Graphics have an important place in graphic design. Without ideal graphics, graphic design becomes pale and graphics become the life of design. The use of screen space as a "field" to capture graphics, free space awareness, and freedom to form the main body is the place where artists can display their talents. This can maximize the designer's potential and reflect the artist's personality. And create awareness. Far in the prehistoric Mid-Levels - the decoration patterns formed by the combination of large circle lines and grid lines on the pottery utensils of the Machang Culture, its self-contained units or pattern motifs connected to each other can be regarded as the most original of the graphic design. The simplest expression of field consciousness is the imagination and design of the figure by the ancestors of the Neolithic Age to express their concept of “Lei is the Tiangu†(Fig. 1); and the Qin and Han Dynasties were used as building accessory materials. The almost uniform use of suitable patterns for the round field played an important role in the formation of the Chinese architectural style (Figure 2).
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The so-called "field" refers to the basic formal structure of the picture. It is the use of a certain appropriate form to handle the picture space freely, that is, to make an abstract and diverse determination of the space on the picture. For example, square, oval, diamond, zigzag, line, coordinate, rhythm, color, background, or any form. The field includes three aspects: plane space, plane mechanics, and object (abstract and concrete). The use of various object images to play a role in planar mechanics (dynamics) and to freely combine planarized spaces is fundamental to the "field" consciousness.
1. Unlike the traditional view space, the planarized space can change the factual relationship between objects. There is no scale, distance, or time limit. What it pursues is the construction of space itself, which restores the images of different time and space on the same plane. It makes the design of the field tend to become clearer and makes the visual impact of the figure more prominent.
In modern painting (painting works and graphics in graphic design have the same meaning), the basic form of the picture is the core of the painting language. The fundamental problem is how to free space in three-dimensional and four-dimensional space on the plane of two-dimensional space. Arrange and handle. Therefore, since Cézanne’s awareness of planarization established a distorted picture, the spatial consciousness of planarization began to sprout and the awareness of the object-image field became apparent, becoming the mainstream consciousness of the development of modern painting.
This processing of the flatter space of field awareness broadens the artist's creative thinking and creative methods. Such as Matisse's "People in Decorative Background" (Figure 3), this topic related pictures
Due to the setting of the decorative pattern background field, the intention is to make the objects outside of the figure tend to be planarized: the pattern of the wall on the distant view at the top of the screen is large; the pattern of the plants and flowerpots in the middle position is of a moderate size; the bottom of the screen is close to the bottom Patterns like cushions are handled less, while the color of the distant scene is drawn to the near scene. This inverse relationship has narrowed the space between the foreground, the middle and the near horizon, and it tends to the plane. The deformation of the object image is to adapt to the subjective combination of the color and the form of the decorative pattern background field and to maximize the color of the painting. Energy and the energy that makes up the shape are masterpieces of Matisse.
(to be continued)
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