Design language

Author: Xue Hongyan
Publisher:
Publish Date: 2006-07-01
Features: Visual language is a key component in design, and a good design must rely on effective visual language to express itself. Visual language has its own inherent rules and principles. Designing with Visual Language explores various aspects of visual language in design, including its conceptual elements, communication methods, expressive thinking, and future trends. It offers valuable guidance for undergraduate industrial design students or those in related fields. This textbook is more a crystallization of collective wisdom than an individual achievement; it is more a product of research than a mere outcome of teaching and research. Before engaging in theoretical research, the author undertook a visual communication practice project—the CI design for Jiangyin Zhongtian Comprehensive Development Co., Ltd. During this project, special attention was paid to exploring and summarizing the laws and methods of visual communication. In the end, not only was an excellent CI design completed, but also some insights and experiences in visual communication were accumulated.
In the process of compiling this book, the author adhered to the following principles: starting from simple to complex, prioritizing skills before application, and moving from individual to comprehensive. Special focus was placed on several key relationships: rationality and emotion, theory and practice, modernity and tradition, localization and globalization, and design art vision versus pure art vision. The interplay of these elements gives the textbook a distinctive "hybrid" quality.
The author believes that the compilation of a textbook is less about how it is written and more about how it is analyzed, especially in dissecting important and newer concepts. This enables learners to truly grasp core ideas and master creative methods. During the writing process, the author spent several months studying in Germany, where they met many friends in the field. These individuals provided new insights and generously shared their excellent works, which became illustrations for this textbook.
Gratitude is extended to Miss Annabel, Ms. Bressel, Mr. Kurt, Mr. Klans, and all the friends in Germany who offered assistance.
Contributors to this book include: Liu Sheng and Zhang Bin contributed to Chapter, Yang Qixing, Lu Wei Hua, and Wu Cheng Ke contributed to Chapter 2, Hua Jing contributed to Chapter 3, Dai Juying contributed to Chapter 4, Yang Ning, Mao Zixia, Li Yulin, Liu Na, and Zhang Wuhua contributed to Chapter 5, Tian Haiyuan contributed to Chapter 6, Fan Jun contributed to Chapter 7, Liu Zeng contributed to Chapter 8, and Liu Qing and Zhang Yijun contributed to Chapter 9.
Proofreaders include: Fan Jun, Ji Xiaoshan, Li Haihua, and Zhang Hui.
Gratitude is also extended to Mr. Guo Jianzhong, Chairman of Jiangyin Zhongtian Comprehensive Development Co., Ltd., and Ms. Fang Lei. Special thanks are also given to my former supervisor, Professor Qian Zhifeng.
Acknowledgments are also made to Professor Cheng Nenglin, Director of this design series, Professor Zhang Xianrong, and Professor Liang Jiu.
This book primarily discusses the concept and essence of visual language, as well as several typical and independent visual languages in visual communication, such as points, lines, planes, light and shadow, shapes, volume, space, and light and shadow, along with several comprehensive visual languages. It also explores the expressive thinking behind these visual languages.