| The early 20th century saw the modern graphic theory come into beingin Europe, which flourished into various schools and genres as timeelapsed. With the reform and opening up of China since 1980s, a greatnumber of idiosyncratic works of design have poured into China from Europeand America and have had profound influence upon Chinese graphic design.With the impact of the overseas thoughts, there arises a strong and deeptendency in the research of graphic design, which results in a large numberof academic outcomes. These include modern graphic design theories,principles, patterns, rules and so on. However, a systematic research anddiscussion is not yet found about the issue of space order in moderngraphic design.In graphic design, space refers to the space on a flat, blank andunprinted piece of paper, which is invisible and intangible as that inarchitecture. According to Paul Renner, the remarkable French graphicdesigner, the new modern graphic design has referred to the artistic spacestructure from abstract art, which resembles the element in "the art ofarchitecture", of the same value although different in patterns.Therefore, the paper holds that surface of a piece of paper is not onlythe background and carrier of words, but it also serves as the spacestructure in art which calls for serious treatment.In terms of artistic creation, space is the fundamental method andcondition in plastic arts. Modern graphic design defines the nature ofgraphic design as the understanding and functioning of "space", whiletraditional graphic design isolates the element of space by a simplelayout of words and patterns. Space, as an important element, goes inbetween other elements in the frame of a picture, and relates to otherelements to different degrees. The presence of space enables the manifoldvisual patterns and highlights the different gradations of aesthetics.Due to the uniformity between space order and visual patterns, theexistence of visual patterns inevitably results in a perceptible andacceptable space order. Thus modern graphic design is of many differentforms, patterns, elements and constitutive features in terms of space orders. In the concrete process of modern graphic design, the combinationand layout of various visual patterns aim at producing a regular andorderly structure of art form. This is a process which stresses thepresentation of artistic emotions and highlights a reasonable space orderof graphic design, which serves as a core element in the formation ofregular art language.This paper points out that with the fast development of modernmulti-dimensional network technique and media dissemination, our societyhas stepped into an information period. The dissemination of moderninformation has developed from print and film to network. The pattern ofvisual dissemination ranges from two dimensions to such multi-dimensionalnetwork as three dimensions and four dimensions (time), and itsdisseminating way has expanded from single informational transmission tomutual informational transmission, which leads to the alteration ofmodern graphic design, for instance, the two-dimensional "static"graphic design space, three-dimensional "dynamic" graphic design spaceand four-dimensional "video-mutual" space, etc. However, no matter howthe media of visual dissemination develops, the nature and law of moderngraphic design will never change and its design language will alwaysfollow its spatial order.Therefore, this paper puts forward that order is the main stream whiledisorder only causes confusion, that is, to seek the regularity of thespatial order harmony, to follow the structural fabric of the spatialorder harmony, to pursue the expression of the spatial order harmony, andto create the form of the spatial order harmony. Without question, thespatial order of graphic design language will turn out to be the keyresearching subject of modern graphic design art. |
