What is a public service poster? What is a public service poster?

What are the characteristics of public service posters 1, excellent public service poster design work is characterized by greater public welfare, that is, non-profit. That is to say, public service advertising is different from commercial posters, its starting point is not for commercial purposes and interests, public service posters are for the benefit of the public **** start, the more ultimate goal is to maintain social harmony and stability, and to promote the development of the community.2, excellent public service posters another feature of the design work is extensive. Generally speaking, public service posters are the face of the vast majority of citizens, rather than a small number of some of the audience, public service posters of the responsibility of the decision of the more people to see and accept the content of the poster, the better the effect, regardless of age, regardless of gender, and even regardless of national boundaries, language. Therefore, in the design of public service posters should take into account the effective communication of the poster information. 3, excellent public service poster design works more graphic language as the main way of information communication. Public service posters as a category of poster design, also abide by the principles of poster design, so for graphics and creative communication requirements are higher, not too much reliance on text to convey public service information. Protecting the environment belongs to the theme poster or public service poster public service poster. Theme poster refers to the poster to show the central idea, refers to the main content. The protection of the environment poster belongs to the public welfare poster material, including the design elements from me, the source file contains the environmental content. Because environmental protection belongs to the public welfare, mainly to promote the protection of the environment. What is the public service poster? Chinese traditional aesthetics in the pursuit of aesthetics implicitly influence the modern advertising poster design ideas, and advertising poster design ideas in turn influence the traditional national aesthetic concepts. This paper discusses the embodiment of traditional aesthetics in modern advertising poster design. It is pointed out that as a foreign poster art, in the works of Chinese designers, the influence of traditional aesthetics is revealed from time to time. Analyzing these influences and affirming certain positive factors will help develop the poster art of socialism with Chinese characteristics. [Keywords]: traditional aesthetics modern advertising poster design influence In China, advertising has a long history. The oral advertisements of spear and shield during the Warring States period ------ the hanging banner very high school lookout described in Han Fei Zi; the leaflets that accompanied the printing and engraving during the two Song periods, etc. (2) p8, can be regarded as the embryonic form of advertisement, and they are all examples of the long history of advertisement in China. However, it was only from the capitalist society that advertising really became a professional activity and played its great role. In this sense, the art of poster advertising in China can be said to be introduced. Poster (POST) is a popular genre of advertising art, which is used to fulfill certain propaganda and agitation tasks, or to serve the purpose of reporting, advertising, persuasion, education and so on. In our country for public welfare or cultural publicity posters, said public welfare or cultural posters or referred to as posters; for goods, it is called commodity advertising posters or commodity posters. And all this, in some foreign countries commonly known as advertising paintings, or commodity advertising, cultural advertising, art advertising, public advertising. The creation and development of advertisements in all countries of the world have **** the same law. They all arise with the creation of commodities, and develop with scientific and technological progress and social development. The innovation of means of communication brought about by scientific and technological progress has invariably given a great impetus to the development of advertising. If we say that the layout of multi-color printing that appeared on the streets of Paris in 1886 was the beginning of the modern posters, then the emergence of posters in our country was marked by the month board advertisements and road sign advertisements that appeared in the coastal cities in the twenties and thirties and forties of this century. Although they carry a certain semi-colonial color, but for the masses to enjoy the form of deep into the tens of thousands of households, therefore, should be said to be the development of China's billboard advertising and the beginning of the (1) p87. After the founding of the country in the fifties and sixties, China's billboard art to varying degrees by the Soviet Union, the Czech Republic, especially the Polish posters of the influence of the original basis of the ideology and artistry has been improved, the past two decades with the reform and opening up, the opening of the country's doors, the opening up of the country, and the opening up of the country's doors. In the past twenty years, with the reform and opening up, the door of the country is opened, also borrowed from the United States, Japan, Europe and other Western countries of the poster art techniques. It can be said that, as a poster art, China's advertising design workers absorbed and borrowed a lot of foreign counterparts of experience and practice. From the historical experience of China's cultural development, a country, a national cultural development, in order to be invincible, we must be brave to absorb, dare to inherit, good at blending. Whether it is from the formation of China's early Chinese culture until the peak of the two Han culture, or the Tang culture by the West, the influence of Indian culture and development, all show that only the courage to absorb, in order to develop, only the courage to inherit, good at blending in order to ultimately become the master of their own culture. In the poster art we should also be based on China, facing the world, not only to respect the uniqueness of the national art, reflecting the aesthetic psychology of the Chinese nation, but also to reflect the inner spiritual pursuit of modern people. In the design of poster art, we also need to find the roots, looking for our national traditional culture for other nationalities less than the thinking advantage and unique style. Art always have to talk about the inner continuity, an art form of generation and be accommodated, need a specific historical and cultural background, which includes a nation's way of life, customs, ethics, aesthetics and habits, constituting a potential deep cultural structure, locked in the national psyche and spirit of the national culture and regulate and constrain the development of the national culture and the involvement of foreign cultures. Because of this, as a foreign poster art, in the works of Chinese designers, when exuding the influence of traditional aesthetics implicitly. Analyzing these influences and affirming certain positive factors will help develop the poster art of socialism with Chinese characteristics. The following is a certain analysis from this perspective. First of all, the role of posters in conveying information and advocating propaganda affirms its special form. It is different from the easel painting or printmaking, it requires a glance, concise and clear, so that people in a split second, a certain distance away from the things to be clearly see the propaganda. In order to achieve this purpose, publicity paintings often adopt a series of assumptions, highlighting the key points, deleting minor details, fine details, and even the background, and can be different proportions, the activities that occur in different time, space, combined together. And often use symbolism to inspire people's associations. Therefore, its conception should be able to overload the reality, the composition should be generalized and concentrated, the image should be concise and exaggerated, and strong and vivid colors should be used as a means to express the things to be advertised, to show the inner connection between objects, to give the picture a wider meaning and to make people associate with a wider life in the limited picture, and to feel the new significance. In these aspects, traditional Chinese aesthetics can provide designers with a lot of nutrients. For example, the conception of one to be ten, with less with more refined, the composition of the white when the black no paintings everywhere into a wonderful situation of simplicity, sparse can walk horses, close impermeable contrast relationship, like and like between the image of exaggeration, are our ancestors left us a valuable treasure, has been fully embodied in China's billboard art in the design. (4) p68 KAN Tai-keung, a famous graphic designer in Hong Kong, has created a large number of cultural posters. In his opinion, there are three principles of beauty: to set up the idea of the idea first, to take the spirit of the shape; innovation to carry on the first and the second, break the old and establish the new; and to use the appropriate fit, flexible and vivid. This actually emphasizes the philosophical thought of Laozhuang, as well as the expressive mood of Chinese landscape painting. He advocates the integration of the essence of traditional Chinese culture into the concept of modern Western design. Many of his works embody this idea without exception. In his poster design "Self-contained" series, he utilizes the Chinese ink painting technique and fuses the special mechanism effect of modern technology, which is modern without losing the tradition. In the International Water Theme Poster Art Exhibition, the graphic works of water - life - culture posters take the extremely strong national decorative stylized graphic image as the background of the whole piece of work, with rich and appropriate defocusing treatment, and the whole picture is artistically expressed in black and white, forming the visual effect of opposites and harmonization, conflict and integration of shape and color, and building a modern graphic work of visual impact under the specific cultural scene in China. The 2008 Olympic bid logo can be said to be a good example, the entire logo shape is not a direct borrowing of traditional shapes, but the use of Chinese unique between the similarity and the similarity of writing techniques, aptly conveying the two images of the Chinese knot and the athletes. The logo not only reflects the unique aesthetic charm of Chinese culture, but also gets the recognition of the world. As I said before, poster belongs to instant art. Good posters should be done not only at a glance but also to make people fall in love at first sight, attracted by it, looking around, leaving a deeper impression. This requires posters have a superb idea. Any art, can not explain everything, especially like posters this special form of art, in the limited time and space conditions, can make people unforgettable, evocative, that need to do with less than more than one to be ten. (3) p72 Of course, there are still audiences who demand that art narrate everything, and it is as unrealistic to ask for multiple paintings from posters as it is to ask for serials from sculpture or multiple acts from fast panels. To use less to use more and from one to the other are the hallmarks of artistic skill, especially in poster art, which can only reproduce reality from one side of life rather than from all sides. Any image is but a part of the whole; what matters is whether it can summarize the other parts. Posters are often filled with images of the face close-up, a pair of hands, a pair of eyes, a, an expression, as long as it is to choose the most representative of the phenomenon, and focus on some of its characteristics, it can constitute a simple and concise good works. Despite the simplicity of the composition, it is required to show a certain, attractive mood. In the mood, the essence of the objective part of the object has been centralized, to achieve a blend of circumstances, can pull people's feelings, a certain experience, a certain association. A scholar in the Qing Dynasty said that a painting is not as good as it is loved, but as good as it is thought. Good posters to be able to fascinating, evoke associations, cause people's best wishes, the performance of the mood, we have to have the means, we call the intention of the craftsman. Craftsman word in the mind of the artist has a derogatory meaning, such as craftsmanship. But there are also positive, such as craftsmanship, that is, people did not think of, you think of. Craftsmanship is the artist's special means of processing objective things, the processing means of the high and low, to a certain extent, the author of the artistic achievements of the high and low. The Tang Dynasty poet Du Fu said that the intention of the craftsman in the miserable management, the words are not shocking death, indicating that the artistic mood must have the intention of the craftsman's painstaking efforts to produce. The intention of the craftsman is specifically the selection of materials (the first to take the most elite part), tailoring (to remove the dirt stored clear), exaggeration (emphasize the characteristics of the image), management position (composition), performance (option with the appropriate techniques) (5) p68, and all of this is precisely the main means of China's posters designers conceptualization. Chinese traditional art is concerned about balance and internal rhythm, China's seal carving art there is the so-called sparse can walk horses, dense and impermeable layout of the law, emphasizing the balance of change, which is consistent with the principle of scientific relative, but also in line with the laws of artistic beauty of the form. This kind of unity, vivid, rhythm and rhythm of the aesthetic feeling, in China's posters, motion and static, sparse and dense, diverse and unified, echoing the master and the guest, virtual and real, horizontal and vertical, black and white contrast, overlapping and interlacing and other traditional compositional laws are also commonplace. In addition, ancient bronze patterns, portrait stones, goldstone seal carvings, and especially Chinese paintings, skillfully utilize the craftsmanship of white backgrounds. The rough and bold black-and-white relationship of folk paper-cutting and orchid cloth, and the sparse gathering and dispersing of woodcut illustrations in the Ming Dynasty, (2) p21 can all be evidenced in the compositions of modern poster art. Western traditional art, based on the concept of geometric space, starts from simulating the phenomenon of life, by which to show the author's creative ideas. The ancient Greek philosopher Aristotle once pointed out that all kinds of art are imitations of the real world, laying down the imitation of traditional Western art said (1) p24. Chinese artists, on the other hand, are selective and focused, in order not to seem like the similarity of the form of writing God as the pursuit of artistic triumphs in Chinese paintings often express the object, the background does not have a stroke. The traditional Peking Opera stage is nothing but a simple table and chairs. When the audience appreciates the painting, they do not mainly appreciate what the artist paints, but mainly appreciate what artistic techniques are used to express it. The focus of appreciation lies in the ink and brushwork, the style, the rhythm, the mood, just as the audience appreciates the traditional Peking Opera, mainly appreciating the skills of the actors and the singing, reciting, acting and fighting. Traditional Chinese art, breaking through the one-sidedness of naturalism and formalism, has created a number of standardized formulas, which are inspired by nature, originated from life but have been refined and generalized, yet varied, and are the essence of a highly refined beauty, the beauty of the form that has been deposited with the requirements of the content.(4) p68. Because of this, it has an infinite vitality. Artists with the requirements of the times, give it new vitality, commonly used and always new, this programmed treatment in our country posters decorative image processing, also often applied, showing eye-catching luster. We have never used realistic depiction, realistic reproduction requirements of traditional Chinese art, no one accuses some landscape paintings do not comply with the principle of focal point perspective, and no one criticizes the traditional opera programmed performance mode, because we have a fixed concept of their own traditional art, know the abstract form of beauty in the plastic arts of the important value. Chinese traditional art is concerned about both the form and the spirit, pay attention to generalization and deformation, qi baishi painting shrimp for decades to get its god, there is a continuous generalization, constantly deepening the process, and ultimately dared to give up the shrimp's secondary parts and highlight the main features, so that the mother shrimp's image more perfect and more vivid. Qi Baishi put forward the painting is wonderful between like and unlike, this statement and Shi Tao's can not be law, is the law of the statement is the same. Contact his works and practice can be seen, he advocates not like is like, not like in fact, like the development of the basis, never like it is not, but to make the image more generalized, the use of the appreciation of the corresponding associative role (4) p35. look at some of our posters, like and not like the point of view of the image of the concise and rich in generalization of this point to measure, a lot of the image is not clearly Simple imitation of life, certain generalized image is obviously very different from the material, from complexity to simplicity from complexity to simplicity, must be recognized as a rare and valuable improvement. The charm of the work, never just to the appearance of the realistic transfer, sometimes, the admirer is not simply to accept the propaganda, but also to explore, discover and add, so as to get the pleasure of appreciation, just because the admirer has to explore, discover and create, the theme of the work, in order to produce can be in-depth impact. This characteristic is in line with the requirements of poster art. Kan Tai-keung's poster works of gold, wood, water, fire, earth poster graphic image design, also fully demonstrates the spiritual characteristics of this culture and art, haunted by the extremely strong spiritual aura of modernist design. The color treatment of traditional art is mainly decorative color. Because of the characteristics of poster art, determines the role played by decorative color in painting. Decorative color has a certain degree of subjectivity, which is exactly what the advertising picture deliberately pursues. Meaning enough not to seek color seems to illustrate this relationship. Song dynasty Su Shi once painted Zhu bamboo, someone chided him, is there red bamboo? He asked in return: Is there a black bamboo? The meaning is that since we are accustomed to the black bamboo, why not allow the painting of vermilion bamboo? This shows that the subjective imagination of color in the traditional view of aesthetics is allowed, and is necessary. But this subjective imagination is not the same as subjective fabrication, decorative color also comes from the practice of life, the same need to draw nutrition from objective things. People often from the butterfly, neon, haze and other natural colors are inspired to create a colorful decorative effect. The subjectivity of decorative color makes certain associations and anthropomorphizes the natural scenery. Different characters due to personality, experience, emotions, different views on objective things, for some natural color feelings, can be green, fat, red and thin, can also be happy red fast green. As for the sad Bi, Sei Yan Cui, green want to drip, green born cool these ancient poets pen on the color of the different feelings, whether sad, cold, cool, explains the color to people feel the psychological factors. As early as in the Song dynasty painting theory, there are inflammation of scarlet and cold Bie (6) p24. These psychological factors, color associations are due to people in the concrete life formed. We are opposed to both metaphysical to a certain color hard to say that represents a certain character, but not to reject the formation of some kind of association in the concrete life to make people's feelings, which is the premise of the traditional aesthetics of the use of color symbolism. In traditional Chinese painting, lotus flowers are often painted in red, and lotus leaves are only drenched in ink; when confronted with these images, people naturally feel that the painted ink leaves are green. This is because the painter has adapted to the scientific law of the interconnection of natural phenomena and utilized the corresponding associative effect of the admirers. Similarly, a white sheet of paper, painted with a few swimming shrimp, people according to their own life experience will naturally associate the large blank space into a vast expanse of water. In the poster, often also have such an example, a blue picture, the upper corner of the painting a few beams of brilliant fireworks, this piece of blue will naturally be accepted as a deep blue sky. The same blue background, painted with a few white triangular sails, this piece of blue will be regarded as a boundless ocean. Draw a pair of playful lambs on a piece of green paper, and the green becomes a grassy lawn. Precisely because of the simple base color, the space is bigger, giving more associations. This simple is false, but is real, the audience's imagination is abstract, but is concrete, so deal with, not only in the form of not a see its false, in the content also because of some revelation and association, make it more full, more rich. Spring breeze and green south bank, a green word, give people how full and deep meaning. Sunrise river flowers red hot, spring river water as green as orchids our ancient poets use color symbolism is not worthy of us in the design of posters is not a good reference? The above is only the traditional aesthetic view of China's modern poster art of some of the impact. These aesthetics in the subtle influence on our modern design thinking. Of course, we are also constantly by the impact of foreign cultural design ideas, also benefit greatly from. We believe that, in this world-scale cultural exchanges and competition, where our national strengths, will never be lost, but will only be carried forward.

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