Poster design Matrix design management role
We found that in the long history of art development and practice, traditional Chinese calligraphy and fine arts have common matrix management methods for beginners, and they are often used in the application of rice grid and nine-square grid at the beginning of learning. For example, the nine-square grid draft is the reverse thinking of vision, the three-dimensional object is observed with a flat eye, the object node is confirmed by the position and proportion of the horizontal and vertical lines, and the three-dimensional picture effect is created through the contrast of the light and dark sides of the object, and the perspective relationship is naturally presented. In the same way, the upper staff is mainly used for keyboard instruments, and a good knowledge of the staff is the basis for a keyboardist to play well. Guitarists, on the other hand, often use six strings of the six-line staff to correspond to the six strings of the guitar, from top to bottom are one to six strings, that is, the corresponding strings from top to bottom are getting thicker and thicker.
Whatever form is taken is a means, a method. Matrix management makes the basic work of design management a skill. It is generally believed that theories and methods that can be used in popularity and will not be lost in the long course of history must be in line with the scientific method of argumentation. It is more in line with people's long-term training in the process of adapting to social development, and it becomes a habitual ideological cognition, and finally can form a fixed visual art application management method.
So far, it seems that the art matrix management has been demonstrated so far, and the necessity of using vertical and horizontal matrix management to manage the design process is determined. We do some pre-design, middle-of-the-art and post-design work, and solve the different components of the vertical and horizontal matrix management, and apply them through innovative combinations. Because different things have different combinations, and we seem to have to understand that the same thing can also be combined in different ways, and different combinations can produce different refractions of perception formations. The formation of perception refracted by this refraction also belongs to the content of the assembly, that is, the spatiality of things and the temporality of events.
By proposing here, we hope that from the very beginning we have two different conceptions of the spatial nature of things and the temporality of events, because these two are not opposites and are indeed exclusive. Because, from the basic life attempt, because of the immersive beauty, we will forget the flow of time, because focusing on space will forget the flow of time; Because we are in a hurry, we ignore any impact that space has on people. It is precisely the handling of this relationship that is suitable for matrix management, and it is also the most necessary for it to abandon the most conflicting and hurtful aspects of the relationship from the beginning. So, what form will it take to exist in poster design? Now let's start with the most technological growth quadrants.
For example, when it comes to the nine-square grid practice of sketching during the growth of the matrix. (According to the growth phenomenon, in reviewing the old and learning the new, explain the content in the matrix to advance.) Let's take a look at the sketch of the basic skills of painting. Sketching is understood as the use of monochrome to create a picture, and tone is the core of sketching. Tone refers to the black and white levels of different brightness of the picture, which are divided into five layers. Its so-called "three sides" are black, white, and gray. The "five major tones" refer to highlights, bright parts, light and dark junctions, dark parts, and projections. The role of light and shade - in order to express the structure of the body and the relationship between space, we must have a clear understanding in the learning process of sketching, and we must not fall into the state of blindly and passively copying the tune. We all know that sketching is not about painting "black, white, and gray" and dealing with "black, white, and gray", and it is not about drawing as much and blacker as possible. Going back to the definition of sketching, we can have a clear understanding. Sketching is to express "three-dimensional concrete objects", and chiaroscuro is used as a sketching language and as a means of modeling. Its role is first and foremost to express the form, but also to serve the determination of structural and spatial relationships.
When it comes to the question of light and dark tones, a student who has just started to learn to draw once asked me: "Is it better to draw the key points or light, and the painting is not gray". I said that it is not a problem of tone, it is a problem of the body itself, and when you solve the problem of body space, the tone will naturally be harmonious. Then I redrew them, and they found out that this was really the case, which is to change the passive hand to the active eye and brain. The important place is the field with a certain configuration, some objects protrude to form a figure, and some objects retreat to a foil position and become the background. Generally speaking, the greater the distinction between the figure and the background, the more prominent the figure is and becomes the object of our perception.
The sketches of the German painter Hans Holbein, the figures are solemn and quiet, with a strong sense of sculpture, all the lines and the relationship between light and shade are around the ups and downs and directions of the shape, and the depiction is extremely rigorous and durable. The subtle changes of the tones reflect the subtle undulating relationship of the form in the space, and the turning of the edge line and the change of the virtual and real also reflect the change of the direction of the form in the space. The effect is that two lines that are close to each other naturally combine to form a whole. Continuity refers to a perceptual tendency to a line that, despite being interrupted by other lines, appears to the human eye as if it were uninterrupted or still continuous.
In the current graphic design, let's take a look at the Rubin Cup, also known as the "Rubin Pot", and the Rubin Cup is the most famous in the relationship between the bottom of the picture. Whether people see a person or a cup in the space in the picture depends entirely on whether the angle of their gaze is on the figure or the background, or whether they look at the whole or the part. Due to the different points of view, there will be different meanings of the picture, that is, double image. The white part in the middle is the cup, if the eye is focused on the black negative shape, the black part on both sides is the opposite face, and the white part becomes the "bottom", becomes the "space", the figure and the bottom can be converted at any time, they are all figures. Through "mutual bottom", "bottom of the chart". It activates the negative components in the graphic design, adjusts the proportional relationship between the positive and negative areas, and creates a more visually rich rhythm, that is, a visual "pulse" generated by the compression and expansion of graphics and space. Perceptual impressions take on the most complete form with the environment. The parts that belong to each other are easy to combine into a whole, and conversely, the parts that do not belong to each other are easy to be separated.
It can be said that the perfection of the use of positive and negative shapes plays a decisive role in many graphic design works, and this technique is also the basis for the birth and development of many graphic design works. In fact, whether it is painting and sketching to color harmony or graphic design, Rubin Cup or Gestalt theory, they are all two-dimensional graphic visual design fields to study the application of optical illusion and visual perception in graphics, and feel the change process of mutual expression and transformation of things in graphics. Perceptual impressions take on the most complete form with the environment. The parts that belong to each other are easy to combine into a whole, and conversely, the parts that do not belong to each other are easy to be separated. Conscious thinking is stored in the graphics, and when the graphics are upgraded and changed into works, thinking will become thoughts, and most of the works with thoughts are called works of art by the public.