Japan's graphic design development is also inseparable from the Japanese economy.
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 materials have a meaning at any time for artistic modeling, and the characteristics of materials make corresponding technologies and techniques available. 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 native Japanese cultures that claim to be Yamato ethnic groups 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 regarded as 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 performances, if you beat the skin at the wrong pace, the martial arts who jumped on the stage will even fall to death. In fact, the design performance has such a dangerous situation.
The traditional Chinese painters all regard this blank space as the basis for people to use their imaginations. 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 has 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 just like the Japanese verse “Haijoâ€, which is full of artistic beauty. 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 identification of local culture, not the symbol or figure. Explore the connotation of local culture, identify the collision point 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 design." From this point of view, it is not difficult to see that his design philosophy and the traditional Chinese aesthetics emphasize the "just right side" which has a certain common point of convergence.
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
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 materials have a meaning at any time for artistic modeling, and the characteristics of materials make corresponding technologies and techniques available. 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 native Japanese cultures that claim to be Yamato ethnic groups 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 regarded as 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 performances, if you beat the skin at the wrong pace, the martial arts who jumped on the stage will even fall to death. In fact, the design performance has such a dangerous situation.
The traditional Chinese painters all regard this blank space as the basis for people to use their imaginations. 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 has 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 just like the Japanese verse “Haijoâ€, which is full of artistic beauty. 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 identification of local culture, not the symbol or figure. Explore the connotation of local culture, identify the collision point 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 design." From this point of view, it is not difficult to see that his design philosophy and the traditional Chinese aesthetics emphasize the "just right side" which has a certain common point of convergence.
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
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