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 objects in the design of thought topics), but they are all treated as zigzag fields due to the mechanics of free-planar space. (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 the modern design, enabling the object image to 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 figure, the sight of ducklings and cartoon pencils, and the exhaust from 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 oval behind the title set the green field and became the medium 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 idea. I think that Kant in his "Critique of Judgment" believes that the judgement of the United States is not judgment, but fun judgment. It is this 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 and 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, and the relationship between them, and the formation of plane mechanics without self and mutual relations, 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 the experience of casually smearing in 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. I don't think it's as easy as the "God's Brush." Under the influence of presence 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 higher 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... they all 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 noticed the dots, lines, and faces in the painting elements. Some of the concepts that they represented in the formal form left a variety of marks and delusions in my mind. It was they that pushed 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 self-explanatory. In addition to focusing on their "practical" nature, deduction is the primary task and patience is required. Of course it was rather hard, but miracles emerged, water became wine, abstraction became concrete - I saw the unity of the elements after aesthetic analysis.

In short, the graphic design's field consciousness can mobilize all positive factors, and it turns into a miraculous phenomenon. It has a positive influence, both in classical plastic art or modernist art forms, and in the field of postmodern art. In the graphic design art has a wide range of practical significance.

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