西方现代平面设计的观念与理论研究

发布时间：2018-05-09 17:23

  本文选题：平面设计 + 版式设计　； 参考：《南京师范大学》2016年博士论文

【摘要】：20世纪设计最重要的发展和突破,是现代主义设计的发展,现代主义设计奠定了现代设计的基础,为设计的进一步发展提供了可能性。西方现代平面设计的理论与实践有着内在的一致性,他们的发展也呈现出清晰的脉络和传承关系。每一种设计风格的形成都有其特定的背景,它们的出现与当时的社会、科技、经济、人文等因素交织在一起,并非孤立或偶然的事件。正是由于西方对现代平面设计理论的重视,才有了西方平面设计的繁荣。20世纪初,一批年轻的设计师通过设计勇敢地直面社会,在那段被工业化、技术革命、世界大战的混乱所困扰的时代里,他们急需寻找秩序和意义,并试图以此来改变世界。他们运用全新的视觉法则创作海报、书籍、杂志和版式设计。他们竭力反对装饰、对称等陈旧的审美传统,以革新的目光从机器和科技发展中获取灵感。在这些观念之下,涌现出了未来主义、达达主义、风格派、构成主义、新浪潮等一系列设计运动,尽管这些理念的本质与内容不尽相同,但却在那个时代凝聚成一股新锐的力量,共同铺就了现代平面设计的基石。构成主义平面设计将遵循客观法则和基于普世价值的形式视为一种理想的模式,建立了极具几何语言的、独创的、有特定审美价值的色彩和形式表达；风格派将平面设计视为人类精神的一种精密工具,认为这种工具能够将表现的准确性和完美的执行力有机地融为一体。包豪斯的平面设计在吸收和融合了各种先锋派平面设计观念的基础上,发展出现代主义平面设计的重要思想和形式基础；温加特发动的新浪潮版式设计通过实验性尝试,以及对版式语法和语义的不断探索,为版式设计增加了新的标准,并重新定义了“版式设计”的价值。我们的成长深受现代主义观念的影响,现代主义是一种无处不在的思潮,是一种时代精神,也是包豪斯思想的起源。在包豪斯的观念中,合理的形式必然能够创造美。现代主义发展至今,已经成为我们观察、处理和感知世界的方式之一。现代主义是平面设计理论研究中最重要的议题,它主导着现代平面设计的发展和走向,却也因此饱受质疑。设计批评领域对现代主义设计观念既有辩护,也有批判。现代主义平面设计近百年的理论和实践发展表明,它始终是一种开放性的框架,一种难以完成的体系,因此宣布现代主义死亡仍然为时过早。“现代性”观念为平面设计带来了一种自觉的态度。这种转型,在20世纪初的各种版式实验作品中产生,它以把握各种抽象关系的前卫方式取代了对典范和美观效果的追求,改变了版式设计的传统,有利于版式结构的发展。“作者”理论向设计师提出一系列与设计有关的哲学、审美和政治问题,这些问题启发着设计实践,成为一种反思设计过程和扩展设计方法的手段,而设计理论也会因此改变已有的思维方式。在光彩耀眼的西方平面设计的现象背后,有着强大的文化内驱力做为支撑,其现象的演变和视觉形式的不同追求实质是合逻辑的思想发展的显现。从史实上看,是科技的进步给西方文明的现代化进程创造了必要条件,包括平面设计在内的整个艺术领域都因此出现了翻天覆地的变化,并逐渐成为引领世界文明走向的先驱。但是,仅仅看到这一点是远远不够的,甚至还可能会给我们造成一种假象,以为只要科技进步了,经济发达了,文化和艺术也就自然而然地跟着发达和进步。在深入地分析和探索近百年西方平面设计观念与理论的基础上,可以清楚的看出,科技和经济是外因,人的思想追求和创造性本能的释放才是决定性的内因。
[Abstract]:The most important development and breakthrough in the twentieth Century design is the development of modernism design. Modernism design lays the foundation of modern design and provides the possibility for the further development of the design. The theory and practice of western modern graphic design have internal consistency, and their development also presents a clear context and inheritance relationship. The formation of the design style has its specific background. Their appearance is interwoven with the social, scientific, economic and humanistic factors of the time. It is not an isolated or accidental event. It is the emphasis on the modern plane design theory in the West that the Western graphic design flourish at the beginning of the.20 Century, and a group of young designers have passed the design. Facing the society bravely, in an era plagued by the chaos of industrialization, technology revolution and World War, they were in urgent need of order and meaning and tried to change the world. They used new visual principles to create posters, books, magazines and layout designs. They tried to oppose the old aesthetic traditions such as decoration and symmetry. The ideas of innovation have been inspired by the development of machines and technology. Under these ideas, a series of design movements such as futurism, dada, style, composition, and new wave have been sprung up. Although the essence and content of these ideas are not the same, they are condensed into a new force in that time. The cornerstone of surface design. The plane design of the constitution will be regarded as an ideal model in accordance with the objective laws and the form of universal value. It establishes the geometric language, original, unique aesthetic values and forms of color and form; the stylist regards the graphic design as a precise tool for the human spirit, and thinks that this tool can be used as a tool. Bauhaus's graphic design, based on the absorption and integration of all kinds of avant-garde graphic design concepts, has developed the important thought and form foundation of the modernist plane design. The continuous exploration of grammar and semantics adds new standards to layout design and redefines the value of "layout design". Our growth is influenced by the concept of modernism. Modernism is a pervasive trend of thought, a spirit of the times, and the origin of Bauhaus thought. In the Bauhaus concept, a reasonable form The development of modernism has become one of the ways we observe, deal with and perceive the world. Modernism is the most important issue in the research of the theory of plane design. It dominates the development and trend of modern graphic design, but it has been questioned. The development of the theory and practice of modernist graphic design for nearly a hundred years shows that it is always an open framework, a system that is difficult to complete, so it is still too early to declare the death of modernism. "Modernity" concept brings a self-conscious attitude for graphic design. This transformation, in the early twentieth Century, all sorts of things. In the form of layout experiments, it takes the place of the avant-garde style of various abstract relations to replace the pursuit of model and aesthetic effect, changes the tradition of layout design and helps the development of the layout structure. "Author" theory puts forward a series of philosophic, aesthetic and political issues related to design to designers, which inspire the design. Practice has become a means of rethinking the process of designing and expanding the design method, and the design theory will change the way of thinking. Behind the brilliant Western graphic design, there is a strong internal drive of culture as a support. The evolution of the phenomenon and the different pursuit of visual form are the development of logical thought. From the historical point of view, the progress of science and technology has created the necessary conditions for the process of modernization of Western civilization. The whole art field, including graphic design, has been changed and gradually became the pioneer of leading the world civilization. However, it is far from enough and even possible to see this. It gives us a false impression that as long as science and technology have progressed and the economy is developed, culture and art will naturally follow the development and progress. On the basis of deep analysis and exploration of the ideas and theories of Western graphic design for nearly one hundred years, it can be clearly seen that science and technology and economy are the external causes, the pursuit of thought and creative instinct of human beings. Release is the decisive internal cause.

【学位授予单位】：南京师范大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J51
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本文编号：1866890