中国烟标设计风格研究
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摘要
中国早期烟标设计受中国传统文化的深远影响,逐渐形成了独具民族特征的设计风格。从中国烟标设计的演变过程中我们可以看到中国传统烟标和现代烟标设计的不同风格特征。
中国早期烟标设计在装饰风格上受到了中国传统装饰的深远影响,中国烟标装饰中的传统图案纹样或是装饰图形的应用使烟标设计传递出浓郁的本土文化色彩,具有很高的艺术价值。同时,西方现代艺术、现代设计也对中国现代烟标设计风格有一定的影响,出现了几何装饰、形式抽象、色彩简化的装饰风格,具有很强的现代感。
在色彩设计风格上中国烟标总体体现出中国人对色彩的审美喜好,这与中国文化观念、文化积淀有关,也与色彩性质有一定的关系。第一,红色及其红色系成为中国烟标使用最为广泛的色彩,红色对中国人有特殊的意义;第二,黄色及黄色系在中国烟标中也大量使用,黄色在中国古代是帝王使用的色彩,在相当长的时期中为帝王所专用,是封建阶级中央集权的象征;第三,蓝色及其蓝色系也在中国烟标中大量使用,蓝色代表着理性,是男士非常喜爱的色彩;第四,中性灰色、黑白色以及金银色也在近期烟标设计中广泛使用。
中国书法是中华民族审美经验的集中体现,是一门体现民族灵魂的艺术,在中国烟标设计中,书法字体被大量的使用,书法字体以独特的魅力让消费者所喜爱,使中国烟标设计形成了强烈的民族风格。
现代科学技术与印刷工艺的进步对中国近期烟标设计风格产生了很大的影响。计算机技术的出现是平面设计领域最大的变革,新的技术条件彻底改变了平面设计的风格。图形设计软件的出现使平面设计师得到了很大的解放。现代印刷技术和印后工艺的使用,对中国烟标设计风格产生了深远的影响。
Early Chinese smoke mark design of the traditional Chinese culture, the far-reaching implications, and gradually formed a unique national identity design. China's smoke mark from the evolution of the design process, we can see that the traditional Chinese and modern smoke mark design characteristics of the different styles.
Early Chinese smoke mark design of decorative style of traditional Chinese decoration by the far-reaching impact on China Early Chinese smoke mark design of decorated in the traditional patterns or decorative patterns of graphic design application to Early Chinese smoke mark design of transfer to the rich local culture and high art. At the same time, modern Western art and modern design of modern Chinese Early Chinese smoke mark design of design style to a certain extent the impact of a geometric decoration, abstract forms and colors to simplify the decorative style, with strong contemporary.
Color Design in the style of Chinese smoke mark whole Chinese people's aesthetic preferences of color, and Chinese cultural values, cultural accumulation, but also to a certain extent and nature of color the relationship. First, red and red line in China smoke mark become the most widely used colors, red and the Chinese people have a special significance; second, yellow and the yellow line in China smoke mark also widely used, yellow is the ancient Chinese emperors used Color, in a long time for the emperor by the dedicated, is a symbol of centralized feudal class; third, blue and the blue line is also widely used in China smoke mark, blue represents a rational, very favorite is the man Color; fourth, neutral gray, black and white and gold silver recent smoke mark also widely used in the design.
Chinese calligraphy aesthetic experience of the Chinese nation is a concentrated expression, is a manifestation of the national soul of the arts in China, smoke mark design, calligraphy fonts were a lot of use, unique calligraphy fonts to the charm so that consumers love, so that China smoke mark design Formed a strong national style. Modern science and technology and printing of the progress of China's recent smoke mark design style produced a great impact. The emergence of computer technology is the largest area of graphic design changes, the new technology completely changed the graphic design style. The emergence of graphic design software that graphic designers have a lot of liberation. Modern printing technology and India in the use of technology to China smoke mark design style has had a profound impact.
中国早期烟标设计在装饰风格上受到了中国传统装饰的深远影响,中国烟标装饰中的传统图案纹样或是装饰图形的应用使烟标设计传递出浓郁的本土文化色彩,具有很高的艺术价值。同时,西方现代艺术、现代设计也对中国现代烟标设计风格有一定的影响,出现了几何装饰、形式抽象、色彩简化的装饰风格,具有很强的现代感。
在色彩设计风格上中国烟标总体体现出中国人对色彩的审美喜好,这与中国文化观念、文化积淀有关,也与色彩性质有一定的关系。第一,红色及其红色系成为中国烟标使用最为广泛的色彩,红色对中国人有特殊的意义;第二,黄色及黄色系在中国烟标中也大量使用,黄色在中国古代是帝王使用的色彩,在相当长的时期中为帝王所专用,是封建阶级中央集权的象征;第三,蓝色及其蓝色系也在中国烟标中大量使用,蓝色代表着理性,是男士非常喜爱的色彩;第四,中性灰色、黑白色以及金银色也在近期烟标设计中广泛使用。
中国书法是中华民族审美经验的集中体现,是一门体现民族灵魂的艺术,在中国烟标设计中,书法字体被大量的使用,书法字体以独特的魅力让消费者所喜爱,使中国烟标设计形成了强烈的民族风格。
现代科学技术与印刷工艺的进步对中国近期烟标设计风格产生了很大的影响。计算机技术的出现是平面设计领域最大的变革,新的技术条件彻底改变了平面设计的风格。图形设计软件的出现使平面设计师得到了很大的解放。现代印刷技术和印后工艺的使用,对中国烟标设计风格产生了深远的影响。
Early Chinese smoke mark design of the traditional Chinese culture, the far-reaching implications, and gradually formed a unique national identity design. China's smoke mark from the evolution of the design process, we can see that the traditional Chinese and modern smoke mark design characteristics of the different styles.
Early Chinese smoke mark design of decorative style of traditional Chinese decoration by the far-reaching impact on China Early Chinese smoke mark design of decorated in the traditional patterns or decorative patterns of graphic design application to Early Chinese smoke mark design of transfer to the rich local culture and high art. At the same time, modern Western art and modern design of modern Chinese Early Chinese smoke mark design of design style to a certain extent the impact of a geometric decoration, abstract forms and colors to simplify the decorative style, with strong contemporary.
Color Design in the style of Chinese smoke mark whole Chinese people's aesthetic preferences of color, and Chinese cultural values, cultural accumulation, but also to a certain extent and nature of color the relationship. First, red and red line in China smoke mark become the most widely used colors, red and the Chinese people have a special significance; second, yellow and the yellow line in China smoke mark also widely used, yellow is the ancient Chinese emperors used Color, in a long time for the emperor by the dedicated, is a symbol of centralized feudal class; third, blue and the blue line is also widely used in China smoke mark, blue represents a rational, very favorite is the man Color; fourth, neutral gray, black and white and gold silver recent smoke mark also widely used in the design.
Chinese calligraphy aesthetic experience of the Chinese nation is a concentrated expression, is a manifestation of the national soul of the arts in China, smoke mark design, calligraphy fonts were a lot of use, unique calligraphy fonts to the charm so that consumers love, so that China smoke mark design Formed a strong national style. Modern science and technology and printing of the progress of China's recent smoke mark design style produced a great impact. The emergence of computer technology is the largest area of graphic design changes, the new technology completely changed the graphic design style. The emergence of graphic design software that graphic designers have a lot of liberation. Modern printing technology and India in the use of technology to China smoke mark design style has had a profound impact.
引文
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②翟墨、王端廷主编.《西方现代艺术流派书:抽象派》,[M].北京:人民美术出版社,2000.1,P3.
③王受之《世界平面设计史》[M].北京:中国青年出版社,2002.9,P156.
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①爱娃.海勒.《色彩的文化》[M].北京:中央编译出版社,2004.4.,P31
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①宗白华.《美学与意境》[M].北京:人民美术出版社,1987.2,P 431.
①张小开.《电脑常用汉字字体的调查及分析》.《装饰》[J]. 2006年5月.
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[2]段建华.《中国吉祥装饰设计》[M].北京:中国轻工业出版社, 1999年.
[3]田自秉、吴淑生.《中国纹样史》[M].北京:北京高等教育出版社, 2003年8月.
[4]刘尊忠.《香烟包装印刷400问》[M].北京:化学工业出版社,2006.4.
[5]董雁、宋幼君编著.《现代字体设计事典》[M].北京:国际文化出版公司,1995.4.
[6]余秉楠.《字体设计基础》[M].北京:人民美术出版社,1993.10.
[7]戎国荣.《烟标收藏与鉴赏》[M].上海:上海科学技术出版社,2004.1.
[8]阿洛瓦.里格尔著.《风格问题——装饰艺术史的基础》[M].湖南:湖南科学技术出版社,1999.9.
[9]郭茂来.《视觉艺术概论》[M].北京:人民美术出版社, 2000.5.
[10]康定斯基.《康定斯基论点线面》[M].北京:中国人民大学出版社, 2003.5.
[11]康定斯基著.《论艺术的精神》[M].北京:中国社会科学出版社, 1981.5.
[11]鲁道夫.阿恩海姆.《艺术与视知觉》[M].四川:四川出版集团,1998.3.
[12]爱娃.海勒.《色彩的文化》[M].北京:中央编译出版社,2004.4.
[13]王受之《世界平面设计史》[M].北京:中国青年出版社,2002.9.
②翟墨、王端廷主编.《西方现代艺术流派书:抽象派》,[M].北京:人民美术出版社,2000.1,P3.
③王受之《世界平面设计史》[M].北京:中国青年出版社,2002.9,P156.
①鲁道夫.阿恩海姆.《艺术与视知觉》[M].四川:四川出版集团,1998.3,P66.
②鲁道夫.阿恩海姆.《艺术与视知觉》[M].四川:四川出版集团,1998.3,P452.
③鲁道夫.阿恩海姆.《艺术与视知觉》[M].四川:四川出版集团,1998.3,P452.
①爱娃.海勒.《色彩的文化》[M].北京:中央编译出版社,2004.4.,P31
①爱娃.海勒.《色彩的文化》[M].北京:中央编译出版社,2004.4.,P65
①宗白华.《美学与意境》[M].北京:人民美术出版社,1987.2,P 431.
①张小开.《电脑常用汉字字体的调查及分析》.《装饰》[J]. 2006年5月.
[1]彭吉象.《中国艺术学》[M].北京:高等教育出版社, 2005年3月.
[2]段建华.《中国吉祥装饰设计》[M].北京:中国轻工业出版社, 1999年.
[3]田自秉、吴淑生.《中国纹样史》[M].北京:北京高等教育出版社, 2003年8月.
[4]刘尊忠.《香烟包装印刷400问》[M].北京:化学工业出版社,2006.4.
[5]董雁、宋幼君编著.《现代字体设计事典》[M].北京:国际文化出版公司,1995.4.
[6]余秉楠.《字体设计基础》[M].北京:人民美术出版社,1993.10.
[7]戎国荣.《烟标收藏与鉴赏》[M].上海:上海科学技术出版社,2004.1.
[8]阿洛瓦.里格尔著.《风格问题——装饰艺术史的基础》[M].湖南:湖南科学技术出版社,1999.9.
[9]郭茂来.《视觉艺术概论》[M].北京:人民美术出版社, 2000.5.
[10]康定斯基.《康定斯基论点线面》[M].北京:中国人民大学出版社, 2003.5.
[11]康定斯基著.《论艺术的精神》[M].北京:中国社会科学出版社, 1981.5.
[11]鲁道夫.阿恩海姆.《艺术与视知觉》[M].四川:四川出版集团,1998.3.
[12]爱娃.海勒.《色彩的文化》[M].北京:中央编译出版社,2004.4.
[13]王受之《世界平面设计史》[M].北京:中国青年出版社,2002.9.