Entering the "Mythical Field" II of Japanese Design
EL cold light, EL light-emitting line, cold-light neon tube, also known as electroluminescent line. EL cold light is a kind of high-tech product that has been broken through by further implementing technological innovation on the basis of cold light sheet. No electromagnetic radiation, anti-ultraviolet and many other advantages. Therefore, the appearance of this product will create a new stage for the automotive decoration products industry, replacing the long-standing LED lights and neon lights, and sew EL cold light on seat cushions, seat covers, seat belts, and penetrate into the The steering wheel is covered, arranged around the instrument frame, wrapped around the mahogany trim, decorated inside the car, equipped with electronic drivers with novel styles and functions, and then connected to the car cigarette butt, with constant light, flashing, voice control, brake Control and other functions, is currently the world's public car decoration products with special effects. Llluminated Car Plate,LED License Plate Illuminated,Llluminated Car Plate Wholesale Guangdong Jishengke Industrial Co.,Ltd , https://www.jskpads.com
In Japan in the 1970s, the rapid development of industrialization led to the birth of a large number of new materials with different characteristics. The characteristics of the materials have a meaning at any time for artistic modeling, and the characteristics of the materials enable corresponding technologies and techniques to be produced. Printing technology from the beginning of the letter to offset, so subtle color tone gradient performance becomes possible, Sato Koichi's fame as "new music media" was produced at this time.
Many of Japan’s indigenous cultures that claim to be Yamato’s nationalities are actually circulated from China. Why is China's contemporary design less than Japan? This is indeed a question worth pondering.
Japanese culture was directly influenced by China in the early years, and haiku can also be said to be another evolutionary form of Chinese poetry. The expression of poetry is firstly heavy rhythm, and it is divided into flat sound and humming sound. The flat sound is long, short and sound, complement each other, form rhythm, make the language spirit, and the rhythm has direct appeal and persuasive power. If the whole sentence is full or full, the rhythm On the chaos. In the Chinese Peking Opera's performances, if the skin is beaten at the wrong pace, the martial arts who jumped on the stage will even fall to death. In fact, the design performance is also in such a dangerous situation.
The traditional Chinese painters all regard this blank space as the basis for people to use their imagination. Chinese philosophy is that the things that are forcing are changed. Whenever I was looking for such a meeting point, I saw Japan's design work. I was particularly kind and felt that I had found it and I had found a deep rational sensibility. Ancient Japan is a natural worship. Thousands of years ago, cultural references included the Buddhist and Chinese writing systems and the art and architecture of the Tang Dynasty in China.
What is China's native culture? It is a Confucian culture and a 5,000-year-old feudal culture. These cultures are visualized through concrete things, such as Chinese paintings, calligraphy, Yi Jing, Zen studies, five elements and so on. There are folk-cuts, clay sculptures, woodcuts, etc. This is a culture.
The reason why the famous designer of Hong Kong reluctantly succeeds is not only because he has first-rate design consciousness and mind, but also because he has added many very Chinese things in the design, such as Chinese ancient coins, ink culture, and Confucian culture. He is very clever and knows how to add 5,000 years of Chinese culture to some modern flavoring agents. In this way, he stepped into the ranks of the first-class graphic design masters of the century.
Akio Sato's design works have a distinct national style. He not only inherited the quiet, distant, elegant and soft ethnic style of Japanese culture but also pushed the style closer to perfection and enrichment, refining the most essential spiritual connotation in Japanese culture. The nation is the world's only. Sato Yoichi's design works centered on the national style and is recognized by the international design community.
Mr. Shen Haopeng very much admires the works of Akira Sato, and his posters are like the Japanese poetry “Hakaiâ€, full of artistic conception. Shen Haopeng said that in the Western design world, because Japan’s achievements have already formed the concept of the East, or Japan, to some extent, everyone knows that Japanese culture originates from China. Chinese designers face greater challenges.
Fukuda is a graphic designer of contemporary geniuses in Japan. He always gives up old pictures and systematically integrates various creative ideas and innovations. Each batch of works reflects his leap in subjective imagination and his ingenuity in controlling and creating works. In a seemingly ridiculous visual image, he transmits a rational sense of order and continuity. Fukuda is proud of his Japanese tradition and masters modern cognitive psychology. His works are closely linked to themes, imaginative, fascinating, yet extremely concise, have a playful sense of humor, and are good at using visual hallucinations to create a strange taste.
We just want to learn these masters and interpret their designs.
Modern design increasingly recognizes localization. Localization is the recognition of indigenous cultures, rather than the identification of symbols or figures. Explore the connotation of local culture, find the point of collision between traditional culture and its own personality, and form its own design style. This is where the essence of design localization lies. The success of Japanese design can not but be said for their success in the design of the Eastern concept. Although the cultural characteristics of the Daihwa people are traced to the legacy of the Chinese civilization, in the design works of others, the “normality†of Eastern culture is far more transparent than the Chinese designers. Everybody in Japanese design Mr. Fukuda Tomoo pointed out: "There can be no redundancy in the design." From this point of view, it is not difficult to see that there is a common point of agreement between his design philosophy and Chinese traditional aesthetics.
Japanese design uses traditional concepts, modern elements and composition techniques, and is at the forefront of design. This cannot but be worthy of learning and drawing lessons from Chinese designers.
Design online