Poster Design Horizontal correlation is a "non-rigid necessary requirement".
The poster design matrix is horizontally related to the "non-rigid necessary needs" art leadership scenario model.
Why is it called non-rigid and necessary? Let's make an assumption, like if you read a book and see this, you ask if art is necessary? Such a topic is a question that cannot be answered and is not necessary to be answered. Because true art is not a necessity of life, posters belong to the necessities of today's commerce. As one of the art forms, on the one hand, many people think that general posters do not need to express a special artistic atmosphere, but they also believe that there are higher art posters, and they also believe that they can bring a higher grade to the business and bring higher social effects.
The fundamental purpose of art is to satisfy people's aesthetic and psychological needs, and whether it really brings a strong enough sense of satisfaction to the viewer is the criterion. The original function of matrix horizontal line management is to share resources, improve work efficiency, and improve work efficiency. For posters, horizontal association can allow the audience to compare by analogy in different scenes, so that the audience can easily recognize the similarity of the design elements and forms, so as to make the poster's narrative expression look more beautiful and comfortable.
Matrix management of horizontal art association is to organically combine points and compositions, which can enhance the perception of design elements and lines. Through horizontal vision, the real elements are used to convey the virtual theme information contained in the theme, strengthen the flexibility of art, and form a state of rigidity and softness. The concept, thinking, style, aesthetics and utility of art design management are linked together to form a value chain, that is, the composition of the perceptual line. The main intention of horizontal association management is to make the design artistically reflect the high-grade characteristics of the product and brand and present the connotation of the high-grade wholeness, so that the work is not bloated, shows the artistic conception, and shows the charm.
The horizontal relationship of poster design is the relationship between graphics, text, color, title and the whole, and five artistic visual project task centers have been formed through processing, namely: graphic beauty project, text quasi-project, theme clever project, color odd project, and main line new project, and the project is the center to carry out commercial value, cognitive value, aesthetic value, emotional value, artistic conception value art design management (see Figure 8-3 in the matrix structure diagram).
Establishment of a visual project task center in matrix management. The work to be done in the center of the organized project is bound to gradually increase, and the use of styles and genres derived from the handling of details is also gradually emphasized. In the composition of the five elements, the graphics are symmetrical and balanced, the colors are strange and diverse, the text is concise and accurate, the layout (level) is ingenious, reasonable and elegant, and the idea (main line) is new and concise and textured. After continuous development, following the design specifications, our design conforms to the visual aesthetics, which can also be said to be the basic skill of design.
The beauty of the image lies in shaping the "shape". The shape should be accurate, but also have personality. "Shape" comes first, and "shape" needs beauty as well as "personality". The "shape" mentioned here can be understood as the outline, line drawing, and modeling of the figure. The control of "shape" needs to be repeatedly thought and scrutinized in the design process, such as the requirements for its "recognition" in the icon design and the "ruler geometric drawing method" commonly used in the design are strict control of the details of the "shape". We will go deeper into the grasp of graphics later in this chapter, how to make the "shape" accurate, but also have "personality".
The color is strange in controlling the "tone". The color brightness is warm and cold, and the transition is natural. Color can bring a stronger visual impact to people, deal with the hue, brightness, saturation of the color, and the relationship before the color, and the appropriate matching relationship can make the tone of the work show time. There are often "Party A" who say, "This color is a bit ugly!" Change the color. Such an "ugly" situation may be due to a problem between color matching and color relationships. From the perspective of thinking, the cognition of color matching tools is nonlinear, and we have an in-depth analysis in interpreting the nonlinearity of the five aggregates theory. The best tool for dealing with color tones is the designer's "feeling", which is also an ability that the designer has accumulated and trained for a long time. There are ways to find color matching, but it is not completely fixed, for example, we often say that "red with green" can also be very advanced.
The literal accuracy lies in the "row". For the layout of text in poster design, for example, newspapers or magazines generally have a clear hierarchy: headline (level 1), subtitle (level 2), text (**This is a very typical** arrangement. Different levels can better show the reader what is important information. The text duration of the poster, as the "soul" in the poster, is the "endorsement" of the connotation. After a certain amount of content extraction, some unnecessary content is removed, the order between elements is established, and the sharing theme is highlighted, which can be used as the best annotation for "winding paths lead to seclusion". In the argument of this book, the text is the best shelter to express the "synchronicity" of poster design time, and it appears as the most hardcore, acting as a substitute for the idea and layout flaws.
The layout is clever in "points". We often mention "levels" in design, so how does "level" come about? In general, "hierarchy" needs to establish the order between elements or content, such as hierarchical relationships, primary and secondary relationships, color relationships, position relationships, and so on. The layout involves the widest range, on the one hand, it should be in its place according to the attitude of the main idea, but also according to the will of the theme, in the square inch to do multi-level foreshadowing, it is also the starting point of thought, but also the end of thinking is the beginning of another consciousness.
The idea of novelty lies in "quality". The idea in the poster design is usually the most subtle expression, often there is no silver three hundred taels here, half covering the pipa and half covering the face, so it is usually used as the finishing details of the design before the true face of Lushan can be recognized. Therefore, there are generally two ways to "add quality": adding texture (material) and adding light and shadow texture. However, it is not a one-sided pursuit of "decoration" and avoids over-design. Add "quality": give texture, pay attention to light and shadow. "Quality" is the icing on the cake. The general method is to "add texture" and "add light and shadow". "Qualitylessness" is also a form of "quality". With "shape", let's talk about "color". Design can create virtual abstractions as well as restore reality. What I want to say here is that from complex to simple is not "de-quality", and "non-quality" is also a form of "quality". In the painting period, patterns and textures rarely dominated, but nowadays, the use of patterns and textures in poster design is becoming more and more frequent, and it is more obvious in the new ** online poster art. Because of the mix and match of various patterns and textures displayed on the web page, the visual elements of the poster can express high-dimensional and multi-breadth things and objects more freely.
Through the expression of shape, tone, arrangement, division and quality, the design level has reached a new level. Through the use and thinking of these techniques, the creative works present a scene of symbiotic harmony, clear theme, symbiotic harmony, beautiful artistic conception and exquisite creativity.
We do some specific work from the details, which also makes our research more effective, and we also introduce them one by one.
Of course, it's not just about understanding and using these design techniques. In a more specific and professional learning process, the "contrast" of mathematical logic is indispensable, that is, the emphasis and weakening, and the relationship between elements is poor; "Induction": the organization of similar elements and the differentiation of different elements. My goal is to look inside at the best practices and strategies of many professionals. Something more enlightening I gained during the participatory observation was the existence of abstract forms of abstract figures.
Abstract graphics are usually the transformation of forms existing in nature into abstract forms based on points, lines, and planes. Geometry is a typical abstract form, and its design expression gets rid of the traditional way of representation of objects, and has a new infectious effect. In the performance of flat visual pictures, abstract graphics are different from figurative graphics that intuitively show objects, but through the characteristics of high simplification, and properly integrated into the picture, with its unique perspective to convey the same information, which can be described as concise but not simple.