The application of Chinese folk paper-cutting in the teaching of graphic imagery in design sketches
Art is "creation" rather than imitation. Originality is the life of a work of art. Original works are those that dare to break through conventional traditional thinking patterns through constant search and exploration. Use paper-cut modeling thinking to create, analyze and create from different angles the size, priority, rhythm, etc. of different objects, focus on the performance of the picture and the formal relationship within the picture, and combine paper-cutting and "planar imagery" "The similarity of the modeling language creates imagination, regains a new vitality and a new visual image of the picture, and makes the picture achieve a visual result that is both harmonious and has the shape of folk paper-cut art.
(1) The communication of paper-cutting language in the "Plane Imagery" project is the expression of concepts
Since design sketching is the basic ability training of the design major, and since students are required to express themselves in the language of paper-cutting when performing tasks in the "Plane Imagery" topic, then the essence of design expression should be reflected in teaching, so that students can Fully realize that the depicted objects express the feelings and emotions of the design concept through the modeling language of paper-cutting. It is the materialization of the state of mind. Therefore, it is necessary to master the visual expression language of paper-cutting art and embody it in the expression of "flat image" There are clear traces of understanding of the folk paper-cutting art. From the perspective of specific teaching practice, students are not used to it when they first come into contact with the subject. Many students' understanding of sketching is limited to the "basic skills of traditional sketching light and dark tones", although points, lines, surfaces, shapes , light and shade, texture and other factors can realistically replicate the basic appearance of things, but the learning of "flat image" sketching cannot stop at this level. They need to master the visual language of paper-cut modeling to express "flat image". As a form of design sketch, "flat image" must contain formal factors in the work.It has always conveyed the artistic concept of paper-cut modeling, abandoned the limitations of time and space of matter, and made students realize that "form" and "state" are not the things themselves, but the embodiment of a concept, thus possessing the ability to express visual language. (Read more: The similarities between folk paper-cut configurations and graphic design sketches)
(2) The "flat image" design sketch is integrated into the communication of paper-cutting language to form a new visual image
In the teaching of graphic imagery, let students pay attention to the characteristics of paper-cutting language and modeling factors, observe and analyze the shape of real objects, change students' conventional observations, gradually select the graphics of object images, and simplify the physical structure of the referenced objects. And incorporate the visual characteristics of paper-cutting, transforming it into a two-dimensional image with the graphic meaning of paper-cutting. This adds the color of folk art to students' graphic image thinking, and explores the beauty of folk art, forming unique visual factors and providing some opportunities for future designs. For example: when guiding students to observe the image of dried loofah, the students' first reaction was to express the "intricate" silk of dried loofah using the relationship between light and dark in traditional sketches, and then guided students to integrate the plane modeling factors of paper-cutting into design thinking. After the students Understand the modeling characteristics of folk art, and have a new understanding of the performance of the subject assignment of plane imagery. The works show a different expression of thinking from the traditional sketch that emphasizes light and shade. When Ruyi observed the cross-section of a loofah, he integrated the observed image into the "yin and yang" plane characteristics of paper-cutting, combined with the unity of body deformation and realism, used his imagination to express the image of the loofah with the density and thickness of the lines, and the work presented a " Although the new visual image of "monkey face" with two-dimensional characteristics is relatively childish, the author believes that it is successful in terms of changing the thinking of integrating folk art into the design sketch class. (For more information, please read: The modeling characteristics and artistic language of Chinese folk paper-cutting art)
(3) Utilize the similarity between paper-cut modeling and "flat image" design sketch creation to purposefully train paper-cut modeling thinking in teaching practice
Design sketching training involves improvisation, creativity and experimentation, which is similar to the creation of paper-cutting. Guide students to find the entry point of "flat image" from the visual modeling factors of paper-cutting, strengthen the communication of the visual language of paper-cutting, use the visual language of paper-cutting to consciously express artistic feelings, and explore the characteristics of flat form factors in the art field. Through association, implication, flatness, and exaggeration, it becomes an independent formal structure that expresses the theme. In terms of modeling, it advocates the integration of the two modeling techniques. The pursuit of "flat image" images has a certain adaptability to the folk paper-cut art. It uses form to express meaning and form to describe spirit. It breaks the conventional thinking habits and practices"Image" shapes the diversity of language expressions and the richness of structural elements to express the authors unique emotions and ideas. Guide students to innovate their thinking patterns by integrating the modeling features of paper-cutting into the graphic design thinking of sketches. When observing natural-shaped cabbages, incorporate paper-cutting modeling elements. After learning to use "images" to shape the diversity of language expressions, observe cabbages. When creating a cross-section, the seemingly unrelated and chaotic modeling elements are organized using paper-cut techniques of exaggeration, deformation, and decoration, creating the effect of paper-cut yin and yang carvings. Therefore, seemingly unrelated and chaotic modeling elements can become the main subject of the picture. This allows students to find many possibilities to create new visual images by combining them with Chinese folk art images. Only through continuous training, natural forms are weakened and mixed with each other in the work, and existing elements can be used to continuously try and create new visual elements.
