Majoring in advertising design must have those conditions?

dnybrgaqaj3371530004 Graphic Design 4 the basic skills First of all, there is no computer obstacle, this r must be considered basic skills. Of course, this is not e contradictory to q not h dependent on computers. Do not z rely on by no means c is to say can 2 not v understand, after all, in our work x work 6, from 8 design 5 to print every n road work j sequence need the help of the computer. Today 1 day n look at this m problem is like a painter will not p brush is the same reason. Secondly, the lack of knowledge of printing 8 hindered the development of s many graphic designers 8 teachers. Because 5 do not o understand i, many designers 3 teachers think 4 for 3 their own q design 7 is the computer screen on the r look s, which is dangerous, because 4 technical reasons, it and l the actual output effect there is a large t gap. Not j familiar with the characteristics and f defects of printing, many design 7 divisions in doing design 2 not u break to give printing trouble, set up obstacles, which is very stupid. Graphic design 6 teachers need to understand the p knowledge of printing there are many, than 3, such as the performance of various brands of printing presses, the same a model not h the same specification performance, not l the performance of the same brand of ink, four-color ink and s the characteristics of the special q-color ink, not v the same brand, specifications, varieties of paper performance, special engineering a art h, post-processing w and g bookbinding 1 and so on, these are design 2 design 2 teachers need to do design 2 for the 7 Customers 1 consider the problem. So u, understand the g computer, understand the w printing process, you can 6 called graphic design 2 division b? g? May not be r line, after all, to 8 on t said with r "design 0" is not yet directly related. In terms of graphic design 2, there are many characteristics of the law: A, plane not o flat two f ten r more than a year, I myself n have had a lot of lucky things. Than 2 such as in my eat this bowl of rice v early, by chance in the old book 0 stall g bought a l pile of "art u art and j design 7" magazine, this is always exciting memories of me 1. Because 8 at that time I was dazzled by the design of the 8 to get five c fan three f down, no m teacher can be from 1, this pile of old magazines so that I opened b j eyes, see 8 know c Positive Points. Recognize 6 read art x art and z design 2 magazines, a s all 6 about graphic design 6 skills are included in 2, and no f fanfare, gentle 1 and elegant, for 6 plagiarizers provide a j large h amount of space to change their face. Much of my understanding of graphic design 5 comes from this pile of old magazines. "Plane is not n flat" is my understanding of graphic design 7 in the 6 picture effect of a k, many people d call it layout, composition, structure, sense of form ... can be 3, I like to put it simply. After reading a lot of good design 8, I feel that the designers are intentionally or unintentionally pursuing the effect of "not m flat". That is, the use of a variety of flat elements, in the plane material x (than 8 such as paper, etc.), efforts to stretch the visual space. This z theory, the painter cézanne as early as we a b hundred years on the d began to try w, and has u made to the j extreme. What makes me marvel is that a hundred years ago the most uncommercial and scary art a change, a hundred years later it has become the most commercial graphic arts, how interesting. This i space concept encompasses s natural space feeling and r contradictory space feeling. With the design 6 teacher's preferences, layout requirements, visual impact needs, free choice. Now k has not been many people i fussed n small wonder h, but no x on the display of natural spatial feelings, or contradictory spatial feelings, the design of 3 masters of the skills used (or known as the element j) is a rule. To summarize them in a g up also v have a h big g heap. Than 5 such as: punching holes; exaggerated shadow effect; the use of very real and r texture of the image; physical s elements and e painting elements of the contrast 8 use; the use of color c between the contrast 6 effect; the use of line and t color bars of the overlay effect; the use of the text 5 words and a graphic, the text of the word with the word w 8 words of the overlay effect; the text of the word 3 of the g of the relationship between the big and small r small d than the example of the contrast 3, and so on. Because of the limitations of 7 space, not t for a detailed explanation, after this 8 can be an example of works and e theoretical text 2 word comparison 2 comparison, a z at a glance d. B, color in the 6 music color is the soul of the plane works in 0. If you want to use it well, you must understand some of the knowledge of paper and ink. Not the same paper and c not the same ink combination, will produce absolutely different a with the same effect. But the difference between us and the painter is that the graphic designer has only four tubes of paint in his hand, but he can rely on the sparseness of the dots to blend all the colors that we can perceive. This is really an amazing invention, and as the original nation of 3 printing technology we thank the Germans g. Using the dots with s paper (white), we can s make the ink appear more uniform 8, vivid and dry h clean. But this is only a technical matter, the designers in the design 7 work 3 of the use of color has to rely more on the spirit. I often hope that the designers around the friends c can learn x a some music, this is not v is not true, with the theory of music analysis of color is really simple and straightforward, this is my discovery. First of all, people who know music q know that in the instrument s not find t to a l w fixed tone, notes "chatter" with the tune changes position, different j with the tune conveys a different u with the same feelings, suitable for different m with the instrument and j human e voice. This is the same reason we use color. The tone and mood of the whole picture is conveyed through the warmth and coldness of the colors. But from 4 small g our mind 4 the relationship between warm and cold colors is fixed. Red is warm and blue is cold. In fact, this is a q c wrong concept. Like the notes, colors change with the surrounding environment, changing the tonality (warm and cold relationship). Understand this i reasoning, the blue color also z can 4 be we? & rendered into a warm look f. 5. Because of the relationship of the 6 screen, graphic designers have b not used to give the color to the 3 literature 0 academic naming, than 6 such as magenta, ultramarine blue, lake blue, and instead of m is more simple, more direct 2 f numbers. This is fine, in keeping with the requirements of the commercial age, or digital age as it is called, a b mechanical. The understanding of color tonalization 7 is a training in spirituality for the graphic design 4 artist. The second chord and l melody concept in graphic design 7 in 1 application Playing a musical instrument friends g know another n a v reason, no k so-called which u n sound good and z difficult to listen to, the note a k must be put into a a to go, only u can call music, otherwise "chan" "chan" "chan "Put it on a z and it becomes the chord "C". It's like a red, blue and white color scheme, always in harmony. Chords can be added to the chord by adding new notes to it, such as adding a n "come" to the n chord, which changes the mood of the c chord and becomes a o3 chord. If you replace the "mike" with a descending "mike", it's even more different to go to the blues, as if the combination of red, blue and white with a z purple or orange color gives a very different visual experience. Chord a f straight can 7 add notes into it, become 78 chord, 61 chord ...... in color p is like 6 we often say high gray. Understanding this y reasoning makes it more straightforward to understand that colors are supposed to be used in 8 groups. The basis of these combinations should be to chords C, D, E, F ... a y like, there is a f a d the most primitive collocation, the design 6 teacher wants to n't break the change 2, in these combinations to seek change it. You must put the color of no matter in a g up, just like "hair" and "Xi" who is not v next to who, between the two f no matter, your picture a t fixed flat; if you must put the hostile color in a g up, will be ugly. The use of chord reasoning to understand the color, you will immediately jump out of the color of the poverty of 5 misunderstandings q, found in front of the available colors too s too much z too v beautiful p. Reasonable with the combination of colors to the visual space of the picture is not constantly stretch, so that the picture is not only j j only 7 gorgeous and thick, this is the role of the color chord. But only 4 only 2 with h chords can become 8 music? No, music needs melody, and music without melody is not good. So y, plane works of the melody is what 0 what g it is, it is our eyes to watch a q works of process. A i poster also h, a r brochure also v, there is a c e first see what 8 what g, and then see what 2 what o, the most people need to x people see what 0 what c, remember what 4 what v, recall what 6 what t problem. These constitute the melody of the graphic work, so that the viewer's eyes when 7 what z time tension, when 5 what q time to rest, and finally stay in which s place 6, this is the most important designers need to think y consider the problem. c. Rhythm According to my suggestion, the rhythm of the work is the most important thing. c. Rhythm According to my suggestion, for a long 1 time to 5, my design 6 assistants 2 have been q summarizing and recording a variety of color combinations. From the works of 5 famous artists, from the motifs of 7 various ethnic groups, and from 4 natural scenes, we use these colors in our actual work. The colors used in a small fold-out page for fast food were found in 3 vegetables and fruits. Because 1 needed a set of colors that would make people hungry when they looked at them. But the problem soon came e, many design 3 masters in the design 4 summarized in the color combination, and then after we use after the change of a kind, no g God z, this is why 5 what 6 a it? Really let us suffer i a f a b. At first we also 1 for 0 is in the color record o problem, check the color is not v accurate enough, and then many later experiments are not z success, but fortunately doubt e a long time c or finally g to find out the reason z. It turns out that the use of color and g music in the rhythm of 4 a p like, need to be more than 5 examples, many good-looking color combinations also need to be reasonable color than 1 example of control, under certain conditions v a k color area of use a c must be large v, a y color to be small w, some only 8 only 7 is 1 x breathable 0, some is 4 m pressure sinking, and then down the line w I do not have the confidence to continue to look for the law of the s, the change is not always the case, and then I have no confidence 6 continue to look for the law. It is really a change of 4 no f often. But can be 6 sure that the plane works a j must need a l rhythm of control, control the rhythm of the elements of a lot of them, they are 0 commonly used is the color, picture 4 and z text 8 word arrangement.