Chinese traditional graphic art has a history of thousands of years. According to research, before the birth of the text, there were records of prehistoric humans using graphics to convey thoughts and communicate emotions, such as the pottery patterns and engravings on the cliff in the Neolithic Age The rock carvings on the wall not only recorded the ancestors' understanding and expectation of nature, but also became the earliest graphic art of mankind. Chinese graphic arts not only have an early origin, but also continue to develop. Although they are fast and slow, they have never been interrupted. For example, the gluttonous graphics on the bronze wares of the Shang Dynasty; The Baoxiang pattern of the Tang Dynasty and the inscriptions that appeared later. Chinese traditional graphic resources are extremely rich. In their own development and evolution, they have both a consistent vein and a colorful style. With their diverse and unified style, they show a unique, deep and charming National tradition and national spirit. These graphics have been continuously precipitated, extended, and evolved with the passage of time and historical development, thus forming a unique traditional art system in China. This system embodies the wisdom of the Chinese nation for thousands of years, and also reflects the Huaxia nation. Unique artistic spirit. With the combination of traditional Chinese graphic arts and modern logo design, the author believes that they can be analyzed and followed from the three aspects of "shape", "meaning" and "potential" of traditional graphics: "Shape" generally refers to the shape and structure of the object represented by the figure. Chinese traditional graphics are rooted in the Chinese national and regional traditional art sources. They have many differences from the modern graphics modeling methods. Traditional Chinese graphics mainly focus on the integrity and decorativeness of the real shape (or regular shape), and the relationship between form, shape, etiquette, and interspersion. Bone style. For example, China's most primitive and basic auspicious figure "Tai Chi" composed of black and white fish-shaped patterns; the upper, lower, left and right formed by the clever connection of the head, body, hands and feet of two dolls See the "Four Pleasant Patterns" of the four dolls; the nine-grid grid formed by the concepts of five elements and five squares, the rice-shaped grid pattern, and the fish-shaped characters that constitute their basic strokes with fish-shaped features, and those whose basic strokes are composed of car-shaped features Car-shaped text, etc. Since ancient times, from generation to generation, the reason why people have traced the same figure repeatedly is not only because of its beautiful appreciation value, but also more important is that we see behind these traditional figures, There are often more and deeper auspicious meanings. The external form is the way in which the internal meaning is expressed, and it is the externalization and materialization of the internal meaning, so it was originally derived from the traditional graphics of people ’s worship of nature and religion, which evolved through time, and thus extended the expectation of “life prosperity flourishes†, Life, wealth and well-being â€and many other beautiful symbolic meanings.
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Applying the "shape" in traditional graphics to modern logo design, the logo designed in this way can not only retain the charm of traditional art, but also have distinctive characteristics of the times, and can fully express the ideas and concepts contained in the logo. personality.
After deriving traditional graphic elements and applying them to modern logo design, Hong Kong designer Jin Diqiang can be said to be a good example. His "Jin Diqiang Design Co., Ltd." logo, under the guidance of the company's "people-oriented" philosophy, adopted the traditional auspicious figure representing "concentricity, mutual connection" as the basic auspicious figure. Although the original shape of the logo was taken as "Fang Sheng", Mr. Jin Diqiang's keen visual sensibility and his profound perception of the connotation of traditional graphics made him not copy the original form truthfully, but through the extraction, derivation and reconstruction of form To make the logo more of an oriental ethnic personality and more suitable for future use. This is not a successful revelation for us! Therefore, when evaluating the logo, Chen Hanmin said: "I think Mr. Jin's design is successful. The first is the combination of nationality and modernity, which is natural and appropriate, without any sense of tension; second, the logo Pay attention to the concept, with a large capacity, philosophical, and for people to associate; third, the image variability, and the application is very good. Of course, this is first of all the original credit. "
Similarly, the symbol of the spiritual civilization of the capital is also a good example of combining traditional graphics with modern composition skills. The basic elements of the symbol of the spiritual civilization of the capital are the "Temple of Prayer for Heaven" and "Heart" shape. The "Temple of Heaven" symbolizes the capital, and the "heart" shape reflects the abstract meaning of spiritual civilization. The designer Li Lin used the technique of "converting the bottom of the figure" in the modern composition to perfectly combine the two, and carried out a beautiful treatment on the top of the sign, so that the "heart" shaped recess and the top of the "Temple of Heaven" It is natural and smooth, which not only makes the connotation of the logo fully and intuitively expressed, but also brings a brand new visual expression effect.
For example, the traditional Chinese figure-"Pan Chang", which is often used in conjunction with the "Fang Sheng" pattern in the folk, and to express people's willingness to implement the four rings and all clear, the logo of China Unicom is derived from The shape of "Panchang", one of the "eight auspiciousness" of the Buddhist Eight Treasures, is based on its original meaning of "a long history, endless life, and complementing each other" to extend Unicom's communication endless and long-lasting meaning. The four squares in the shape of the sign are in all directions, and everything is as good as possible; the six circles have the same roads and smooth everywhere; and the 10 empty spaces in the sign have the meaning of perfection and perfection. Whether speaking from symmetry or even numbers, the entire symbol is filled with auspicious air that has been circulating in the ancient East.
Therefore, the traditional graphic "meaning" that has been established and has reached a consensus in the hearts of the Chinese people is used in the inherent connotation of the company to which the logo belongs, so as to extend the spirit of the newer and deeper ideas, making it more cultural and Social, this is also a good method of modern logo design.
The logo designed by Mr. Jin Diqiang for the Ronghua Bakery is also a good example of the traditional auspicious meaning. The Hong Kong Ronghua Bakery, founded in 1950, has a history of more than 50 years. The basic elements of its logo are square cake, peony flower and bright moon. In the logo, the element "square cake" is owned by the enterprise itself. Both "peony" and "Moon Moon" are traditional graphics, and the peony flower gives the impression of grace and luxury. Auspicious means. The word Ronghua is calligraphy, which is very important. Chinese calligraphy is the most glorious crown in traditional Chinese graphic arts. Its composition is only a few simple ink-colored lines, but it is indeed "the shape of modeling, the abstraction of abstraction, the intersection of dynamic and static , The cohesion of time and space, the deepest to the slightest self-expression. "(Li Yanzu). Ronghua Baker's "Ronghua" strokes have many irregular arcs, but they are very characteristic, like the petals of peony flowers. The peony pattern has not changed through modification, strengthening and remodeling. Golden flowers and blue cakes are very Chinese, very traditional, very auspicious, and very modern.
"Possibility" usually refers to the charm contained in the figure and the situation and atmosphere it shows. "Possibility" can convey the spirit of the whole figure. On the point of the traditional graphic "potential", the Chinese quintessence—calligraphy is particularly mentioned. Calligraphy is inspired by observing the postures of all things in nature, and has been ingeniously formed. After thousands of years of development and evolution, it has formed a variety of different personalities and styles, such as: big seal rough and powerful, realistic and bold; Rigorous; Lishu dignified and quaint; Regular script is neat and beautiful; The script is lively and cheerful, and the breath is connected; the cursive script is flying and flowing, and the wind is electric. Calligraphy not only has a structure, but also has a gesture. The structure is only the basis of calligraphy, and the formation of the calligraphy personality form still depends on the "strength" of its "unexpected and unexpected" strokes.
The Beijing 2008 Olympic bid, which has attracted worldwide attention, 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 "Pan Chang", but it is valuable that it does not directly borrow this traditional shape, but uses the freehand technique of "unexpected and unexpected" unique to Chinese calligraphy. , The two trends and images of "Chinese knot" and "athlete" were passed on rightly, and the theme of the logo was expressed and the wishes of the people were conveyed.
Long Island Aquarium is a modern aquarium supplies company whose logo is designed by Hong Kong designer Cai Yongyao. Because it is an aquarium company, the basic shape of the logo is considered to be a "fish" shape; and because the company is a modern company in Hong Kong, the designer used the initial letter "L" of the company name. "L" is written using cursive techniques in Chinese calligraphy. Wherever the gesture goes, plus two points, it becomes two lively and playful fish in the water. Such a design, ingeniously combining tradition and modernity, is very representative.
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