Due to the rapid increase in international exchanges and international trade, international dialogue has also increased day by day. Such development has promoted the formation of international visual language and made internationalist design an irresistible trend. From Asia to Latin America, from North America to Europe, whether in New York, Los Angeles or Tokyo, Hong Kong, Buenos Aires, Tel Aviv or Munich, Beijing or Frankfurt, the world's visual language, whether it is book binding, advertising , Posters, traffic signs and traffic maps, and even computer networks, the design is increasingly converging. Because of the need for human communication and the frequent national dialogue, the same requirement for visual communication has been created. Internationalist design seems to be the only basic design method for a long period of time, and internationalist design not only becomes impossible in book binding and graphic design. The main design methods to get rid of, in architectural design, industrial product design, clothing design, environmental design, urban planning and design, and even art, have become the main and basic methods that have to be followed.
The stereotype of visual communication design, high functionality and rationalization are unstoppable development trends and directions. This is beyond doubt. Design is also an integral part of national culture. This monopolistic development of internationalism naturally leads to the weakening of nationality and the gradual disappearance of national characteristics. Some designers began to pay attention to the individuality of the design and the national characteristics of the design. This problem has run through the entire development process of the design from the 1960s to the present.
In 1966, German graphic designer Olaf Leu mentioned in an article: German design no longer has any national character. He pointed out: Although some people are very happy and happy about this development, but not everyone is so, many designers are worried about this. He also pointed out that there was a period of time when the monopoly of German design was developed by the International Typographic Style developed by Switzerland (the International Typographic Style) and the graphic design style of the United States. This situation did not only happen in Germany. There are different developments in various countries around the world.
Since the 1980s, the design industry, like other design circles, has been challenged by new media and new design technologies, which has undergone dramatic changes. This stimulus is the development of computer technology and its rapid entry into the design process, which has increasingly replaced Former manual labor.
In addition, the development of other electronic technologies has also caused great changes in design, such as the widespread use of fax machines, the globalization of TV technology and the new global TV channels, computer network systems and e-mail, and the popularization of long-distance calls. The widespread use of mobile phones and so on, these technologies have turned the very distant places into close distances, and information technology has increasingly turned the world into what Marshall McLuhan calls the "global village ( global village) ". The development of this technology, on the one hand, stimulated the monopolistic development of internationalist design, and at the same time promoted the synthesis and mixing of design cultures of various countries and ethnic groups. The design cultures of the East and West, South and North are the same. The frequent and close exchanges in the global village are getting more and more integrated. Therefore, under the trend of internationalism, the possibilities and opportunities for the development of national culture are actually lurking.
This situation naturally leads to internationalization of design on the one hand, and diversified development on the other hand. Under the premise of new communication, the design has undergone changes in unity, resulting in a diversified development of the design under the condition that the basic visual communication is good. The development of personal style has not weakened or disappeared due to the increase of international communication, but in Under the new circumstances, it will develop with a new look.
Through the above discussion on the designer's use of design language to communicate directly or indirectly with readers, we can appreciate that the designer plays a decisive role in this entire process. Through the study of the explicit and implicit meanings of design language, designers can realize a certain meaning and create an aesthetic information space, and rely on the originality of their own language to complete their own realization, and realize the aesthetic subject ’s design information. And the aesthetic space try to explain the power. The designer's mission is to change a constant visual language in daily life stipulated by many customary everyday languages, and bring readers a new flat structured trend toward multidirectional aesthetic psychology appeals that are transmitted by unidirectional knowledge The development process of the form of transmission is the aesthetic framework that brings new visual stimulation and multi-directional mutual correspondence of knowledge to the readers, and similar bypass.
Nowadays, some decoration designers in China have begun to reinvent new forms of books under the premise of focusing on the nationalization and traditional spirit of their own countries, in order to change people's reading habits and reading behaviors. This method of reshaping the form of the book is intended to "break" the shackles of the book's inherent model and the form of pure lead transmission, and create subjective and imaginative design, that is, the use of binding design language to study the aesthetic creation of binding. Its significance has surpassed the book structure itself (or the content itself), and its purpose is to inspire readers to find and get free feelings in reading books, thus sprouting a source of imaginary wisdom. The designer completes the process of integrating the beauty of traditional books and modern books, which is exactly the value of the book form change. The progress of book art in the past two decades has begun to show the charm of Chinese book binding in the world.
The development of framing design in the past two hundred years has provided great convenience to society and humans, promoted the communication of people's information, stimulated the communication and exchange of ideas, and also formed a new category of visual art and visual culture. With the frequent international exchanges, the development of trade, and the advancement of technology, the task of framing design will inevitably become heavier. Although the language use of the binding design varies greatly, the object of its service is still human: the physiological and aesthetic requirements of man (including simple physical function requirements-reflected in the binding design is the requirement of rapid and accurate visual communication) and the psychological aesthetics of human Requirements-beautiful, generous, elegant, in line with your own taste, etc., these have not changed much. Therefore, the research on the development of the binding design language and the research on the application of the binding design language in the past two hundred years has become a revaluation value standard for measuring the aesthetics of new books.
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