Hottest image symbols and layout semantics

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Image symbols and layout semantics

Abstract: creation is a topic that everyone is happy to talk about. The development of science and technology makes our design tools constantly updated. But when we are addicted to the infinite changes of graphics brought about by computer technology, we may also be trapped in the danger of formal games. From the perspective of semiotics, this paper attempts to analyze the innovative requirements of design, especially layout design, in the sense of cultural symbols

key words: cultural core symbol semantics

creation is a topic that everyone is happy to talk about. The development of science and technology makes our design tools constantly updated. But when we are addicted to the infinite changes of graphics brought about by computer technology, we may also be trapped in the danger of formal games. Design is not simply "art design", but an important part of human culture. Modern design can be said to be a symbolic activity related to human beings and science, technology and culture. Symbolic activity is a unique basic activity of human beings. It is ubiquitous in the communication and coexistence between man and nature. It is an effective means for human beings to exchange consciousness and experience. The range of symbols is very wide, and words, patterns, logos, music, clothing, architecture, etc. can be included in the range of symbols

the process of human consciousness is actually a process of compiling and converting the external world into symbols. The essence of symbolic activities is the understanding and summary of human internal empirical thinking on the laws of the external world, that is, starting from understanding the appearance of things, then summing up to the brain to form concepts, and then corresponding these concepts to the external world to form symbols. Human thinking can be said to be the selection, combination, transformation and compilation of symbols, which are carried out in the form of symbolic activities. Human information exchange and literary and artistic creation are the conversion activities of experience symbols. In such a huge family of human symbols, there are language symbols, cultural symbols, general symbols, etc. design symbols are the branches derived from cultural symbols and other symbols, and the cross combination of art and science. Their core is the inheritance and Transcendence of culture, and their essence is creation

design symbols have the function of configuration, that is, giving invisible human emotions a form for people's perceptual knowledge and reference. Like artistic symbols, it carries the inner meaning of human spirit, values, emotion and reason. Design symbols have different colors, textures, shapes, sizes, and different combinations, which form rich codes and are accepted by people through their visual experience. It is understood by people through cognitive, memory and thinking activities. Like any symbol, design symbols also have signifier and signifier. The former is expressed in physical forms such as graphics and colors, while the latter is expressed in thoughts, ideas and emotions

the study of design symbols leads to design pragmatics, design semantics, and design language construction. The original meaning of semantics is the meaning of language. Layout can be said to be a symbol system with vocabulary (dots, lines, surfaces, color blocks, graphics), grammar (layout composition rules) and other design languages, so it is also a comprehensive system with the functions of meaning, expression and communication. Layout pragmatics studies the problems of layout communication function, layout syntax studies the problems of layout structure, and layout semantics studies the relationship between layout form and communication meaning. According to Barthes' principle of expressing meaning and Eco's theory of architectural symbols, symbols have corresponding denotative meaning (explicit level) and connotative meaning (deep level)

layout semantics also has corresponding denotative meaning and connotative meaning. The former refers to the form elements or things (such as color blocks and lines) that the layout uses to express the purpose and function of use, that is, the physical properties of the plane media, including format, material, printing method, specification, etc. The latter refers to the attributes of the layout, as a media, in the expression of equal code functions. Connotative meaning does not make the layout and its attributes form a fixed corresponding relationship, which is that for different decoders, the layout will be given different connotative meaning, and its cultural differences are an important reason for the different meaning transmission. The connotation of the layout reflects the interactive relationship between the layout and the readers' feelings, emotions or cultural values. There are different principles in the design of denotative intention and connotative intention: the principle of effectiveness and the principle of suitability. Denotation refers to the hidden connotation behind it, which is the challenge faced by designers today. This machine is digital display, adopts frequency conversion speed regulation, automatic shutdown at break, and can be set to automatically return. From the perspective of layout semantics, layout design is by no means a patchwork and listing of graphics and words. Only by considering the denotation and connotation of layout semantics at the same time, can the work better intervene in the cultural context from the real interface through the interpretation of symbol system

the process of graphic works creation by designers can be said to be a multi-level symbol conversion and coding process. Designers compile shape codes and meaning codes through perceptual analogies such as meaning, metaphor, metaphor, and allegory, and then arrange and organize them to form the image of the work. The designer, as the sender, conveys information through the work symbol system (explicit meaning and accompanying signs). The reader, as the trustee, understands and recognizes these languages in reading, that is, decodes, reads information, and understands the image of the work. Here, the surface meaning of graphic works is the meaning directly generated according to the internal factors such as practicality, structure and technology. Its meaning is based on the practical functions of graphic media and other factors, such as the size of the page, the legibility of the text, etc., which is a technical functionalist attitude. On the contrary, the so-called deep meaning is generated from the external factors of graphic works (including culture, philosophy, religion, aesthetics, values, etc.). The generated meaning is based on a wide range of cultures. It is a symbolic attitude of culture, which is expressed through specific symbols, expressing meaning in form and conveying meaning in form

The symbolic attitude of culture always plays a leading role in the design. It is not only limited to the level of perception, but also can reach or exceed the depth of rationality, and profoundly reveals people's spiritual will state and life concept, as well as its complexity and regularity. The layout semantics conveys specific information through a series of formal and concise symbol organization, stimulates human good thoughts and emotions, and guides people to practice. The symbolic attitude of culture also guides the formalization of morphological symbols. Different design concepts promote comprehensive thinking to extract typical elements from direct, indirect, empirical and memory, and integrate and isomorphize them according to certain creative goals, so as to create rich and clear forms. Modern layout design enhances the image of works with the composition and relationship of serialized, scientific and standardized visual symbols, and carries out cultural and emotional exchanges between designers and audiences. The layout semantics of symbols can achieve the purpose of isomorphism through a series of arrangement and combination of shape symbols and meaning symbols

in the creative process of layout language, the designer's understanding of a thing and phenomenon, and the final finished work is composed of expressive bodies. This expression is the symbolic element and combination of various morphological symbols. It constantly conveys a variety of information about the knowledge, experience and concepts of image art. For example, the most typical shape elements, such as square, circle and triangle, have corresponding semantic connotations. Square represents firmness and steadiness, circle represents elasticity and fullness, and triangle represents sharpness and conflict. Among the representations formed by these symbolic languages, square, circle, triangle, etc. only show the roughness of the symbolic form, which affects the accuracy; The latter applies the basic attributes of servo system, and in order to understand the meaning of the object referred to by the image, that is, to achieve the transmission of symbolic meaning, and to clarify the concept of symbolic meaning and the connotation of things, it is necessary to make corresponding suggestions on the composition of materialized forms under the specific cultural and practical background

layout semantics is conveyed through the meaning of image symbols and its relationship. The external form of image symbols is represented by shape symbols, that is, "images", which can be either concrete images or corresponding abstract formal elements such as points, lines, and surfaces needed to form a layout. These abstract formal elements act on human senses, give people different feelings, and also have the nature of ideographic. However, without entering the work and combining with the unique spiritual meaning of the work, it cannot form image symbols that reflect the semantics of the layout. Only by entering the work, reflecting the internal cultural concepts and attitudes of the work, and forming the image of the work, can it transcend the attribute of objective images and become an image symbol bearing the semantics of the layout

according to the semiotic thought of the American philosopher and logician Peirce, from the relationship between symbols and the objects they refer to, image symbols have the characteristics of drawing, indication, symbol and so on. Through these ways, the meaning they carry is expressed. Drawing is to imitate or illustrate the reality of existence through "image similarity", and express its meaning by borrowing the original meaning of things, which is the earliest method of meaning expression adopted by human beings. Such as abstract or concrete image patterns, are a kind of drawing. The way of drawing is relatively intuitive and obvious. Deixis is to make use of the causal logical relationship of "inevitable reality" between the symbolic form and the meaning to be expressed, and form a referential function based on the cognition from cause to effect, so that people can understand its meaning. Such as the traffic guidance symbol system, the guide page of books and periodicals. Are examples of the use of indicative symbols. Symbols include habitual symbols and comprehensive symbols. Habitual symbols are conventional, or have implied symbolic meanings in themselves. For example, the rose symbolizes love, and the pine and crane symbolize longevity. Comprehensive symbols achieve another new symbolic meaning through the connection of multiple meanings and association. For example, the combination of lotus root and carp patterns in traditional patterns means "more than one year in a row". The image symbols of drawing, indication and symbol and the abstract points, lines and surfaces jointly construct the image of the layout and reflect the semantics of the layout

the meaning of the layout is by no means an arbitrary and accidental expression of meaning. It is affected by multiple factors such as philosophical trends, the development of the times, cultural concepts and so on. The image symbols of different times formed under different cultural backgrounds have different semantic expressions. The development of layout design to the contemporary era reflects the characteristics of emphasizing decoration, function and context. In agricultural society, the so-called design is hand decoration. After the industrial society, the types of graphic design are becoming more and more abundant, and people gradually focus on the visual communication function to meet the needs of business. The graphic design of internationalism style and the layout style of multi page publications have the characteristics of modularization and intensification, which has brought the communication function to the extreme. What really affects today's design thinking is the design trend of thought of postmodernism. Postmodernism started in the dialogue and communication with the public, and its characteristic system automatically counts the experimental data, which shows that it pays attention to the spirit of the main body, and the fixture continues to be used in such cases, emphasizing decorative forms, traditional context, and symbol "semantics". Design Semiotics comes down in one continuous line with postmodernism. But symbolic semantics is not equivalent to postmodernism

from the perspective of ideology, postmodern design is a decorative Development of modernist design, which advocates using decorative techniques to achieve visual enrichment, reversing the form

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