The Application of Graphics in Graphic Design

The Application of Graphics in Graphic Design

Characters, graphics and colors are the three elements of graphic design, which play different roles and have their own characteristics. Generally speaking, graphics transmit information much faster than words. The more artistic graphics are, the more they can catch the viewer's sight and quickly transmit the information they carry. Graphics become the visual focus in graphic design because of its irreplaceable visual characteristics, and naturally become the focus of designers' design performance because of its unique charm. Let's have a look!

Application of graphics in graphic design 1 1, Application of graphics in graphic design

1. 1 Application of Variant Graphics in Graphic Design

In modern graphic design, designers not only use realistic graphics and deformed graphics to express their design intentions, but also often use deformed graphics as a special configuration technique to express their unique design intentions.

Because of its unconventional thinking method and unconventional configuration, variant graphics often stand out from a large number of ordinary and mediocre graphics, which are particularly eye-catching and thoughtful, and are more and more widely welcomed by the audience.

The Application of 1.2 Rules and Irregular Graphics in Graphic Design

Irregular graphics are the opposite of regular graphics, that is, strict geometric graphics. Generally speaking, in graphic design, rules and irregularities constitute a complementary relationship, which has a profound psychological basis. Regular graphics tend to be stable, static and orderly, but blindly regular can easily lead to monotony and rigidity; Irregular graphics are lively and vivid, but if you go to extremes, it will become chaotic. "Sense of order" is a basic psychological principle of people's aesthetic perceptual activities. In this perceptual process, too monotonous images can not arouse people's perceptual interest, and too messy images will make people feel at a loss. Therefore, the aesthetic requirements of decorative arts are based on this kind of simplicity and complexity, rules and irregularities.

Of course, there are many other forms of irregular graphics in graphic design. For example, the irregular arrangement of regular graphics can achieve a lively effect; Some design works using misappropriation and collage techniques cannot be made according to strict geometric figures, thus breaking the limitation of single figure. The random arrangement of various image materials and fonts has become an important visual cultural phenomenon. From advertisements, posters to book binding, web design and even clothing patterns, we can see the shadow of irregular graphics.

The application of 1.3 fractal graphics in graphic design

Many graphic images are often involved in graphic design, and unpredictable and colorful abstract images can be drawn by using fractal theory. Fractal is simply an image, but this image has infinite self-similarity, and the whole structure appears in every part of it. Fractal always presents an uneven and irregular state. For example, the flat-toothed plants cauliflower and hard-flowered Gan Lan, each branch of them is very similar to its whole, and its generation law ensures the characteristics in a small range, and when it grows up, it becomes the characteristics in a large range. When all parts of an object are completely similar to the whole, it can be said that the object is linear self-similar. Similarly, if it is applied to graphic design, especially in graphic advertising and packaging design, it will certainly achieve unexpected results. According to the different algorithms of fractal graphics, it can have many types. Fractal graphics have been widely used in advertising printing, graphic design, clothing design and many other aspects. Fractal not only provides a new design method for designers, but also gives designers a broader space for imagination and expansion, which can directly reflect designers' creative intentions. It is believed that fractal graphics will have a better development prospect in graphic design.

1.4 Application of China traditional cultural elements in graphic design

In today's cultural diversity, if China graphic design wants to integrate into the international modern design stage and better communicate with the design circles of various countries, it must speed up its familiarity with the internationally used design language, and at the same time dig deep into the traditional cultural elements of China and make a beneficial supplement to them. Only in this way can we better meet the aesthetic standards of contemporary graphic design, and thus have a positive impact on the development of art design in China.

Traditional cultural elements include palace art, literati art, religious art, folk art and so on, which provide us with rich reference elements for today's graphic design. The graphics in graphic design are as small as a signboard, and as big as a street sign advertisement next to expressway. It is widely used. It conveys information and gives people a strong visual impact.

The meaning behind China's traditional modeling is the key to people's fascination with its modeling. Both ancient people and modern people have the same yearning for beautiful things, so the auspicious meaning behind traditional modeling is also applicable to modern design and expresses modern people's design ideas. What people pursue is mainly the meaning behind graphics. For example, the logo of China Unicom Company is the adoption of the traditional graphic "disk length" of China, commonly known as "Fangsheng", which expresses people's hope that the four rings will be connected and the roads will be connected. Over time, it means that the communication services in various places will be smooth sailing.

The Application of 1.5 Symbolic Graphics in Graphic Design

It is not enough to pin the hope of symbolic graphics on the inheritance of traditional graphics, but also to innovate in existing graphics and dig out new graphics. Only in this way can the expression forms of symbol graphics be greatly enriched. There are two ways:

The first is "old plans are new". Refers to the innovation of traditional graphics, based on a wide range of people, without changing its original intention, adding modern fashion elements to long-known and profound traditional graphics to increase the interest of graphics. For example, the logo design of the Beijing Olympic Games is based on the traditional seal mode, adding a human figure full of vitality and movement, where tradition and modernity are perfectly combined.

The second is to compare and analyze many modern fashion elements. For example, it can be divided into four forms: elegant, vulgar, elegant and vulgar. According to different target audiences, it is expressed by symbols and graphics of different forms of content. For example, "remy martin" can represent the upper authority and is a symbol of elegance; Coca-Cola, on the other hand, represents a culture that appeals to both refined and popular tastes.

2. Extensibility of graphic design

2. 1 Graphic extensibility in packaging design

Graphics, colors and characters are the basic elements of commodity packaging, and graphic design plays an important role in commodity packaging. "Concise but not monotonous, rich but not tedious" has always been the highest realm pursued by designers. For packaging graphic creativity, rich connotation and design artistic conception are particularly important and rare in simple graphics. On the one hand, this is determined by the characteristics of graphics itself to transmit information, on the other hand, it is to adapt to the fast-paced information needs of today's information society. Packaging design is to serve people, is humanized design, and needs emotional blending. Only by grasping the artistic conception of graphics in packaging design can designers better convey design ideas and creativity and let the audience understand and accept them. Mr. Ru Long's packaging design of Ancient Wine in the Western Han Dynasty takes the silk pattern of Mawangdui in the Western Han Dynasty as the graphic artistic conception design, which embodies the profound connotation of Chinese wine culture and the style characteristics of regional culture. The emotion and environment of packaging design are the essence of design life. Artistic conception is the synthesis of designer's wisdom, social life experience and artistic skills.

2.2 graphic extensibility in logo design

Logo design is the embodiment of social economy and culture, which has attracted the attention of design and business circles because of its high simplicity of graphics, rich connotation of metaphor and importance of business. Because of the characteristics of logo design itself and the differences in people's understanding, it is particularly important to grasp the graphic semantics for logo design. Fundamentally speaking, the artistic beauty that graphics want to convey to viewers is the creative point of designers. Modern society is a society that advocates human nature and people-oriented, while logo design is more people-oriented, emphasizing people's emotions and artistic conception, and communication between design and people has become a development trend of modern logo design. Logo is a very special image language, which has its specific conception mode, special expression form and special artistic skills. The second is to coordinate the sense of space, realism and density of the picture, improve the charm effect of the logo design, play a positive role in the integration of the logo, turn meaningless modeling into artistic modeling, and improve the visibility and taste of the logo design.

3. Summary

To sum up, graphic design works, as graphic elements selected, combined and used in the process of thinking or graphic expression, should have a clear reference function. Only by meeting the requirements or performance of its space, time and social reality can it properly play its due social role. This requires the designer to grasp the possible variables of the graphics he uses, and ensure that the current state of these graphics is the place where the designer expresses his thoughts and feelings, rather than simply combining them together. Grasping the functionality of symbols to convey visual information is a problem that every designer should consider.

The application of graphics in graphic design Part II In graphics, the meaning of "isomorphism" is deepened. The isomorphism of graphics puts this associative form into practice, which mainly means that two or more graphics are combined together through the author's imagination according to a specific combination form to form a new graphic, and on this basis, the original graphic meaning is deepened, giving people different visual enjoyment. However, "isomorphic graphics" often express a deeper meaning, or a transcendence or mutation, or a new idea. In a word, "isomorphic graphics" can express the design more incisively and vividly with an exaggerated, suspenseful, humorous and even absurd graphic combination form, and the theme is more profound. This profound expression has also pushed isomorphic graphics onto the mainland of graphic design and become an important way to embody creativity in graphic design.

The application form of 1 isomorphic graphics in graphic design

Based on the great expressive force of "isomorphic graphics", isomorphic graphics are widely used in graphic design, which often plays the role of finishing touch in graphic design, fully arousing people's interest and achieving surprising design results. To sum up, the application of isomorphic graphics in graphic design is mainly manifested in the following forms:

1. 1 concept isomorphism

Conceptual isomorphism mainly refers to the transfer or deepening of a concept, which is "stealing the column" in popular parlance. In graphic design, objects with similar characteristics are often used for isomorphic thinking. Before something, there may be some similarities in the appearance, sound or other expressions of the object. This similarity is often used in conceptual isomorphism to design isomorphic graphics. For example, in a graphic design, the designer isomorphized the two concepts of cigarette and pencil, and combined with clever words, interpreted "classmate, please lend me one ..." The isomorphism of cigarette and pencil made use of the formal similarity, which profoundly reflected the profound theme that smokers generally decreased in age and even poisoned primary school students. The isomorphism of this concept enriches the connotation of graphic design and causes people to think deeply.

1.2 image isomorphism

Aristotle said, "Without images, the mind can never think." For graphic design, this sentence means that a graphic design with a soul can not only rely on the display of objective things, but also reflect the spiritual connotation beyond objective things, that is, the understanding of the essence of things, which is the image embodied by a design. As far as image isomorphism is concerned, image isomorphism mainly refers to the use of association or other conceptual elements that conform to common sense in life. On this basis, unconventional and illogical conceptual elements are sublimated, and a large number of ideas such as empathy, metaphor or inspiration are used to vividly show those images that are difficult to directly reflect in graphic design, stimulate people's deep feelings, and achieve the purpose of seeing the strange in the ordinary and seeing the strange in the ordinary. For example, a public graphic design, seemingly inconspicuous, is the image of a camel. But careful observation, we can see a person's image, and its profound significance lies in this. Why do people live like camels? It turns out that this is a print advertisement calling on people to protect water resources. In this print advertisement, the connotation images are very rich and shocking, conveying such a theme: if we can't fully protect water resources, we will be forced to live like camels, which is very shocking.

1.3 graph isomorphism

The so-called graphic isomorphism mainly refers to the use of graphic similarity and the use of images to express rational creative activities. In the composition of graphics, it is the most common form of graphic isomorphism to stimulate isomorphic thinking by using the similarity of two graphics. However, this similarity association is not created out of thin air, but based on the in-depth excavation of the essence of graphics and concepts, such as different-shadow graphics, transposition graphics and positive and negative graphics, which are often used in graphic design, and produce interesting effects through the superposition of similar graphics. For example, in a series of graphic design of vodka, the graphic design organically combines the shape of vodka bottles with graphics such as vehicles, buildings and newspapers, so that people can see not only the wine culture, but also the collection of different cultures from various regions in the design of vodka, and let people realize the rich cultural background behind vodka. The application of this graphic isomorphism idea can be described as ingenious.

2. The realization of isomorphic graphics in graphic design.

Combined with the above analysis, we can see that in graphic design, isomorphic graphics mainly adopt conceptual isomorphism, graphic isomorphism and even image isomorphism. The related concepts and connotations of isomorphic graphics are applied to graphic design, which embodies profound creative connotation. Then, how to realize isomorphic graphics in the concrete implementation of graphic design?

2. 1 Broad vision, good at finding isomorphism.

Creativity comes from life, but it goes beyond life. In the isomorphic creation of graphic design, not every graphic can be isomorphic in essence. In order to find the isomorphism between different shapes and different graphics, designers need to comprehensively examine these two objects and even give them broad reverie, so that all their States can be presented in the designer's mind. Only in this case can isomorphic graphics be easily found in graphic design. Generally speaking, in the face of an object image, we must think of three main elements of the object image on the plane at the same time: one is to outline the edge line of its shape; The second is the image of the material itself; The third is the negative space form outside this object. Only when these three elements are determined, can the designer superimpose the related quality of this object image with another object image to produce a graphic isomorphism which may be negative spatial shape or positive and negative spatial shape.

2.2 Microisomorphism

When faced with different faces of the same object, people feel differently, which requires people to combine a visual element of this object to find the isomorphism between this visual element and another object. For example, in the face of a photo of the earth, we pay attention to the images of clouds and waves, and may find different images of animals and even birds. However, if our focus is on the earth, we may think of images such as circles and basketball. This requires us to choose one aspect of the object according to the theme of graphic design in the choice of isomorphic graphics in graphic design, so as to express a more accurate and profound theme.

2.3 isomorphism of "quantity" and "image"

The isomorphism of quantity is the basic element of image synthesis. The same and similar quantities can sometimes be transformed into the isomorphism of image, such as the word "bottle". If the word "tile" becomes the shape of a bottle, people can still determine that it is a bottle. The main reason is that the composition of bottle and tile is almost the same, which makes the abstract shape isomorphic and produces the hint of prototype impression. For example, in graphic design, when a person's image is shrinking into the shape of a grain of rice, he can be regarded as a part of other objects, such as a part of a vast landscape. This is the conversion between "quantity" and "image" commonly used in graphic design to realize the isomorphism of images.

3. Conclusion

We can fully see that in the process of isomorphism of graphics, the existing state and composition between graphics and even objects are closely related. In graphic design, as long as one of the small factors changes, the overall image of the graphic will change accordingly, and the theme expressed will be completely different. This requires that in graphic isomorphism of graphic design, we should fully master the skills of graphic isomorphism, start with many details of graphic isomorphism, such as concept isomorphism, image isomorphism and graphic isomorphism, be good at discovering different connections between different graphics, change the nature of graphics and objects, review methods and application methods, choose isomorphic methods that are more in line with graphic design creation, and improve the expressive force of isomorphic graphics in graphic design.

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