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I, the form of product design has a unique aesthetic meaning

Visual artists generally believe that the aesthetics of the work of art is a human intuitive feeling as a yardstick, its ultimate goal is the self-consciousness of human beings on their own, it is the human nature of the power of the social practice of the confirmation of the essence of the aesthetic-centered production of a spirit. Product design, however, is mainly a material production centered on practical utility, and its purpose is to design for the practical needs of human beings. Art works with the help of certain material media, to create an image system with emotional meaning, this image system is a visual or auditory aesthetic existence, is an aesthetic reflection of the artist on the reality, which includes the reproduction of the content of social life, including the artist's own expression of thought and emotion, so the beauty of art is to reflect the beauty. The product design of technical production is the material reality on which people rely on for survival, which not only has the material function, but also has the spiritual function, so the beauty of the design is the beauty of reality. In view of this, the form of product design has a unique aesthetic meaning.

First of all, the beauty of color, form, texture, that is, what Hegel called "the external beauty of the abstract unity of the sensible material" (Hegel's "Aesthetics", vol. 1, 1979 edition of the Commercial Press, p. 172), constitutes the beauty of the natural material materials of product design. The production of any product first requires certain materials, the material is the first element that constitutes the beauty of the form of product design, the texture of the product and the expression of the effect of the formation of the material sense and texture of the beauty, as well as the modern design of the material of the different understanding of the different design ideas and styles, the formation of a complex aesthetic psychology. Human beings have the strongest and most direct feeling for color, and the deepest impression. The aesthetic sense of color comes from the physiological stimulation of color on human visual perception, and the rich experience and physiological associations thus generated, which results in a complex psychological reflection. The beauty of form comes directly from the physiological and psychological reflection of the basic elements of form, i.e. points, lines and surfaces, as well as the understanding of the formal meaning of points, lines and surfaces. Among the morphological elements of point, line and surface, line is the most active and emotional element. Shapes on the plane and forms in the space, their jumping and quiet, complicated and simple, stable and light, serious and active and other emotional properties are all closely related to the line. Due to the accumulation of human practical activities and aesthetic experience. Prompted by human imitation of natural forms, generalization of natural forms and abstract forms and other product modeling to produce different aesthetic associations and imaginations, and thus also produce different aesthetic feelings. Material sense and texture beauty as the visual and sensible elements of product design, human vision or touch will produce induction and stimulation. These different degrees of induction and stimulation, will make people produce different physiological and psychological effects, thus producing different degrees of beauty and unattractive feelings.

Secondly, the spatial arrangement and combination of natural materials constitute the beauty of product design in accordance with the laws of form. The final embodiment of the formal beauty of product design is the overall shape of the product must comply with the laws of formal beauty, that is, follow the recognized laws of form. When the combination of color, form, material texture and other formal elements in line with the symmetry and balance, harmony and contrast and other formal laws, so that people have a sense of beauty. As Gorky said, the beauty of form is "a form that can influence emotion and reason, and this form is a kind of power." The formal beauty of product design, like the formal beauty of all things, abides by the **** same aesthetic principle. That principle is the formal law of beauty. The formal law of beauty is the aesthetic accumulation of mankind, the formal law summarized in social practice. In a design product, the same involves "change and unity", "contrast and harmony", "symmetry and balance", "ratio and scale "symmetry and balance", "proportion and scale", "rhythm and rhyme" and other formal laws. Unity" makes people feel neat; "change" brings excitement and breaks monotony and boredom; "contrast" emphasizes individuality; "harmony" stresses the importance of harmony between things. "emphasizes the ****same factor between things. Design products are different from the traditional handmade supplies, it is a symbol of modern civilization, and people's lives, labor is closely related, in the use of the law of form, should be particularly stressed to give full play to the utility function of the product as a prerequisite for the creation of utility and aesthetics of the unity of the form of the highest principle. Of course, the law of form and beauty is not a golden rule, unchanging, with the progress of the times, people's aesthetic concept of renewal, the law of form and beauty is bound to change.

Second, the formal beauty of product design should have a symbolic function

Ernest Cahill, a famous contemporary German philosopher, put forward as a "symbolic animal" of the famous point of view. Revealed the symbolic thinking and symbolic behavior is the most representative features of human life. Language, myth, religion, science, art and technology are all man-made symbolic universes. Therefore, human beings do not actually live in a purely physical universe． Rather, he lives in a symbolic universe of his own creation. In a sense, man is constantly dealing with himself rather than with things themselves. These theses of Cahill reveal to a considerable extent the nature of man. In a wide range of visual domains, man tends to accomplish the task of transmitting human information through a system of symbols, which can be said to be the carriers of information. Some experts believe that science, technology and art are three different kinds of symbols. It is generally believed that scientific symbols are abstract, for intellectual schema; technical symbols are figurative, for volitional causality; and artistic symbols are the unity of figuration and abstraction, for emotional causality. Regarding the composition of symbols, Swiss linguist de Saussure (1857-1913) pointed out that symbols are the product of the combination of "energy" and "reference". The form of product design also has two different symbolic functions, that is, indicating function and symbolizing function, and thus also form two different product form symbols: indicating symbols and symbols.

The so-called indication symbol of product form is used to explain the function of the product and its components, that is, "what is this", which makes the form with cognitive function. Through the symbols of the product, combined with previous life experience, people make logical judgments such as "what is this product" or "how to use", so as to further understand the utility of the product and master the use of the method. Symbols of the product form is through the styling elements and their combinations to make people produce certain associations, and understand the product "how". Symbolic symbols often express the content is indirect, implied, with a strong abstract component. To accurately understand and appreciate the meaning of the symbols expressed, we must rely on a certain degree of abstraction and imagination.

Symbol is a carrier of information, it has a cognitive function for human beings, not only provides guidance for the realization of the function, but also its material form and meaning has an aesthetic function. Therefore, there is no separate aesthetic symbol, the aesthetic function is obtained precisely as a result of its practical material state and meaning conveyed. This can also be confirmed by the formal mechanism of product language. The formation of product language is a transformation from deep structure to surface structure, that is, it goes through the transformation from functional structure to form. The deep structure of the product language refers to the material function of the product, its interrelationship with human activity, the material process and technological basis of the product, and its socio-cultural characteristics. For example, there are large closets and desks in the furniture of a room, and they always need to be identified by certain symbols so that they can be easily recognized and used. Usually, the handle is the drawer and closet is the best indication of the symbol, this indication can be in the form of a variety of, can also be made into an external or implied. Explicit closet handles can be looped, knobbed, rectangular, or bowl-shaped. Implied closet handles, on the other hand, can be spaced with certain spaces indicating concealed slots on the bottom or side for finger pull-outs. Therefore, the product must be designed and made according to the requirements of the program objectives through pre-design. However, it is not like the general technical products as purely based on the laws of nature and natural forms, it not only has the technical provisions, but also has a relative degree of freedom of form expression. Compared with artwork, design products also have aesthetic connotation, this aesthetic nature is not determined by the regularity of technology, but by the form of symbols that follow the effectiveness of the decision. But it is different from the work of art is that it does not require uniqueness, but more emphasis on the repeatability and reproducibility of the product, with special emphasis on products that must be available for mass production, reflecting the beauty of mechanical civilization neat and tidy.

Third, the product design of the form of aesthetic induction reflects the relative freedom

Product design is a comprehensive embodiment of the cultural development of an era, the style of product design along with the cultural background of the era of industrial production, as well as the designer's personal talent and wisdom, leaving behind the era of information, cultural style, corporate characteristics and personal feelings of the imprints. Shirokanov/Sremnev said in the book "The Development of Modern Science and Methods of Understanding" that design is still "a free choice of the possibilities inherent in the conditions of the object, the subject and their interaction. The universality and necessity of objective laws do not mean that they are single and unchanging, but that there is a variety of ways and forms in which they work. Objective laws show that universality exists in diversity, invariance exists in change, and necessity exists in chance and freedom." That is to say, design is engaged in creation within the limits of technology, where the grasp of the laws of science and technology does not hinder creation; on the contrary, it can provide free choices for creation. Of course, as a practical product, designers can neither let the aesthetic function of form replace and affect the utility function; at the same time, they can't tolerate ignoring human's own emotional requirements and stylistic characteristics for the sake of pursuing the utility function of the product. Therefore, the formal design of products and the resulting formal aesthetics should reflect relative freedom.

As individual human beings, due to their different personalities, interests and hobbies, consumers put forward different requirements for the formal design of products. In addition to the *** same practical functions required by consumers, different consumers also have different spiritual functions. Usually, a product of the basic functions and external conditions have been determined, the product modeling design to take the form, there are often a variety of options to choose from. As long as a table lamp in line with the law of lighting, can be designed in a number of styles; a coat using the same fabric, can be cut out a variety of different styles; a motorcycle body sprayed what color does not affect its performance and cost. Design products in the utility function and technical conditions under the constraints of the design of a variety of Xiang style of the possibility of obtaining the product "form of freedom". Industrial designers master the form of freedom, you can play their own subjective factors and imagination, to adapt to market trends, design consumer satisfaction, personalized, diversified products. The freedom of form design is over-utilized, and will increase the cost of consumption or detrimental to the basic practical function of the product.

In terms of form factor. Product surface decoration than to change the shape of the structure has more freedom. For example: changes in the line is more free than the surface changes, color is the most varied of all formal factors and has the greatest degree of freedom. As the color of the revelation is hazy and implied, while the color is linked to human emotions, the most likely to produce emotional **** Ming and change, so it has become the most formally expressive product "product language". Industrial designers as long as good use of color, the ability to harness the color of the performance, access to the product form the greatest freedom of expression. Of course, the essence of design imagery, the essence of the designers of the product form of the conceptualization process, which is a blend of reason and aesthetic emotion of creative imagination activities. Italian architect Nervi (P. L. Nervi, 1891-1979) pointed out that: "a technically perfect work, it is possible that the effect of art is very poor. However, there is no masterpiece recognized from an aesthetic point of view that is not technically an excellent work, either in ancient or modern times. It seems that good technique is a necessary, though not sufficient, condition for good architecture." In other words, the organic combination of technology and art in design can be reflected in its aesthetic effect. The aesthetic creation of product form, with function as the principle of orientation, so that the play of the spiritual function of the product helps the realization of the whole product purposeful and practical function. In addition, different products will show different degrees of freedom according to their functions, such as mechanical equipment, household appliances and so on, the degree of freedom is relatively small, to the aesthetic function of daily necessities and decorative products in the form of the greatest degree of freedom. However, the size of the degree of freedom of form has little direct relationship with whether the product has a better sense of form and beauty. Such as electric drills, electric fan blades such as the precise calculation of the design of pure technical products or accessories, more reflect the rational and objective material existence, did not leave much room for formal design, can still show a certain degree of functional beauty and formal beauty.

The purpose of designing products is to meet the needs of people, the development of product form is also endless, so there is no extreme and end of aesthetic design. As Gropius, the flag bearer of the Bauhaus, pointed out in "A Comprehensive View of Architecture": "History has shown that the concept of beauty changes with the progress of thought and technology, and whoever thinks he has discovered 'eternal beauty' is bound to be trapped in imitation and stagnation. True tradition is the product of constant progress, its nature is movement, not static, tradition should push people to move forward". Product design urgently requires people to correctly recognize the form of the product and the relationship between aesthetics, with the "beauty" of the scale, design and manufacture of modern "art" - product design - rich in the beauty of the form.

The design of a product is a process of designing and manufacturing.