Abstract: How will the future design evolve? What is the purpose of future design? How will the criteria for future design evaluations change? What will future design mean for human development? While modern design has shaped an “artificial world†and “artificial world†has in turn shaped humanity today, we have to think about these issues.
As a major part of visual communication art, modern graphic design art has undergone a transition from an industrialized society to an informational society. In terms of concept, Chinese graphic design art is influenced by Eastern and Western cultures and artistic styles in terms of function, semantics, and formal expression. Under the general trend of diversified development of modern design, the involvement of new concepts in the way of human survival, the guidance of thinking, and the expression of emotions, we have found that the laws that have been used throughout the design of planes are gradually being broken, and the inherent symbolic phenomena are Deconstruction, humanity strives to find a rational visual space in the span of the century. The development of modern Chinese graphic design has created new design requirements.
(A) to have personalized design needs.
The emergence of computers in the mid-1980s brought us unprecedented speed—the speed and speed of change in commercial operations. What is important is that the dramatic changes in the global business environment mean that customers can be contacted directly through direct mail and television advertising. All this has created a fierce environmental element for graphic design industry designers. At present, there is an overlap between the commercial and design industries. Design work must identify its own territory in this new environment with high demand. Design must not only keep up with the development of aesthetics, it must also catch up with the progress of science and technology. With the increasing number of logos around, designers need to re-adapt to new areas that are not familiar with. One of the dominant areas of networking is design and production. Under the pressure of science and technology, the graphic design industry seems to be gradually declining. But on the contrary, the new challenges posed by the business community not only enhance the importance of design, but also increase the potential of the design. When graphic design is stylized, its design ideas must be personalized. Personalization is the designer’s unique insight into the differences in graphic design personalities. The design becomes infinite self-transcendence and obtains arbitrary expressions. Graphic design industry practitioners have sought to develop individuality and advocate design styles through the reorganization of design elements, layouts, and other design elements. To display his extraordinary energy and creative spirit, the design is more vital to the expression of individuality.
(B) Have international and diversified design needs.
In an almost constantly changing international environment, graphic designers have to keep pace with their customers as much as possible; one of the biggest changes experienced by customers is the shift toward a more diverse workforce, which has changed in the past decade or so. fierce. Therefore, people have to try to face the public in the design, in the modern graphic design work, the different national images need to be re-combined, and strive to take into account all the new compositional factors, design the drawing surface as wide as possible to achieve The purpose of conveying the diversity of cultural information.
In the 1990s, the internationalization of telecommunications and the corresponding commercial and international characteristics have given new meaning to the understanding of cultural and national differences. This is especially the case when countries become more and more important in their interdependence in financial and trade interactions. At the same time, in terms of culture, especially youth culture, becoming more and more globalized, music and advertising have become particularly powerful forces, and they are accompanied by the ability to follow the national changes and self-renewal ideas. The combination of design images from different nationalities and different national cultures has entered into the exchange activities of various countries and even led the more integrated young generation. In the field of graphic design, the graphic is its visual language. It gives people a common feeling. Its greatest feature is the pursuit of an international vision, so that the design has first-rate quality. The globalization and diversified design needs put forward a rationalized concept of cognition for the creation of graphics, thinking angles, and public understanding. In terms of conception and performance, the language representation of modern graphic design is consistent. “Concise, clever, clever, and smart, watching the trend of modern design in the world, studying the impact of modern society on graphic design, it is very necessary to maintain a keen design thinking and make the design and design of the modern world in alignment.
(iii) Time-space design requirements.
The position of graphic design is different from that before. In terms of viewing methods, whether it is through the eyes or using the mouse to click, the way of deep design space is different, the most important is the speed faster than before. In the past, graphic design was often created in a two-dimensional state. After experiencing two-dimensional stylized design, designers are exploring new interfaces and are trying to open up new thinking spaces. Technological progress and global informatization have shortened the space-time difference to some extent. People's imaginations have expanded with the change of the concept of time and space, and graphic design has also gradually extended from two-dimensional to three-dimensional to four-dimensional space. Time and space and technology in design To show us a rich space symbol. The mystery outside the universe, the existence of the sky stars. The imaginative factors of the eastern and western spaces are the superposition, perspective, dislocation, and gradient of the design images, which seem to bring us to the large space of three-dimensional thinking. It is in line with the formulation advanced by the graphic design community to surpass and break through the two-dimensional plane. To create an out-of-control landscape in the visual space, taking the layout as an example, in the 1980s, the designers of traditional journals often emphasized the main points of the article by changing the headlines and subtitles in the layout of the same font, using the size and shape of the font. Distinguish between size headings, rather than grouping all of the headings together, and separating them from size headings. Now, we can see the headlines arranged in various ways: some are on the edge of the page, some are slanted across the entire page or across two pages, and some are erected next to the article, and others are close by. Even in the middle of the text, these arrangements will undoubtedly give the layout a three-dimensional impression. In the process of the graphic designer stepping into other media designs, surpassing the two-dimensional design is an important requirement.
In addition, the prominent ways of highlighting content have also changed. Designers no longer make the entire title larger than the body text. On the contrary, the size of the text in the title can vary. Designers break this design rule, so that they can design a line of text in any new style that they think is appropriate. Through this design, text graphics will vividly jump on the page, on the screen, the box On the surface, on the label of the bottle or in more places, this dynamic sensation is representative of typical features of prints and interactive drawings, and is a requirement of the new era of design.
(to be continued)