Application of Traditional Culture and Art in Modern Advertising Design

Chinese traditional graphic design art has a long history and has developed into a history of thousands of years. As early as before the writing, ancient craftsmen began to use graphics to convey thoughts and feelings of communication. Painted pottery patterns in the Neolithic Age and rock carvings carved in the cliffs not only recorded their understanding of nature. At the same time, it has also become the earliest human graphic arts.

Posters are a popular genre in modern advertising art. They are used to complete certain propaganda and agitation tasks, or serve for reporting, advertising, advising, and education purposes. In the works of Chinese designers, the impact of traditional aesthetics has been exposed from time to time. Good design should be based on the integration of man and man, man and space and nature. Traditional Chinese design elements are a unique landscape and valuable wealth of Oriental culture. Its wide range of subjects, rich connotations, diverse forms, and long history are other art forms that are difficult to substitute. In the world of art, its unique oriental culture. Charm is shining. Of course, inheritance does not mean rigid feelings. In the design, it simply pursues “acquisitionism” and does not introduce new ones. This kind of exertion is based on the understanding of traditional art expressions, and the traditional elements are transformed, refined, and used. Its more time-honored features.

With the advancement of society and the rapid development of science and technology, the East and West cultures have been increasingly exchanged and integrated, as well as new ideas brought by modern science and technology, culture, art and modern advertising to posters. Posters are no longer subject to certain styles of genres. constraint. Designers break through various routines and pay more attention to the development of unique styles and creative designs while focusing on information transmission functions. They regard poster advertising as a medium for communicating ideas and embedding emotions into their designs, which makes poster advertising gain more human power. In the fierce market economy competition, advertising has developed into a new industry, and the advertisement as a form of advertising has also shifted from a single activity approach to working together through teamwork, and from a single medium to a full range, All-media, integrated integrated advertising campaigns. The role of posters in conveying information and encouraging propaganda affirms its special form. It is different from other forms of drawing. It requires a clear, concise and clear view that allows people to see clearly what they want to promote in a flash and from a distance. In order to achieve this goal, posters often adopt a series of assumptions, focus, delete minor details, details, and even backgrounds, and can combine different proportions and activities that take place at different times and spaces. And often use symbolism to inspire people's association. Therefore, its concept must be capable of surpassing reality, the composition must be concentrated, and the image should be concise and exaggerated. It must be done in a sharp and vibrant manner. It should be a prominent expression of the things to be propaganda, and the intrinsic link between objects and objects. The broader meaning makes people think of a broader life and feel new meaning in a limited picture. In these respects, traditional Chinese aesthetics can provide designers with a large number of design elements.

There are many aspects that can be grasped from the point of view of traditional advertising. For example, “Thematic Series of Chinese Characters” clearly expresses a profound understanding of Chinese culture and arts. Through the accurate grasp of the essence of Chinese art such as ink painting and calligraphy, he forms his own style of expression with a very strong oriental culture. The traditional culture and arts of the nation blend into modern design concepts. At the same time, his works also reflect his accurate grasp and correct understanding of the beauty of poster art, making the two concepts complement each other and reflect each other.

For example, in the “Views” section of the Qing Dynasty, Zheng Ji proposed that “Where Bubu’s landscape is straight and flat, and to medium-range, it is to open up the situation”. This means that after the layout is started, attention must be paid to unfolding the situation. "It is a matter of division and cooperation. Of course, the layout of one piece is the same as the use of a piece of money." He is referring to the big opening and closing and contention. In the layout of traditional composition methods, such small openings and closings and small disputes must be avoided. These are valuable treasures left by our ancestors and have been fully reflected in the design of poster art in our country. Hong Kong famous graphic design master reluctantly, created a large number of cultural posters, with strong national characteristics. He advocated merging the essence of Chinese traditional culture with the concept of Western modern design. Many of his works embody this idea without exception. In his poster design, Chinese ink painting techniques are used to combine the effects of special techniques of modern technology. Modernism is without losing the tradition.

(to be continued)