Virtual Reality

This thesis is devoted to the analysis and research of "light" phenomenon in graphic design.Light plays a significant role in the domain of human vision. During the past more than five hundred years of western classic painting, from the Middle Age when light was creatively used in the dogmatic ceiling drawings, mosaics and altar drawings, to the Renaissance when light was used for the reappearance of "reality" as a scientific and rational thinking, and then to the time that light is organically combined with color, with space by the impressionists, light has become the most important medium of harmonizing reality with imitation, touch with vision, plane with space. Since the middle of nineteenth century, when the photography was invented, the visual revolution by combination of light and photography has been involved in many visual fields, such as, TV, film, animation, etc., and the graphic design is not an exception. And it is more like this especially in the modern time of image.As other artistic media above mentioned, graphic design exerts its openness without precedent in its artistic category today, and the traditional definition of a design work has not been important by comparison with the new method and interpretation way, and the expression of the designer' s intelligence. The pictures are immensely used in the graphic design, sometimes as the information subject, or as base picture by replacing the background, which depends on the intention of the designer and the visual desire of the beholders. But light has become one of the most important factors while visual presentation, meaning expression and concept transformation. In my thesis, I attempt to discuss the following questions:1 draw the shape of shadow, cut the planar space, and build the grids or off-grids;2 draw the white and black levels, hide or display the necessary information;3 draw the space profile, build the three-dimensional body on the plane;4 make "side" in graphic design, that is, "image frame" , as a watching window, in which there is a visual world of taste, feeling and profound change;5 when the scene outside the window disappears, we have no way to know the unknown scene outside the picture to determine its position in an actual time and space coordinate.In my works, light and image is organically unified. The image originates from the actual world, which, however, is not "reality" itself, but "visual reality" . The image is reproduced and used, but the images copied in large quantity will deviate from the original reality more and more. And now "copy" has played a key role, which is an action of creative design, because there is a secondary mutation after each copy, that is, there is some more distance from the original image, when the subject of design has been hidden in the procedure of "mechanical copy" . At the same time, "copy" is modern esthetics term because "virtual reality and false image" has cleared up the "reality" due to copy since Benjamin introduced "mechanical copy" , especially in our modern picture reading time. In view of French philosopher Jean Baudrillard, we have come into the time of "image simulation" . If only from the image expression in the graphic design, "simulation" of image is also like this, while light has played an extremely important role in this process of simulation.It is the conflict between light on light and the virtual reality that attracts me to search for the next: the real image on the virtual base image -the fake maker on the real base image - intervention of real and false images. And my questions are how the designer produces the real image in a series of procedures and how his intention is hidden in the procedures. And my conclusion is that what is really important is not the "real" and "false" but their relationship, which is not a binary relationship, i.e. the diametrical opposition of "yes" and "no" , and on the contrary, 1 attempt to present a procedure, that is, procedure of design and procedure of presentation, no matter whether it changes from "yes" to "no" , or "no" to "yes". At the same time, I hope that the procedure can break the opposition method of subject (design) and object (receiver) in traditional design, that is, design is active, and the receiver is passive. On the contrary, every procedure in my works is open to the participation of the receivers, and the meaning of my works is during the "interaction" of the works and receivers, where "procedure" has become one part of design, which is a phenomenological approach of "intersubjectivity " .