Chinese calligraphy is an independent art that uses the brush to write Chinese characters. Chinese characters are one of the three ancient languages ​​in the world. The other two, one is the ancient Egypt's pictorial text, the other is the cuneiform writing of the Sumaliyah and the Babylonians, but both of these words were interrupted. The only Chinese character has been developed and continues to this day. In addition to its practicality, Chinese characters are also highly artistic as a tool for recording language and conveying emotions, expressing people's emotional activities and psychological feelings. Through the different strokes of the Chinese characters themselves, the character, direction, and size of the characters form endlessly attractive Chinese characters. Since Chinese characters have been written, the art of calligraphy will follow, because the composition of Chinese characters already has a quest for beauty. Chinese characters are written with a brush, which makes the characters such as 篆, 隶, 楷, ã€, è‰ and 具有 have high aesthetic value and artistic characteristics. This is the unique calligraphy art of our country.
Calligraphy art is an abstract art. The connotation it expresses through the appearance of a point painting is implicit, ambiguous, vivid, and rich. Calligraphy has a melody of music. It is filled with a rhythm of speed and harmony in silence. It is a silent music. Calligraphy has the grace of dance, pitching and jumping, and it is a vivid dance. Calligraphy has a literary composition, and carries forward and transforms. There is echo, a climax, a focus, and an ending. It is a literature of asynchrony and tendencies. Calligraphy has the location of paintings, and it is a kind of painting with no color. In addition, calligraphy also has rhythm of the poetry, the formation of chess and so on.
With the development of the times, the acceleration of the information society, the unprecedented competition in the market economy, and the integration of various sister arts, they are all interconnected and learn from each other. Visual communication design in modern design is also drawing on new nutrition. Such as the rationality of the structure of Chinese characters, the artistic style of Chinese calligraphy, and the trends and achievements of modern designs at home and abroad are the problems faced by each of our designers. Undoubtedly, there is still a big gap between China's overall design level and developed countries. After China's accession to the WTO, domestic products must have a certain influence in the international market. In addition to product quality, packaging and decoration design cannot be ignored. problem. We must learn from the new techniques, new ideas, new ideas, and new materials of foreign design to make new breakthroughs in China's packaging design and participate in international competition. However, while drawing on foreign excellent designs, we must not neglect our nation's most characteristic and representative things. Looking at the previous “Star of the World†competition, most of the Chinese award-winning works prove that the “national is the world†principle. In Japan, some outstanding designers have already merged the art of calligraphy into design, and have formed a Japanese packaging design style. This design theme is prominent, accurate information transmission, strong visual impact, can attract the attention of consumers, thereby arousing people's desire to purchase, and can best achieve the purpose of promotion. China is the originator of the art of calligraphy and can be less advanced in design than Japan. This must attract the attention of Chinese designers.
In visual communication design, figures, text, and color constitute the basic elements of a work, while graphics and text play a leading role. Text is more and more important in the design, so this requires packaging designers in the graphics, text, color and other aspects should be unconventional, innovative and unique in concept. Some designs are often immersed in changes in art characters, but they are rarely used and studied in calligraphy art. Of course, art characters have their own advantages. They are neat, standardized, and rigorous. However, some packaging designs are overly rigorous, dull, lacking in human touch, and do not achieve an ideal state. Calligraphy art can make up for these deficiencies. For example, the characters are simple and elegant, rich in bones and bones, and sturdy, round and full of stone and stone; the scriptures are solemn and uniform, the knots are steady, and the writing is solid; the official script is strong and weak, and the pitch is back, fat and thin; the cursive posture is indulgent, and the priorities are important. Twirling; bold and unconstrained, both movements and masculine beauty. In short, the proper use of calligraphy art will give people a very high aesthetic realm. Even foreigners who do not understand Chinese will be overwhelmed by it. Its beauty and appealing power cannot be replaced by art characters.
In recent years, the art of calligraphy has been increasingly valued by the design community. Some excellent packaging works have emerged. These works not only enable consumers to appreciate the beauty of calligraphy, but also have a high value for collection.
Moreover, because of the different brand positioning, product positioning, and consumer positioning, the art of calligraphy will also be different. Such as men and women cosmetics, alcohol, cigarettes, food and so on. Men’s packaging should be bold and bold, women should be elegant and soft, and children should be naive and lively. Whether the use of calligraphy in these packaging designs is appropriate or not requires that packaging designers go deep into life, focus on research, and cultivate their own artistic accomplishments. Only in this way can we greatly enrich our design concepts and design language, and make the work more unique and artistic. (Author: Liu self cents)