本文選題：平面設(shè)計(jì) + 版式設(shè)計(jì)��； 參考：《南京師范大學(xué)》2016年博士論文

【摘要】：20世紀(jì)設(shè)計(jì)最重要的發(fā)展和突破,是現(xiàn)代主義設(shè)計(jì)的發(fā)展,現(xiàn)代主義設(shè)計(jì)奠定了現(xiàn)代設(shè)計(jì)的基礎(chǔ),為設(shè)計(jì)的進(jìn)一步發(fā)展提供了可能性。西方現(xiàn)代平面設(shè)計(jì)的理論與實(shí)踐有著內(nèi)在的一致性,他們的發(fā)展也呈現(xiàn)出清晰的脈絡(luò)和傳承關(guān)系。每一種設(shè)計(jì)風(fēng)格的形成都有其特定的背景,它們的出現(xiàn)與當(dāng)時(shí)的社會、科技、經(jīng)濟(jì)、人文等因素交織在一起,并非孤立或偶然的事件。正是由于西方對現(xiàn)代平面設(shè)計(jì)理論的重視,才有了西方平面設(shè)計(jì)的繁榮。20世紀(jì)初,一批年輕的設(shè)計(jì)師通過設(shè)計(jì)勇敢地直面社會,在那段被工業(yè)化、技術(shù)革命、世界大戰(zhàn)的混亂所困擾的時(shí)代里,他們急需尋找秩序和意義,并試圖以此來改變世界。他們運(yùn)用全新的視覺法則創(chuàng)作海報(bào)、書籍、雜志和版式設(shè)計(jì)。他們竭力反對裝飾、對稱等陳舊的審美傳統(tǒng),以革新的目光從機(jī)器和科技發(fā)展中獲取靈感。在這些觀念之下,涌現(xiàn)出了未來主義、達(dá)達(dá)主義、風(fēng)格派、構(gòu)成主義、新浪潮等一系列設(shè)計(jì)運(yùn)動,盡管這些理念的本質(zhì)與內(nèi)容不盡相同,但卻在那個(gè)時(shí)代凝聚成一股新銳的力量,共同鋪就了現(xiàn)代平面設(shè)計(jì)的基石。構(gòu)成主義平面設(shè)計(jì)將遵循客觀法則和基于普世價(jià)值的形式視為一種理想的模式,建立了極具幾何語言的、獨(dú)創(chuàng)的、有特定審美價(jià)值的色彩和形式表達(dá)；風(fēng)格派將平面設(shè)計(jì)視為人類精神的一種精密工具,認(rèn)為這種工具能夠?qū)⒈憩F(xiàn)的準(zhǔn)確性和完美的執(zhí)行力有機(jī)地融為一體。包豪斯的平面設(shè)計(jì)在吸收和融合了各種先鋒派平面設(shè)計(jì)觀念的基礎(chǔ)上,發(fā)展出現(xiàn)代主義平面設(shè)計(jì)的重要思想和形式基礎(chǔ)；溫加特發(fā)動的新浪潮版式設(shè)計(jì)通過實(shí)驗(yàn)性嘗試,以及對版式語法和語義的不斷探索,為版式設(shè)計(jì)增加了新的標(biāo)準(zhǔn),并重新定義了“版式設(shè)計(jì)”的價(jià)值。我們的成長深受現(xiàn)代主義觀念的影響,現(xiàn)代主義是一種無處不在的思潮,是一種時(shí)代精神,也是包豪斯思想的起源。在包豪斯的觀念中,合理的形式必然能夠創(chuàng)造美�，F(xiàn)代主義發(fā)展至今,已經(jīng)成為我們觀察、處理和感知世界的方式之一�，F(xiàn)代主義是平面設(shè)計(jì)理論研究中最重要的議題,它主導(dǎo)著現(xiàn)代平面設(shè)計(jì)的發(fā)展和走向,卻也因此飽受質(zhì)疑。設(shè)計(jì)批評領(lǐng)域?qū)ΜF(xiàn)代主義設(shè)計(jì)觀念既有辯護(hù),也有批判�，F(xiàn)代主義平面設(shè)計(jì)近百年的理論和實(shí)踐發(fā)展表明,它始終是一種開放性的框架,一種難以完成的體系,因此宣布現(xiàn)代主義死亡仍然為時(shí)過早�！艾F(xiàn)代性”觀念為平面設(shè)計(jì)帶來了一種自覺的態(tài)度。這種轉(zhuǎn)型,在20世紀(jì)初的各種版式實(shí)驗(yàn)作品中產(chǎn)生,它以把握各種抽象關(guān)系的前衛(wèi)方式取代了對典范和美觀效果的追求,改變了版式設(shè)計(jì)的傳統(tǒng),有利于版式結(jié)構(gòu)的發(fā)展。“作者”理論向設(shè)計(jì)師提出一系列與設(shè)計(jì)有關(guān)的哲學(xué)、審美和政治問題,這些問題啟發(fā)著設(shè)計(jì)實(shí)踐,成為一種反思設(shè)計(jì)過程和擴(kuò)展設(shè)計(jì)方法的手段,而設(shè)計(jì)理論也會因此改變已有的思維方式。在光彩耀眼的西方平面設(shè)計(jì)的現(xiàn)象背后,有著強(qiáng)大的文化內(nèi)驅(qū)力做為支撐,其現(xiàn)象的演變和視覺形式的不同追求實(shí)質(zhì)是合邏輯的思想發(fā)展的顯現(xiàn)。從史實(shí)上看,是科技的進(jìn)步給西方文明的現(xiàn)代化進(jìn)程創(chuàng)造了必要條件,包括平面設(shè)計(jì)在內(nèi)的整個(gè)藝術(shù)領(lǐng)域都因此出現(xiàn)了翻天覆地的變化,并逐漸成為引領(lǐng)世界文明走向的先驅(qū)。但是,僅僅看到這一點(diǎn)是遠(yuǎn)遠(yuǎn)不夠的,甚至還可能會給我們造成一種假象,以為只要科技進(jìn)步了,經(jīng)濟(jì)發(fā)達(dá)了,文化和藝術(shù)也就自然而然地跟著發(fā)達(dá)和進(jìn)步。在深入地分析和探索近百年西方平面設(shè)計(jì)觀念與理論的基礎(chǔ)上,可以清楚的看出,科技和經(jīng)濟(jì)是外因,人的思想追求和創(chuàng)造性本能的釋放才是決定性的內(nèi)因。
[Abstract]:The most important development and breakthrough in the twentieth Century design is the development of modernism design. Modernism design lays the foundation of modern design and provides the possibility for the further development of the design. The theory and practice of western modern graphic design have internal consistency, and their development also presents a clear context and inheritance relationship. The formation of the design style has its specific background. Their appearance is interwoven with the social, scientific, economic and humanistic factors of the time. It is not an isolated or accidental event. It is the emphasis on the modern plane design theory in the West that the Western graphic design flourish at the beginning of the.20 Century, and a group of young designers have passed the design. Facing the society bravely, in an era plagued by the chaos of industrialization, technology revolution and World War, they were in urgent need of order and meaning and tried to change the world. They used new visual principles to create posters, books, magazines and layout designs. They tried to oppose the old aesthetic traditions such as decoration and symmetry. The ideas of innovation have been inspired by the development of machines and technology. Under these ideas, a series of design movements such as futurism, dada, style, composition, and new wave have been sprung up. Although the essence and content of these ideas are not the same, they are condensed into a new force in that time. The cornerstone of surface design. The plane design of the constitution will be regarded as an ideal model in accordance with the objective laws and the form of universal value. It establishes the geometric language, original, unique aesthetic values and forms of color and form; the stylist regards the graphic design as a precise tool for the human spirit, and thinks that this tool can be used as a tool. Bauhaus's graphic design, based on the absorption and integration of all kinds of avant-garde graphic design concepts, has developed the important thought and form foundation of the modernist plane design. The continuous exploration of grammar and semantics adds new standards to layout design and redefines the value of "layout design". Our growth is influenced by the concept of modernism. Modernism is a pervasive trend of thought, a spirit of the times, and the origin of Bauhaus thought. In the Bauhaus concept, a reasonable form The development of modernism has become one of the ways we observe, deal with and perceive the world. Modernism is the most important issue in the research of the theory of plane design. It dominates the development and trend of modern graphic design, but it has been questioned. The development of the theory and practice of modernist graphic design for nearly a hundred years shows that it is always an open framework, a system that is difficult to complete, so it is still too early to declare the death of modernism. "Modernity" concept brings a self-conscious attitude for graphic design. This transformation, in the early twentieth Century, all sorts of things. In the form of layout experiments, it takes the place of the avant-garde style of various abstract relations to replace the pursuit of model and aesthetic effect, changes the tradition of layout design and helps the development of the layout structure. "Author" theory puts forward a series of philosophic, aesthetic and political issues related to design to designers, which inspire the design. Practice has become a means of rethinking the process of designing and expanding the design method, and the design theory will change the way of thinking. Behind the brilliant Western graphic design, there is a strong internal drive of culture as a support. The evolution of the phenomenon and the different pursuit of visual form are the development of logical thought. From the historical point of view, the progress of science and technology has created the necessary conditions for the process of modernization of Western civilization. The whole art field, including graphic design, has been changed and gradually became the pioneer of leading the world civilization. However, it is far from enough and even possible to see this. It gives us a false impression that as long as science and technology have progressed and the economy is developed, culture and art will naturally follow the development and progress. On the basis of deep analysis and exploration of the ideas and theories of Western graphic design for nearly one hundred years, it can be clearly seen that science and technology and economy are the external causes, the pursuit of thought and creative instinct of human beings. Release is the decisive internal cause.

【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2016
【分類號】：J51
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本文編號：1866890