The level of Japanese design is unique in the world. Whether on the plane or industrial design is the leader of the entire world.

The art of Japan may be simple or complicated. It is both serious and grotesque. It has an abstract and moving side and a spirit of realism. This is the combination of the East and the West. It seems to have seen a kind of quietness from the Japanese design work. The realm of emptiness and emptiness has deeply felt the abstraction of the East.

The Japanese are the Yamato ethnic group, and the Yamato ethnic group is a nation with very high awareness of suffering.

Nordic people think that design is an integral part of their lives, Americans use it as a tool for making money, and Japanese people think that design is a means of survival for the nation. As Japan is an island country and its natural resources are relatively poor, exports of electrical appliances have become its important economic source. At this time, the pros and cons of the design are directly related to the economic lifeline of the country, so that the design of Japan has attracted the attention of the government. The design of Japan started in the 1950s and has made its design very powerful with its unique national character. The Japanese are the best students in the world. They can learn a wide range of useful knowledge abroad and integrate them, eventually becoming their own. At the same time, the Japanese nation’s group spirit is very strong, making it easier for the internal forces of the company to concentrate completely. There are two factors in Japan’s tradition that make its design detours: one is a minimal and refined minimalist style, and the other is that in life they form a modular system based on tatami, which makes them quickly accepted The modular concept introduced from Germany. The narrow space makes the Japanese people love the miniaturization, standardization, and multi-functional products. This precisely meets the needs of the international market, leading to the emergence of Japan’s electrical products to guide the world trend and sweep the world market.

For example, they exaggerated the hoops on the outside of the barrel to make it both a functional component and a decorative component, which is called “decorative use of structural components”. The relationship between the shape and personality of wooden and rattan furniture in Northern Europe has become a thorny issue for designers in all countries.

Another example is that internationalist style products can be mass-produced and are inexpensive, suitable for the needs of the general public. In the design process alone, it sacrificed nationality, locality, and individuality, and pursued commonality. Now is the transition from industrialization to informationization. From the perspective of long-term interests, products must have individuality to secure a place in fierce market competition. In the design, starting from the actual conditions of the country and region, combining national aesthetic sentiments with some of the shocks of modern design to form a unique design system is a development trend of the design. In this regard, the Japanese have done some useful explorations.

At the same time, Japan’s industrial design has achieved such complete development. First of all, Japan’s industrial design community pays great attention to the practice. The entire design community is closely linked with the enterprise. The vast majority of large companies (large enterprises account for about 5% of all Japanese companies) have huge product development departments and invest a lot of money in industrial design. Furthermore, the Japanese design community closely follows the development of society. The research direction of JIDA has been closely related to the national situation from the very beginning. Changes in social life can immediately receive attention from designers and form topics for discussion, forming theories. The characteristics of our country’s society are based on the needs of the world rather than the people. In this way, we can design products that truly meet the needs of our people, have national characteristics, and can face the world.

Japan is also a unique charm on the plane.

Sato Akira is a new generation of graphic designers who have embarked on the extended stage of Japanese culture and followed the old generation of graphic designers such as Tanaka Ichida. William Hogarth said in "Analysis of the United States": "The best color beauty depends on the diversity, correctness and ingenious unity." The color of Sato Koichi's works can be said to have most of this quality, resulting in a sense of separation and Tension, dramatic. In the search for balance in the relationship between color, shape and light, it is not entirely attributed to Western classical light-irradiation methods, nor does it fall into the Eastern tradition of almost exhausting the light source. It only seeks expression of color and volume, but instead The decorative color, the deformed shape, and the light performance of the classical and the impressionist arts are integrated in the color gradient technique. The vagueness of the color gradient is still clear and certain, and the weakened shades and relatively intensified colors constitute the basic characteristics of Sato Akira's work. The three are combined into one, naturally harmonious, and a piece of fusion between the east and the west is created. Xintiandi.

Spiritually, he is based on the empty and empty thoughts of the Japanese tradition, with the clear and glamorous colors of Japan since ancient times, pursuing the beautiful and glamorous world of emotions that emerged, and his creative style is sketched and abstract at the same time. On the one hand, it inherits the beauty consciousness of Japan's dynasty literature, accompanied by a cold feeling. In many graphic designs in Japan you feel as if the snow falls quietly. There is no sense of violence in contemporary Western designs. There is no conflict and climax. There is no arrogance. Most of them are meticulous and calm lyrical. With cold brushstrokes and peaceful expressions, they depict a dream and a reality. The world is not open.

Japanese designers are good at combining with their own culture, in many places where there are many design performance jumps, like a short poem in Japan - haiku, grammar, words and phrases, concise rhythms and subtle leaping, in the blank space without a pen , will feel very attractive. It is a purely Japanese, purely sensual world. This kind of artistic world that transcends reason is undoubtedly a direct inheritance of the spirit of the Dynasty literature. The language, rhythm, and rhythm of the composition used by the designer should be the same. Sato Akira is no exception. His works are composed of pure Japanese grammatical rhythms. There is no tone of translated text that does not go through, and the Western design grammar is hidden.

Japan's graphic design development is also inseparable from the Japanese economy.

In Japan in the 1970s, the rapid development of industrialization led to the birth of a large number of new materials with different characteristics. The characteristics of materials have a meaning at any time for artistic modeling, and the characteristics of materials make corresponding technologies and techniques available. Printing technology from the beginning of the letter to offset, so subtle color tone gradient performance becomes possible, Sato Koichi's fame as "new music media" was produced at this time.

Many native Japanese cultures that claim to be Yamato ethnic groups are actually circulated from China. Why is China's contemporary design less than Japan? This is indeed a question worth pondering.

Japanese culture was directly influenced by China in the early years, and haiku can also be regarded as another evolutionary form of Chinese poetry. The expression of poetry is firstly heavy rhythm, and it is divided into flat sound and humming sound. The flat sound is long, short and sound, complement each other, form rhythm, make the language spirit, and the rhythm has direct appeal and persuasive power. If the whole sentence is full or full, the rhythm On the chaos. In the Chinese Peking Opera performances, if you beat the skin at the wrong pace, the martial arts who jumped on the stage will even fall to death. In fact, the design performance has such a dangerous situation.

The traditional Chinese painters all regard this blank space as the basis for people to use their imaginations. Chinese philosophy is that the things that are forcing are changed. Whenever I was looking for such a meeting point, I saw Japan's design work. I was particularly kind and felt that I had found it and I had found a deep rational sensibility. Ancient Japan is a natural worship. Thousands of years ago, cultural references included the Buddhist and Chinese writing systems and the art and architecture of the Tang Dynasty in China.

What is China's native culture? It is a Confucian culture and a 5,000-year-old feudal culture. These cultures are visualized through concrete things, such as Chinese paintings, calligraphy, Yi Jing, Zen studies, five elements and so on. There are folk-cuts, clay sculptures, woodcuts, etc. This is a culture.

The reason why the famous designer of Hong Kong reluctantly succeeds is not only because he has first-rate design consciousness and mind, but also because he has added many very Chinese things in the design, such as Chinese ancient coins, ink culture, and Confucian culture. He is very clever and knows how to add 5,000 years of Chinese culture to some modern flavoring agents. In this way, he stepped into the ranks of the first-class graphic design masters of the century.

Akio Sato's design has a distinct national style. He not only inherited the quiet, distant, elegant and soft ethnic style of Japanese culture but also pushed the style closer to perfection and enrichment, refining the most essential spiritual connotation in Japanese culture. The nation is the world's only. Sato Yoichi's design works centered on the national style and is recognized by the international design community. Dolcn.com

Mr. Shen Haopeng very much admires the works of Akira Sato, and his posters are just like the Japanese verse “Haijo”, which is full of artistic beauty. Shen Haopeng said that in the Western design world, because Japan’s achievements have already formed the concept of the East, or Japan, to some extent, everyone knows that Japanese culture originates from China. Chinese designers face greater challenges.

Fukuda is a graphic designer of contemporary geniuses in Japan. He always gives up old pictures and systematically integrates various creative ideas and innovations. Each batch of works reflects his leap in subjective imagination and his ingenuity in controlling and creating works. In a seemingly ridiculous visual image, he transmits a rational sense of order and continuity. Fukuda is proud of his Japanese tradition and masters modern cognitive psychology. His works are closely linked to themes, imaginative, fascinating, yet extremely concise, have a playful sense of humor, and are good at using visual hallucinations to create a strange taste.

We just want to learn these masters and interpret their designs.

Modern design increasingly recognizes localization. Localization is the identification of local culture, not the symbol or figure. Explore the connotation of local culture, identify the collision point between traditional culture and its own personality, and form its own design style. This is where the essence of design localization lies. The success of Japanese design can not but be said for their success in the design of the Eastern concept. Although the cultural characteristics of the Daihwa people are traced to the legacy of the Chinese civilization, in the design works of others, the “normality” of Eastern culture is far more transparent than the Chinese designers. Everybody in Japanese design Mr. Fukuda Tomoo pointed out: "There can be no redundancy in design." From this point of view, it is not difficult to see that his design philosophy and the traditional Chinese aesthetics emphasize the "just right side" which has a certain common point of convergence.

Japanese design uses traditional concepts, modern elements and composition techniques, and is at the forefront of design. This cannot but be worthy of learning and learning from Chinese designers.

Source: First District