The abstract beauty of the midfield consciousness in plane graphic design

The composition of the entire picture is not limited to the shaping of objects. Of course, in addition to its inherent "meaning," the cartoon pencils will be lively, cute, sultry, and with small, bald-headed characters, as well as unpredictable ducklings and red cars with small animals. In the reader's perception of more concepts (this article does not separately comment on the role of object images in the design of thought topics), but they are all not treated in the free-planar space due to the exertion of mechanical effects zigzag field processing (Figure 7).

The combination of the zigzag field arrangement and the elliptical field not only enables the objects in the figure to be related to each other to form planar mechanics, but also embodies the decorative planarization method in modern design so that the objects can be freely arranged and processed in aesthetics. In the formal structure under the principle, the subject content has also been maximally strengthened, and it has played the function of advertising on the cover.

Of course, the shaping of objects also has a decisive role in the consciousness of the field. In the cover of the Chinese Children's Literacy Chart, the sight of the small bald head, the eyes of the ducklings and cartoon pencils, and the exhaust of the red car all play a role in mechanics and direction, so that the perceiver does not draw attention. Displaced from the setting of the plane space outside the field, this is also in line with aesthetic principles, but also can reflect its functional and spiritual theme (Figure 8).

Their color use is also handled and arranged in the setting of the color field. They are freely arranged into three flattened spaces: the small bald figure in the upper left corner and the purple application behind the duck in the upper right corner. And the purple human face underneath the red car that was subjectively treated was arranged as the background. The ellipse behind the title set the green field and became the middle scene, while the cartoon pencil, red car, duckling, and small bald person Warm colors such as yellow and red are processed into the foreground. They set the color field and combine it with other fields to make the construction of the graph and the reality of the space clearer (Figure 9).

Of course, this space is no longer material, it excludes concepts such as distance, emptiness, and scale, and it is endowed with a spiritual space that enables the graphic to achieve a coordinated, contrasting design concept. I think that Kant in his "Critique of Judgment" believes that the judgment of the United States is not judgment, but fun judgment. This is the truth. In short, these images are all organized, and the integration of intellectual and form.

The consciousness of the field is originally abstract, and all artworks are derived from some abstract, universal concept. (Liu Wentan's "Modern Aesthetics" P3 "On the Artistic Spirit") Art is not limited to practical purposes and forms, but they are still the inherent essence of all works of art. So we have reason to make a graphic abstraction of the graphic design. It can be said that the business process of graphics is a process from abstract to concrete.

People form concepts in the perception of graphics, and the perception of graphics is the capture of the general structure of things. This abstract form is a style that has general universality. It can reproduce the essence of things and can be directly grasped by perception. The geometric elements such as points, lines, etc. in the graph, the simultaneous effects of color, and the relationship between them as a non-self and mutual relationship, form plane mechanics, and construct a number of planar spatial awareness and spiritual themes. Certain concepts are the charm of design works. So the setting of the field should also begin with an abstraction.

As the saying goes, some of the best designs are on the back of the envelope. Many people also have experience in the newspapers and notebooks. This process of casually smearing abstract objects is actually excavating the form and color of the self. It is beneficial to breaking the limitations and the objective of the self, strengthening the personality color, and excavating new discoveries and imaginations. The construction of the graph is closer to its own instinct, so it is It is spiritual. Compared to Cezanne's method of creating a cylindrical shape from a bottle, it is from a cylindrical shape to make bottle-type objects. I don't think the two are contradictory, but we are more practical (planes). The design is actually a practical art.) Because abstraction is only the means we use, practicality is our goal.

Graffiti should therefore be sacred, and I don't think it's as easy as the so-called "Spirit of God". Under the influence of the field consciousness, it experienced the arduous process of construction-destruction-reorganization-rebreakage-reconstruction until the realization of the unity of various elements after aesthetic analysis. Therefore, the designers’ rationality and hard work try to follow the instinct as closely as possible, collect its various discoveries, and combine and arrange them so as to turn this harvested “truth” into a high level of confusion. And trigger new discoveries. This discovery has become the connotation and extension of art works, so that many arts can be transferred to the great world and have great development. Among the many modern masters of painting, such as Cezanne, Van Gogh, Gauguin, Matisse, Roo, Picasso, Brak, Kandinsky, Mondrian... all of them established their own characteristics in the world painting circle. Prominent status.

When designing the cover of the “Chinese Children’s Literacy Chart”, the operation of the graphics was not considered and fixed in advance. The author does not yet know how to construct the subject, just as it did in thought. It also changes in the same degree. Because of the nature or space of each shape or color of the graffiti on the draft, it implies that it gives me a sign or ambiguity of the object. I have noticed the dots, lines, and faces in the painting elements. Some of the ideas in the formal forms of them have left a variety of marks and delusions in my mind. It is they that have driven me to go on. Creativity stimulated my ideas and inspired my emotions because they all have life and character. Half of the business of graphics is to obey my will and half is to follow the logic of these abstract symbols. That is to say, my freewheeling intentions are not merely a goalless and natural exaggeration. In addition to focusing on their "practical" nature, deduction is the primary task and patience is required. Of course, it is quite hard, but miracles have emerged, water has become wine, abstraction has become concrete - I have seen the unity of elements after aesthetic analysis.

In short, the graphic design's field consciousness can mobilize positive factors in all aspects, and it turns into a miraculous phenomenon. Whether it is in classical plastic art or modernist art form or in the field of postmodern art, it has a positive impact, especially In the graphic design art has a wide range of practical significance.

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