideas, diverse traditional graphics and technology, design, and the laws of the United States further understanding, from nutrition and new inspiration. The design is the emotional expression, and it r
14、equires the accumulation of experience and a burst of inspiration. The only truly love our nation and to appreciate our national aesthetic, it will bring us endless insights inspire more in the practice of design thinking spark innovation and design research to a new level. 4 Strengthen the Applicat
15、ion of Traditional Chinese Graphics in Modern Design Countermeasures 4.1 Traditional Graphics Profound are the Source of Our Innovations China has five thousand years of history, as the ancient civilizations of the Orient, formed their own unique traditional graphics. Outline style of the emblem of
16、the Beijing 2008 Olympic Games, is taken from the traditional Chinese seal style, fully embodies the oriental features, has once again proven more ethnic things the more international. 4.2 Chinese Traditional Graphics with Modern Design Must be Innovative Traditional graphics with modern design to h
17、ave vitality, to re-rejuvenate must further increase their integration 5efforts, to consider the multi-faceted problem, the use of deep-seated. For example: Shenzhen Wanke fifth park in the overall design of the building and landscape, the use of the elements of the Huizhou architecture and Jin-gard
18、en architecture. But it is worth of mentioning that Wanke Fifth Park does not simply retro and copy, but a solution type inheritance, tradition and modern days of Chinese and Western well-crafted and combined in order to create a tradition for Chinese people living residence environment, but also in
19、 line with the modern lifestyle. It is easy to evoke a strong nostalgia, to produce psychological resonance, a traditional Chinese architectural form approximation of the internal bore a striking resemblance good result. 5 Modern Graphic Design Graphics Application Examples 5.1 The Original Geometry
20、 In the graphic design, we can see a lot of use of the graphics in the original geometric abstract patterns. Most of the original geometry evolved from Bird, frog pattern, with Fish. The designer formed through a process of deconstruction and reconstruction of its styling elements of visual language
21、 in the modern sense, to convey the flavor of the times, modern design with a heavy cultural and national identity. Such as the 6Haitian Securities Company logo design, using the traditional waterlines patterns of Yin in the Chinese history, the Shang Dynasty bronzes design elements constitute the b
22、asic shape of the ancient coins, four waves corresponding to express the connotation of Haitong Securities rich resources through the seas. The flag waves graphical end-to-end cycle, consistent with the meaning of the name of Haitong Securities and accurate image of the securities industry character
23、istics. (Figure 1) 5.2 Eastern Philosophy Symbol We usually say the graphics, mainly from Eastern philosophy concept refers to both abstract symbols of “Tai Chi“ and “Ba Gua“. “Tai Chi“ graphic black and white complementary two cyclotron motion graphics, image expression of the yin and yang rotation
24、, S-line is the most universally recognized forms all lines beauty. “Ba Gua“ graphic is the ancient Chinese philosophy of Confucianism discusses all things change “Book of Changes“ with eight symbols, equal to its area, the same shape, but also has the direction reversed black and white different ch
25、aracteristics, in graphic form is shaped and negative shaped duplication, interdependent and mutually contradictory connotations. Famous Hong Kong designer Alan Chan graphics design the logo for the Seibu Department Store, tai chi 7graphics evolved into the Company English name “SEIBU“ S “Beas diagr
26、am representing the philosophical concept of yin and yang, is the summary of the Chinese people appreciate the experience of the universe, observation “Everything negative yin and yang.“ (Figure 2) 5.3 Nationals Auspicious Graphics The national mascot graphics are blending pattern auspicious meaning
27、. People see a pattern image, but my heart felt a language other than image. People are obsessed with national auspicious graphics modeling, but also because the “meaning“ behind. Regardless of the ancients or modern, better things to feel the same yearning. By specific implication and can cause cul
28、tural resonance auspicious graphics applied to graphic design, a combination of the traditional and the modern, full of historical significance graphics embedded in modern humanism and cultural connotations. China Unicom signs derived from Buddhist Eight auspicious one “disc long shape, whichever Un
29、icom Communications Business no intention to extend a long history, going, complementary“ to exhaustive long time, symbolizes everlasting. Four squares in the shape of the logo are easily accessible, meaning all the best; six circular routes of interlinked everywhere intended smoothly; the middle 8t
30、en empty of festive and perfect meaning. Therefore, the entire logo is filled with air the ancient oriental circulated auspicious. (Figure 3) The side wind patterns in the square the pressure angle Xiangdie from graphics, in ancient times as auspicious thing widely used for a variety of design piece
31、s. Kan Tai-Keung - Freeman Lau Design Co., Ltd. logo is to use on behalf of “concentric double together, communicate with each other“ side wins, as the basic design elements, been shaped extraction derivative recycling composed of graphics. The party is the earth; a symbol of design is broad. (Figur
32、e 4) 5.4 The Traditional Chinese Character Graphics In Chinese history and culture, the image of Chinese characters, the characters become the most imaginative traditional graphics most general abstract graphics. In the evolution of 5,000 years, the Chinese character glyph changing shape and meaning
33、 to each other, and continue to develop with the peoples cultural beliefs, visual mental application and aesthetic needs, developed into a highly symbolic pictographic, image of the written characters. Chinese calligraphy, for example, with a strong sense of national aesthetic characteristics, its s
34、imple beauty, the spirit of the beauty, 9and beauty embodies the aesthetic taste of China since ancient times down and ideals. At present, the use of Chinese characters in the graphic art of decorative objects has a unique charm. Readability, visibility, aesthetic, cultural and historical heritage a
35、nd other aspects of the character graphics make it a concern of many designers design elements. The use of Chinese characters in the graphic design is not only to convey the information, and the inheritance and innovation of traditional graphics. Such as the Beijing 2008 Olympic Games emblem design,
36、 the basic creative the dancing human character “Jing“ evolution seal as the main form of combining traditional Chinese seal and calligraphy and other art forms and sports, concise style, high spirits, has completely broken through the simple text boundaries, the product has evolved into visual thin
37、king. This style embodies the essence of the wisdom of the Chinese nation, but also the spirit of the Art Deco heritage of the Chinese nation-specific. (Figure 5) Corresponding Han Binghua ice cracks combination of Chinese characters as a creative concept applied to the Suzhou impression “poster, to
38、 show the Chinese art quaint. (See Figure 6) The pattern pane of the opening film composed of “state“ and “Drops of brushwork word cleverly 10highlight the maples“ plaque “Su“ word, this show Suzhou. 6 Conclusions In short, we have to look at from the point of view of visual culture traditional grap
39、hic visual language, given its deeper meaning and significance of the new age, for containing ethnic characteristics graphic design with far-reaching significance. In modern graphic art design, it should be reasonable to introduce traditional Chinese graphics in order to enhance the cultural taste o
40、f the work, the rich cultural connotation of the works and the works of graphic design continuum of modern elements with classical culture, a perfect fit, modern graphic design highlights more powerful potential for the development of life. References 1. Zheng Ling; traditional graphics with modern
41、graphic design J; artistic exploration; 2007 04 2. Huatian Rui; WANG Jing; Chinese traditional graphic elements in modern graphic design J; Art of; 2010 S2 3. Fan Hua; inheritance and innovation of traditional graphic modern graphic design J; Beauty and the times (the first half); 2009 02 4. Meng Chunling; Chinese traditional graphics how modern
