The Nationalized Tread Study Of The Modern Graphic Art Design

Since the mid 19th Century, graphic art design, with its unique way and scope of information bearing, has profoundly changed human beings'means of information transmittance and culture inheritance, pushing humanity from the era of script to"image-text". In the course of the 150 years of history of the design, numerous schools of nationality have come into being in the field. As nationality has always been crucial in graphic art design, adhering and developing nationality has been regarded as the fundamental principle of the graphic art designers all over the world. However, the clashes between different cultures have an in-depth influence on the trends of nationality-oriented graphic art design of all countries and regionsNowadays, under the onslaught of western cultures, the realm of graphic art design has been undergoing grave denationalized or totally westernized inclination. Therefore, it has become the incumbent responsibility and mission of Chinese graphic art designers to enhance the researches on the nationality of the design, the application and innovation of nationality elements. It is not only the requirement for the Chinese graphic art to go global, but also the need for the Chinese culture to preserve its lifeline. It meets the demand of the development of world graphic art, since"only by being national can something be international".The paper, divided into five chapters, represents an attempt of the author in this regard. The first chapter, which is devoted to the necessity of strengthening nationality-oriented graphic art design, points out that such orientation constitutes the general trend of the development of this arena in the world, and summarizes several aspects of the current absence of nationality in the Chinese graphic art design. The second chapter, which is dedicated to the origin of traditional aesthetic features of the Chinese nation, recapitulates the birth of the Chinese nation and the object factors influencing the traditional aesthetic characteristics of the nation. And the third to fifth chapters respectively explore the notion and means of consolidating the nationality-oriented graphic art design of the contemporary China from the perspectives of nationalized graphic art, color art and the transmittance of images.The innovation of the thesis lies in the combination of parts of works designed by the author through his practices and studies on the one hand and the theories of solidifying nationality in the graphic art design on the other. The paper floats the idea that the design is an important component in cultural inheritance and the designer should apply nationality elements to the design to create a"green vision"with an ecological concept of graphic art design. Only by achieving such vision could the design in China take a major position in the world tide.The author hopes that such probe could further arouse people's attention to the nationality in the graphic art design, encourage the understanding and appreciation of the nationality elements in the design, and boost people's capability in the highlighted application and innovation of such elements. In the wish that the exploration could be like a handful of clean spring, the writer desire to contribute to the eternal bloom of the exotic flowers of the Chinese elements in the garden of the world's graphic art design.