The Plane Design Of Nationalization

China’s economy has been developing rapidly over the past several years. Various international sports and cultural events have been held within the country. As the conveyance of conception props and medium of information dissemination, graphic design is being highly and widely recognized. In the meantime, such topics as "Chinese characteristics" and "ethnic style" are being increasingly discussed. Although some innovative performance has been seen concerning practical conduct, there are few systematical and comprehensive theories regarding this topic. Therefore, as part of the localization of graphic design and the construction of characteristic discipline, it is of significance to pay attention to local and ethnic art design, to draw the lessons from the history and apply them to current development, to explore and summarize rules and patterns in practice, to establish model on the foundation of theory, and to seek for the enlightenment for future. Profound meaning lies behind nationalization performance.Chapter II traces back to the origin of the concept of nationalization. First, a theoretical research of traditional Chinese design originated from Zhou Yi is presented, which systematically analyzes silhouette-like effects of generalization and decoration via transmission of visual language principle. Secondly, as the theory of Lao Zi and Zhuang Zi regarding the entity and emptiness, Being and Nothingness explains and develops the conception of formation and black from the perspective of artistic conception and image, a favorable theoretical support is offered in terms of forming a modern design with Chinese temperament and ethnic style. In addition, China’s traditional concept of the unity of human and heaven makes it possible to place the objects into a larger and more dynamic chain instead of restraining them as individual expression objects. Through imitation, life is represented, and the idea of allowing the expression objects to become organic parts of the endless sequences is accomplished. It is also a design concept that develops from limitedness to infiniteness. It will be discussed in the end that the unique cognition of material, the arrangement of modes and standards, and the consistency between pattern creation and aesthetic experience provide abundant experience for the combination between art and techniques.Chapter Ⅲ explores the typical characteristics of the Nationalization Performance of Graphic Design. By means of discussing expression by symbols, the correspondence of text and pictures, the symbolic application of harmonious beauty as a graphic language, and image expression, it could be concluded that the profound and extensive traditional Chinese culture has a unique and deep understanding of the world, the universe as well as life. The local character is especially obvious in the lingual presentation of image. In other words, the procedure of national performance is one driven by multi-layered image, orderly arranged by symbolic conversion and code processing. Ethnic culture plays a dominant role during this procedure. Compared to local culture, ethnic culture does not confined to the selection of traditional symbol element, but aims at demonstrating the expressive power of visual language, which is to reveal psychological state, conception, and value that belong particularly to human being. Thus, ethnic performance is a procedure creating a series of formalized and concise symbol language, organizing and conveying specific information, stimulating audiences in order to acquire cultural identity and spiritual sympathy.The fourth chapter illustrates the thinking mode of nationalization performance. To establish a systematical thinking pattern and avoid unexpectedly-and suddenly-inspired conduct, a discussion of the extraction of conception, specific arrangement of formant, and the final establishment of language style. generally speaking, traditional culture contains wisdom and experience of our predecessors and is the improved fruit of practice in certain fields, so it is very close to the essential truth of substance. Therefore, nationalization performance’s pursuit of concepts from ancient Chinese civilization represents to express design ideas through national culture and to express understanding of the relationship between human and substance. As the corresponding system of image and concept of traditional Chinese culture is highly spectacular and complex, designers should maintain a clear concept, adhere to the need of design theme, combine modern understanding with traditional culture, and capture the most symbolic and meaningful element from our profound and extensive history. Additionally, designers should borrow the hierarchical and symbolic meaning of symbol element in the system of traditional culture so as to achieve the combination of realistic themes and traditional culture and develop specific art style and feature.The fifth chapter discusses how to achieve the nationalization performance. From perspectives such as language, concepts, forms and rules and combined with the characteristics of nationalization performance, an implementation procedure concerning concept, image, content and form is demonstrated. Specifically, five aspects including the selection of language type, the props of visual principle, the application of conceptual technique, the organization of formalized language and the innovation of expression methods. It is also emphasized that it would help build the order and regulation of graphic design language to learn folk art, upper class art, and ethnic culture, to cultivate the ability freely expressing and seeking order in disorder and to get a clear understanding of the procedure of implementing graphic design language. it is also beneficial for the allowance of Chinese philosophy, the oriental culture and ethnic feature in artistic works to learn the spiritual and refined expression of traditional Chinese paintingTaking Zhuang people as an example, the Sixth chapter explores the influence of ethnic group on art. As the largest ethnic group in China, Zhuang people are mainly located in the Lingnan area, and possess a high level of arts and crafts technique such as Brocade and bronze drums. Zhuang’s design of agricultural equipments and instruments reflect rice-planting theme in hilly areas, or culture. The culture of rice planting, bronze drums, themes of fertility, and the idea of frog worship are prominent concepts. Therefore, it is reasonable to start with the example of Zhuang people, and to accomplish the concerns of design language for ethnic culture and to highlight ethnic feature in modern designSimilarly, the seventh chapter probes into the topic of the demonstration of ethnic characteristics in graphic design, especially the artistic skill of language expression and implementation of techniques. Firstly, the meaning of image, the symbol of connotation, the analogy of features and the linkage of sensation will be analyzed. Secondly, based on the extraction of image, the support of character pedigree, subject image, decorative pattern and form language could be gained from the myths and legends, religious images, graphics and device creation. The third view is the materialized presentation of the design concept. This part tries to seek for a unique way to affect visual communication design conceptually and practically through comparison and contrast of the deformation and classification of patterns, decrease and increase of characteristics, split and rebuilt of elements, and signifying and reconstruction of image.The last part is the conclusion, which includes "cultural orientation and rhetoric turn","internal integration and external communication""disappearance of order and occurrence of dynamism", and "Focus of the marginal and shift of the emphasis". The conclusion offers a systemic outlook of nationalization performance of graphic design.