摘要
日本的招贴设计在东方设计史中独具魅力。文章以日本招贴设计的代表人物龟仓雄策、永井一正、福田繁雄、佐藤晃一、田中一光等人及其作品为切入点,对日本招贴修辞风格的结构平面化、色彩民俗化、角色虚拟化、意象丰富化进行阐述。分析认为:其图形的修辞技法呈现出多样性,在图形的表意、传达、审美、编排等方面融和了中西方的文化特点;招贴修辞既简朴又繁复,既严肃又怪诞,既有抽象的一面,又具有现实主义精神,凸现出东西方精神的交融。
Japanese poster design is extremely eye-catching. The technique of graphic rhetoric is diversified, combining western cultures in terms of graphic expression, appreciation and formation. Thus, Japanese poster design has become a flagship in oriental design history. Japanese poster rhetoric can be simple or complicated, serious or grotesque; it can be either abstractive or realistic, which stands for the sound combination of eastern and western cultures. In Japanese poster design, we can reach a state of peace and void and deeply feel an eastern style abstraction. In this article, the authors will explore Rene Gruau.Nagai Kazumasa.Shigeo Fukuda. Sato Koichi and Tanaka Ikko＇s works and state structure flatenalization, color customalization, character virtualization and image diversification, to achieve a better understanding of the style of Japanese poster graphic rhetoric, and commit to the development of Chinese poster design.
出处
《浙江理工大学学报（自然科学版）》
2007年第4期415-419,共5页
Journal of Zhejiang Sci-Tech University(Natural Sciences)
关键词
日本
招贴
图形修辞
Japan
Poster
Graphic rhetoric
