Modern logo design The fusion of Chinese traditional graphic arts

【Abstract】This paper combines Chinese traditional graphic arts and modern logo design, and believes that it can be analyzed and used from three aspects: "shape", "meaning", and "potential" of traditional graphics. First, the extraction and derivation of shapes. Second, the use and extension of meaning, and third, the grasp and transmission of potential.

[Keywords] modern signs, traditional graphics, combination

The sign is a kind of symbolic mass communication symbol. It expresses a certain meaning with a refined image, and uses the thinking ability of people's symbol recognition, association, etc. to convey specific information. The function of the sign to convey information is very strong. Under certain conditions, it even exceeds the language text, so it is widely used in various aspects of modern society.

China's traditional graphic art has a long history and has developed into a history of thousands of years. As early as the writing of the text, the ancestors began to use graphics to convey thoughts and communication feelings. The pottery patterns in the Neolithic Age and the rock carvings carved in the cliffs not only recorded the understanding of the ancestors about nature, Hope, but also became the earliest human graphic arts. China’s graphic arts not only originate early but also continue to develop. Although they are fast and slow, they have never been interrupted, such as the sinuous figures on the Shang Dynasty bronze wares; the sinus and plum blossoms in the Spring and Autumn Period, the Warring States period, and the phoenix shapes on the lacquerware of the Han Dynasty. The Tang Dynasty's Bao Xiang pattern and the later appearance of the Jin Wen and so on. Traditional Chinese graphic resources are extremely rich. In their own development and evolution, they have a consistent context and a variety of styles. With their diverse and unified style, they display uniqueness, depth and charm. National traditions and national spirit. These figures have been continuously precipitated, extended, and evolved over time and with the development of history. This has resulted in the formation of a unique Chinese traditional art system that embodies the wisdom of the Chinese nation for thousands of years and also reflects the Chinese nation. The unique artistic spirit.

In the combination of traditional Chinese graphic arts and modern logo design, the author believes that analysis and application can be carried out from three aspects: "shape", "meaning", and "potential" of traditional graphics.

I. Extraction and Derivation of "Form"

"Form" generally refers to the appearance and structure of the object represented by the figure. Chinese traditional graphics are rooted in Chinese traditional and regional traditions of traditional art. They have many different places in the modeling of modern graphics. Chinese traditional graphics mainly focus on the integrity and decorativeness of real (or positive) shapes, and pay attention to the echo, comity, and interpenetration relationships between shapes and shapes. The bone type. For example, the Taiji pattern, the most primitive and basic auspicious figure in China composed of black and white two fish-shaped patterns; the upper, lower, left, and right sides formed by the skillful connection of the head, body, hand, and foot of the two dolls. See the four happy figures of the four dolls; the nine-square grid formed by the concept of five elements and five squares, the pattern of rice characters and the fish-shaped characters that are composed of fish-shaped characters and their basic strokes; Chevron etc.

The “shape” in traditional graphics is applied to modern logo design. The logo thus designed not only preserves the charm of traditional art, but also has distinctive features of the times, and can fully express the concepts embodied in the logo and personality.

After deriving traditional graphic elements and applying them to modern logo designs, Hong Kong's design masters can be said to be a good example. The logo of his "Zhuqiang Design Co., Ltd." is guided by the company's "people-oriented" philosophy and adopts the traditional auspicious symbol of "Fang Sheng," which stands for "concentric duality and mutual communication". Although the original logo of the company logo was taken to "Fang Sheng," Mr. Qiang Qiang's keen visual sensibility and his deep understanding of the connotation of traditional graphics made him not faithfully copying the original form, but instead extracted, derived and reconstructed the shape. This makes the logo more oriental, and it is more adaptable to future use. This is not a successful revelation for us. Therefore, Chen Hanmin commented on the company's logo and said: "I think that Mr. Yan's design is successful. The first is the combination of nationality and modernity, and it is natural and sensible. Second, the standard. Focus on the concept, containing a large capacity, philosophical, for people to associate; Third, the image of the opposite sex is variable, and the application is very good. Of course, this is first of all the original target of 'credit.'

Similarly, the symbol of the capital's spiritual civilization is also a good example of combining traditional graphics with modern compositional skills. The basic elements of the symbol of the capital's spiritual civilization are the “Temple of Prayer for the Year of the Temple of Heaven” and the “heart” shape. "Temple of Prayer for the Year of the Temple of Heaven" symbolizes the capital. "Heart" symbolizes the abstract meaning of spiritual civilization. Designer Li Lin used the “conversion of the map” technique in modern composition to perfectly combine the two, and performed the formal beauty treatment on the top of the logo, so that the “heart” shaped recess was cemented to the top of the “Temple of Prayer for the New Year”. It is natural and smooth, which not only makes the logo's connotation fully and intuitively expressed, but also brings a new visual expression effect.

Second, the use and extension of "Italian"

From ancient times to the present, generations of people have repeatedly traced the same figure, not only because of how beautiful its appearance is, but more importantly behind the traditional graphics that we see. There is often more and more auspiciousness. External form is the way in which intrinsic meaning is expressed. It is the externalization and materialization of intrinsic meaning. Therefore, it was originally born from the traditional graphics of people's worship of nature and religion. After the evolution of time, it extended its expectation to “prosperity of life. , Life and prosperity are many beautiful symbolic meanings.

For example, the traditional Chinese graphic “disk length” is often used by folks in conjunction with the “Fangsheng” pattern to express the people’s willingness to implement the Four Rings and all of them are bright. The sign of China Unicom’s company is that The shape of the eight-auspicious Buddhism Eight-Auspicious Buddhism "Plate Length" is based on the original meaning of "being long-lasting and unfailing, supporting each other and complementing each other" to extend the implied meaning of Unicom's communications business. The four squares in the logo are all connected in all directions and have all the meanings of everything. Six circles have the same meaning and are smooth everywhere. The ten spaces in the logo are full and perfect. Whether from symmetry or from even numbers, the entire sign is full of auspiciousness that has been circulated in the ancient East.

Therefore, the traditional graphic “idea” that has become a common practice and has formed consensus in the hearts of the Chinese people is used in the inherent connotation of the company to which the logo belongs, thereby extending the spirit of the newer and deeper concept, making it more cultural and Sociality, this is also a good way of modern logo design.

Mr. Qiangqiang's design for the glory of the Ronghua Bakery is also a good example of using the auspicious symbols of traditional graphics. Founded in 1950, the Hong Kong Ronghua Bakery has more than 50 years of history. Its basic elements are square cakes, peony flowers and the bright moon. In the logo, the "party cake" element is owned by the company itself. "Peony" and "moon" are traditional graphics, and the peony gives people a feeling of grace and luxury. Together with the moon, it will have a happy moon. Auspicious meaning. The word "Ronghua" is calligraphy. This is very important. Chinese calligraphy is the most brilliant crown in traditional Chinese graphic arts. Its composition is just a few simple ink lines. However, it is indeed a modelling of shapes, an abstraction of abstraction, and the convergence of movements and statics. , the cohesion of time and space, the performance of the self to the deepest." (Li Yuzu). Ronghua's "Ronghua" strokes have many irregular arcs, but they are very characteristic, like the petals of peony flowers. The peony pattern has not changed by modifying, strengthening, and reshaping. Golden flowers, blue cakes, very Chinese, very traditional, very auspicious and modern.

Third, the "potential" grasp and inheritance

"Potential" usually refers to the impetus contained in the figure and the state and atmosphere it expresses. "Potential" can convey the spirit of the entire figure. In the traditional graphic "potential", we must mention in particular the Chinese national quintessence - calligraphy. Calligraphy is inspired by observing the attitudes of all things in nature. It has been developed through ingenuity. After several thousand years of development and evolution, it has formed a variety of different personalities and styles, such as: powerful and bold, realistic and bold; Rigorous; Li dignified quaint; Ruanshu neat and beautiful; Run lively and cheerful, the same veins; cursive flow, flying fast. Calligraphy not only has a structure but also a gesture. The structure is only the basis for calligraphy and calligraphy, and the formation of the calligraphy personality pattern is based on the “potency” of the “pen and intent”.

The world-renowned Beijing 2008 Olympics logo can be said to be a classic in modern logo design. The overall structure of the logo is also taken from the traditional auspicious pattern “plate length”, but it is valuable that it does not directly borrow from this traditional shape, but uses the unique “pen and intent” freehand brushwork unique to Chinese calligraphy. It is just right to pass the two trends and images of "Chinese knot" and "athlete", and to express the theme of the logo and convey the wishes of the people.

Long Island Aquarium is a modern aquarium company. The company's logo is designed by Hong Kong designer Cai Yongyao. Because it is an aquarium company, the basic shape of the logo will be considered as a "fish" shape; and because the company is a modern enterprise in Hong Kong, so the designer used the initial letter "L" of the company name. "L" is written using the technique of Chinese cursive cursive script. When the gesture reaches, plus two points, it becomes two lively and playful fish. Such a design, which combines cleverness with modernity, is very representative.

In addition, China Post’s logo also makes good use of the “potential” in traditional graphics. The basic element of China Post’s logo is the Chinese “Chinese” character. Based on this, the designer integrated the momentum of the flying geese into the shape of the symbol based on the ancient Chinese “Lucky Goose Biography” story. The logo is composed mainly of horizontal and vertical parallel lines. The shapes and potentials are combined with each other to sum up and change. They express the corporate purpose of service and tens of millions of households, as well as corporate images that are fast, accurate, safe and omnipresent.

China Packaging Papers

Posted on