Analysis of the Differences between Modern Graphic Design and Painting (II)

4. Order beauty is the core embodiment of graphic design

Design differs from painting in the pursuit of the beauty of order, and modern design is a formal rule of further understanding of the entity. Form is the embodiment of the entity, enrichment, and precision. It can be seen that Democot uses the atomic structure to explain the internal form of the universe entity. The Pythagoreans use the mathematical theory to describe the external form of the universe entity. They realized the points and lines from the layout of the sky stars. The geometry of the face, thus pushing the number as the ontology of the universe (the word "universe" in ancient Greece contained the meaning of harmony, quantity, order, etc.).

In terms of design, the impact of the number of designs is far from being discussed. From the design theory of modern times, the contribution to graphic design can be seen in its importance. The use of digital logic form design, as invented by the Swiss designer John Cheshad, in book design. Another example is the designer Roel Rosellio's discovery of the numerical proportions of the inner edge of the gothic Bible, namely the famous nine-segment division method. He calculated a 1/9th of the width of the draft as the inner side, and two 1 /9 as the outer side, a 1/9th of the open width dimension as the head of the sky, and two 1/9 as the rule of the footing. In 1946, according to Rodrigo Lucio's nine-segment division method, Fang de Graf found the edge ratio chart and found a simple method of geometric calculation instead of the nine-segment division method. This method is called “snake”. "Melon-style division method."

In the history of modern design, the greatest influence on the 20th century was Le Cobbèche. He uses the basic theory of architecture to divide the golden section according to the proportion of the human body, which is called the modular design system. Modulus initially had an important contribution to architectural forms and was later applied to graphic design. The basic principle of modulus theory is to segment the sun god's navel, top of the head, and fingertips of an extended arm. Afterwards, Le Cobbèche converted it to 44 rectangles for space division. The core of the modular system is to try to use the order of the United States to design the psychological changes generated by the series of changes. After Le Cobbèche invented the module, designers from various European countries applied this design principle and further advanced it, finally forming a theoretical system of grid design. The grid design system has promoted the use of several analytical methods and numbers in graphic design to unprecedented heights. It is characterized by a sense of proportionality, sense of order, sense of continuity, and clarity. In short, it is the use of formal rules based on rational mathematical theory in graphic design.

From the above example, the beauty of design is reflected in the orderly mathematical rhythm, which is essentially different from painting.

5. The independence of graphic design is reflected in layout and font style

Painting conveys information in the form of maps. A good painting can enrich huge information content. It is a highly concentrated carrier of text. In some occasions it can replace or supplement the lack of text. In spite of this, there is a big difference in the function of painting and text transmission. As a separate art form, the painting does not have a text description. Since the art of painting can appear without words, there is no problem with layout.

The design must be written as either an independent art form or a special service for a product. Only through the existence of literal forms can its own value be fully reflected. Modern graphic design as layout (typography) has two kinds of typographic layouts: one is the combination of graphics and text, and the other is the free combination of pure text. Both forms can be called layout design. But no matter what kind of layout design can not be separated from the existence of text. On the one hand, layout layout requires text composition. On the other hand, the differences in the form of the text itself also enrich the diversity of layout layout.

From a worldwide perspective, the process of morphological evolution of various ethnic groups in various countries originates from the “painting and drawing of notes” and is linked with the figure. If this "graphic" is called "painting", then the characters and paintings were originally of the same origin in their childhood. However, if we look at this issue from the perspective of modern design or the history of world civilization, we will find that the morphological characteristics of the text are clearly "independently" "painted" completely abstractly. In addition, in the course of modern design development in the past century, senior designers have summed up a series of formal rules of layout in practice, which constitute the basic theories of modern design, such as: proportion, force field, center, direction, Symmetry, equilibrium, rhythm, contrast, segmentation, etc., and the use of the golden section in the design, the German standard ratio, dynamical symmetry, straw mat, cubist style, spiral, modulus, etc. Unique language. The "font style" that has influenced the layout of the layout has gradually developed into a new design discipline. From the beginning of this century to the present, many Western developed countries have successively established font design companies and set up font design disciplines in colleges and universities. There are no corresponding institutions in Japan, South Korea, etc. in Asia. From this we can see that the design is different from the fact that painting is a specialized discipline that is independent of painting and has the characteristics of the times.

6. The difference between painting and design is reflected in their respective ways of realization

Because of the huge functional differences between painting and design, at the same time, there is a fundamental difference in the way the craft is produced.

Although painting is an art, the composition of technology occupies a considerable proportion in the production process. If painting is under the premise of art, it is a creative process that uses new concepts and new methods. Then, a series of factors such as materials and techniques contained in the technique are the most important means to complete and realize this kind of creative thinking. .

The paintings mentioned in the previous article are individual actions and highlight the single behavior of “personality”. Therefore, it is determined that a certain painting cannot absolutely appear repeatedly, and the real texture material that must be “hand-made” must be presented to the audience. Oil painting, for example, uses oil as a binder to paint on a cloth or other material. Chinese paintings are mainly characterized by pens, inks, rice paper, lotus root, and water-soluble pigments.

As a design, its production and development come from "commercial" behavior, and it emerges with the fierce competition of commodity economy. Its purpose is to serve the entire market, with significant product features. In its "implementation" approach, it must be a materialization process that combines brain work and machine production. In the course of more than a century of development in the past, design has always proved its value by means of machine-printing. It has never been separated from the production of large machines. Even in the various international design competitions, the level of machine production technology for designing works is an important focus of the judgement. Nowadays, the times have changed, and science and technology have made great progress. The emergence of computers has undoubtedly brought revolutionary changes to the design industry. The "production" method of design works embodies the intelligent, industrialization and serialization of the machine, and shows the importance of the "machine" more and more. Therefore, as a designer, one must understand not only the design, but also the printing function of the machine, the printing and binding process, and even knowing under what conditions the effect of the machine ink sequence on the work, the brand and type of the paper. , performance will affect the quality of design work.

In summary, there is a huge difference between painting and modern graphic design. The relationship between the two belongs to the relationship between two industries of different nature - the relationship between practicality and appreciation; it is a multi-level, multi-social rational thinking and emotional venting, showing the relationship between personality and talent; is to reflect the industrialization The relationship between the level of production technology and the skills of the individual artisans...

Although this article emphasizes the difference between the two, it does not deny the connection between the two. Such as: the origin of early painting and design, the similarity of artistic rules, the design must have the basic features of the aesthetic sense of painting, and so on.

Only when we correctly grasp the similarities and differences between painting and design, master the mysteries therein, and understand the commonness and individuality of the two, can we be considered to have an objective and profound scientific understanding of this issue.

Author: Wenshan Source: Peninsula Network