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How to design a poster on Chinese folk culture_Traditional Culture Poster Design

I, cultural differences and homogeneity

Culture is not a solid concept, the shape of the culture is complex and changing, the culture of each ethnic group has its own characteristics, and with the internal and external causes of the role of the constant changes, but nevertheless, we can still be from the complex cultural phenomena, the shape of the culture, to grasp the link between the various ethnic groups, the times and the culture and the **** homogeneity. Nevertheless, it is still possible to grasp the links and similarities between the cultures of different peoples and times by looking at the complexity of cultural phenomena and forms. Culture is shared, and it is the ideals, values, and behavioral norms shared by members of a particular group. However, culture can also be acquired, people grow with culture, and cultures of different groups can intersect. We always emphasize that we are now in an era of global integration, and the cultures of different countries and peoples are influencing and penetrating each other along with this transformation, and this cultural exchange is ultimately realized in all aspects of life. For example, although there are differences in religious beliefs between China and the West, and most Chinese people do not know the teachings of Christianity, this does not prevent us from celebrating the holiday in the name of Christmas; although Westerners may not be very clear about the difference between the Gregorian calendar and the lunar calendar, this does not prevent them from enjoying the festivities of the Spring Festival with the Chinese diaspora all over the world.

Second, the poster design reflects the cultural differences and homogeneity

Posters are also called "posters", "posters", the English name "poster", meaning "poster", which means "poster", "poster", "poster", "poster", "poster", "poster", "poster", "poster" and "poster".

Poster, also called "poster", "poster", the English name is "poster", meaning printed advertisements posted on cardboard, walls, large wooden boards or vehicles, or printed advertisements displayed in other ways, it is the main form of outdoor advertising, one of the oldest forms of advertising. Some people also based on the root structure of the word posters and palindromes to explain the meaning of the word posters, that posters are "post" transferred from the "post", "post" meaning for the post, so posters are all posted on the posters. There is not a Chinese dictionary on the word "poster" has been specifically explained, but according to legend, China's Qing Dynasty period of foreigners to the sea ship carrying foreign goods in our coastal docks, and will be posted on the pier along the street posters in the eye-catching place, in order to promote their ship's goods, the coastal people called this poster for the posters. According to this development, later all similar posters and other posters with the purpose of conveying information are called "posters".

(I) The same phenomenon of culture in posters

The transmission of culture is based on symbols, for example, language and writing are the most important symbols, and with the help of language and writing, culture can be transmitted from generation to generation, and can also be spread to a wider range. Symbols according to different senses can be divided into auditory symbols, visual symbols and tactile symbols, language belongs to auditory symbols, while the text belongs to visual symbols, graphic images are also important visual symbols. Poster is characterized by big picture, wide publicity content, rich artistic expression and strong visual effect from a distance, etc. It is an excellent carrier of cultural communication and an important part of graphic design works. It is also an important part of graphic design works. It is widely popular because of its rich content, clear expression of theme, diversified means of communication, easy display and not too much restriction on environmental props. We are familiar with many international graphic designers have outstanding representative works in this field. Many international graphic design competitions are also conducted through this form of expression. The International Student Anti-Fur Poster Design Competition, which has been held for seven consecutive years, required participants to create original posters that would lead consumers to think about the ethics of fur clothing. When appreciating the winning designs, we can easily find that posters from different countries often use similar ideas or similar graphic elements, which means that university students from different countries, cultures, educational backgrounds and upbringings have a certain degree of similarity in their ideas and selection of materials. For example, in the fifth contest in 2007, the theme of the contest was: ""Victims of Fashion"". Three of the winning entries from China appeared with the element of hangers, and one each of the winning entries from the U.S. and Canada used hangers as a creative element. This phenomenon shows that, at the beginning of the design, both Chinese and foreign students chose the elements of poster creation, coincidentally from the fashion associated with the hanger, and used or physical photographs, or hand-drawn sketches, or heterogeneous graphic composition and other forms of expression in their poster design works.

In the historical process of increasingly close global economic ties, political and cultural exchanges between people of different countries have become more and more frequent, forming an interdependent relationship to a certain extent. As a designer, we always hope that our works can be widely disseminated, understood and accepted by more people, therefore, we often use graphic elements that most people can accept and understand. The gold medal-winning work in the 2nd East-West International Poster Biennale for University Students is an anti-war poster called "Warm", with the English word for war written in the center of the background, and a broken heart next to it. In the center of the background, the word "war" is written in English, and next to it is a broken heart, which looks like a pair of tiny wings with a halo on them, just like a bloody angel. At the bottom of the picture is a line with the theme: please don't let these wings fly away. The whole picture is dappled with colors, reminding people of the trauma brought by the war, and in the midst of this depression, this little red heart warms the viewer's heart, making people realize some other flavors in the midst of the heaviness. English is not our mother tongue, but it is an international language; most Chinese people do not believe in Christianity, but most of them can recognize the typical characteristics of angels. Therefore, this work can be interpreted by most viewers at home and abroad. This shows that despite growing up in different cultural environments and educational backgrounds, international exchanges are getting closer and closer, and nowadays there is a gradual convergence between the East and the West in terms of lifestyles, behaviors and even ways of thinking of the young generation. This is both an opportunity and a challenge for designers: on the one hand, the use of international common visual elements to create works can increase the breadth of dissemination of works, in the shortest possible time to obtain the understanding and recognition of the majority of viewers; on the other hand, the use of cultural homogeneity in the design of posters, there are inevitably too many creative "collision" of the risk. Therefore, it is very important to grasp the "degree" between the two.

(2) cultural differences contained in the poster make it unique

Looking at the development of poster design, most of the internationally renowned graphic designers' posters contain a unique and personalized visual language related to the background culture of their countries, and gradually transformed into a strong personal style, so that the viewer will be able to understand who the designers are as soon as they see the poster screen. A series of posters created by Ikko Tanaka, one of the oldest and most famous Japanese designers, for the Noh theater, a traditional Japanese drama, have been widely circulated. Noh plays were the first type of Japanese national theater, evolving from "Sarugaku Noh," which was derived from temple and shrine performances, and are important in the history of Japanese theater. Noh is a symbolic drama with fewer characters and centers on the performance of the plot. The actors who play the characters wear masks, which is an important feature that distinguishes Noh plays from other plays, and Noh plays begin with the selection of masks. Most of Ikko Tanaka's posters for Noh dramas use masks as the main graphic, and he uses large geometric color blocks to summarize the main features of masks and headdresses, which are originally complex and figurative, and uses high-purity complementary colors to create a strong visual impact. In addition to using geometric color blocks to shape Noh masks to create posters, some Noh posters use words or even brushstrokes as the main creative elements. The text is often the content of a chapter of a play, arranged in an array on the screen; or the strokes of the play's name are split without affecting the recognition of the basis of the distribution of the screen; and sometimes the corresponding colors are used to distinguish between the different plays.

Ikko Tanaka uses a lot of traditional Japanese images and national elements in his poster design, but these elements are expressed through relatively modern geometric forms; the use of complementary colors in the poster creates a colorful world of gorgeous Noh dramas, and the clever division and spacing reflects the overlapping of levels, making the poster image form a spatial sense similar to the effect of Western perspective. This is an excellent expression of tradition and modernity, cultural difference and homogeneity. Some people may say that nowadays we are far away from the heyday of Tanaka Ikko, and since the play itself is in a more traditional cultural field, it is inevitable that some unique national cultural symbols will appear in the poster. Another vivid example of this is the new Iranian designer Mehdi Saeedi, whose work always includes ethnic elements such as Persian characters and traditional figures. For example, his poster for an exhibition of paintings by three Iranian women artists, "Three Iranian Faces," utilizes the size and angle of the Persian script to form three interconnected female faces that perfectly fit the theme. According to him, Persian and Latin characters are very different in structure. Latin characters are between two parallel lines, and it is easier to deal with the problem of balance in the structure of square characters. On the other hand, Persian script is more mobile, the combination of letters is more random, and designers can design in a more innovative way, with a more obvious graphic effect than Latin script. Another of his posters, Impressions of Iran, was created for an exhibition of works by Iranian photographers: the main graphic is the image of a traditional Iranian man with his head wrapped around his head, showing a strong local flavor. As a designer who studied in England and France, MehdiSaeedi understands that Persian has limited recognizability for most people, so his work always includes subjects labeled in English and combines them with the original Persian script, in his own words, "trying to combine the characteristics of both scripts. "Through his successful poster designs, Mehdi Saeedi shows us that the collision of different cultures can often produce unexpected sparks.

(C) the collision of Chinese and Western culture produced by the "chemical effect"

Hong Kong's famous designer Chen Youjian poster design works, there are many full of rich Chinese cultural elements, and this Chinese flavor, but also through the simple and easy to understand the modern design approach to show. He responds modestly: "Basically my stuff is very superficial. But why I'm so good at it is because I know what form to express my culture in, so that both Chinese and foreigners can feel the flavor. But it doesn't mean that I know much about Chinese culture. If you ask me one more question, I may not be able to give you a more in-depth answer." The design concept of using such different cultures to complete the work is to "express Chinese culture and taste through international activities, and through this display, the dignity of the Chinese people in the international arena back". Looking at the poster design of his solo exhibition "(East Meets West)" held in Tokyo in 1990, the main body of the picture is a seal script character "East" written on the sand, and upon closer inspection, one can find that the traditional flavor of this oriental character's stroke structure has been broken into four letters EAST", which means "East" in English. If the poster is inverted from another angle, the strokes form "WEST", which means "West". He skillfully blends the English words "East" and "West" in the same ancient Chinese character, which not only covers the theme of this solo exhibition "(East Meets West)", but also reflects the fusion of East and West. It also reflects the convergence of East and West. The overall color of the picture is warm yellow, and the lettering in the gravel reflects the mystery and vicissitudes of ancient oriental culture and history.

Chen Youjian's poster for "Hong Kong Stuff", a seven-person exhibition of Hong Kong designers, is also full of sparks of inspiration from the collision of different cultures. At the center of the light-colored image is a cup of hot tea, a typical Chinese porcelain teacup outlined by a few brush strokes, but the cup is filled with black tea in a bag. The red and yellow label is reminiscent of the classic British brand "Lipton", which is known as the "King of Black Tea", but the text on the label has been replaced by the text on the exhibition. The text on the label has been replaced with the theme of the exhibition. The tea in the cup is steaming, and the rising gas is composed of colorful lines, which seems to imply that the design works of Hong Kong designers who have grown up under the influence of both Eastern and Western cultures will definitely shine in the design world through the presentation of this exhibition. The posters are colorful and clean, with the main body of the image standing out, simple but not simple, and rich and timeless in content. Combining Eastern cultural traditions and Western design aesthetics is not only the "patent" of Hong Kong designers, mainland designers also have a sense of the unique design flavor of the East and West, to create many excellent poster design works. Shenzhen graphic designer Liu Yongqing designed a group of poster design entitled "a hundred flowers blossom, a hundred schools of thought", he skillfully fused the Chinese and Western characters together. In the picture, "a hundred flowers blossom" and traditional flower graphics combined, "a hundred schools of thought" four words and Confucius combined together, reflecting the literal meaning of these eight words. The two posters look ordinary at first glance, but when you look back carefully, you will find that the theme text has something else - the strokes of the Chinese characters are composed of English letters, and the different English fonts make the Chinese fonts show different font effects similar to those of Song and Hei Shi. Through the designer's treatment, the East and West characters are skillfully combined together, showing an unexpected harmonious visual effect in the picture.

Conclusion

Culture is a broad and abstract concept, which exists in every aspect of our lives and is difficult to define precisely. In the field of poster design, designers will be condensed into visual elements concentrated in the picture, in the design of creativity and design performance not only to take into account the widest range of audience acceptance, but also to ensure that the work of the unique cultural connotations and individuality of the work, moderate grasp of the relationship between cultural differences and homogeneity has become particularly important. This is also one of the long-term research issues that need to be studied in order for Chinese design works to be internationalized while retaining Chinese characteristics.

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The understanding of "culture" only as spiritual culture is too narrow, and the latter definition is too broad, too abstract. Because culture is usually said to be such an abstract concept, the result will inevitably lead to everyone seems to know what culture is, everyone can talk about culture, but, as soon as the specific meaning of culture is discussed, it will be found that the original definition of culture is a borderline, no form, seems to be unable to grasp the concept of touch.

After the middle of the 19th century, anthropology, cultural anthropology, ethnology, sociology, and other related disciplines emerged in the Western social sciences, which are based on the study of human beings, and we notice that the concept of "culture" is a basic category in these disciplines, namely, anthropology, ethnology, and sociology.

In the opinion of Western anthropologists, culture is a very concrete thing. In every society, in every nation, people live in a certain territory, they form a physical society, establish a certain social system, have a certain ideology, their behavior follows a certain pattern, consciously or unconsciously obeys a certain rule of behavior, and these aspects constitute the cultural system of a society.

That is to say, culture refers to a form of concrete things. Culture is a territorial and regional national social phenomenon. It is a structured entity which can be divided into four levels.

First, the economic system of society, which is often referred to as the productive forces and relations of production in Marxism.

The second is the network of social relations formed by people in this society, and the institutionalized form these networks take. For example, the kinship ties that bind people, the relationships between leaders and the led, and other legal and political relationships. This is the institutionalized dimension of culture.

Culture

The traditional conception of mankind is that culture is a social phenomenon, which is the product of long-term creation by human beings, and at the same time, it is a historical phenomenon, which is the deposit of human society and history. Precisely, culture is condensed in the material and free from the material, can be passed on and spread of the country or nation's way of thinking, values, lifestyle, behavioral norms, art and culture, science and technology, etc., it is a universally recognized ideology that can be passed on by human beings communicating with each other, and is the sublimation of the knowledge and experience of the objective world on the sensibility.

Culture, as we understand it in our daily lives, is mainly a conceptual form of culture that focuses on the spiritual aspect of culture. For example, the books we read, our knowledge, our upbringing, and so on, we call them culture, but this kind of culture is not quite the same as the concept of culture that anthropologists have been proposing since the nineteenth century.

In addition, there is another way of defining culture, which is very common in popular textbooks: "culture is the sum of all the material and spiritual wealth created by human beings". Although there is nothing wrong with this definition, it is not the same as the concept of "culture" as understood by modern anthropologists and cultural scientists.