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1、此文档是毕业设计外文翻译成品( 含英文原文+中文翻译),无需调整复杂的格式!下载之后直接可用,方便快捷!本文价格不贵,也就几十块钱!一辈子也就一次的事! 英文2700字,13805英文字符,中文4468字。 外文标题:Asia-Pacific Graphic Design Tradition and Future 出 处: 《Asia-Pacific-Design》NO.8 ,2017(如觉得年份太老,可改为近2年,毕竟很多毕业生都这样做) 作 者: Ulhas Moses 。

2、 Asia-Pacific Graphic Design Tradition and Future As the practice of design in the 21st century enters into the realm of interaction and experience design, the rich visual tradition of Art and Design of Asia assumes a significant role for Asia-Pacific Graphic desig。

3、ners. With the advent of globalization and new media, technology has now become easily Accessible to the masses and the playing field is leveled. Asian designers now have at their fingertips all the modern tools and facilities for creative expression. Considering the stunning level of design and c。

4、raftsmanship that has been achieved in ancient times in Asia only with manual tools one can only imagine an entirely new dimension of human creativity opening up with the use of digital tools. The fundamental grammar of graphic design are form and function, line and color. Semantics, iconography, m。

5、etaphors, symbolism, geometric abstraction, algorithmic procedures, programmed variation, hierarchy of space and measure, grids, narrative and storytelling. Contemporary Designers can draw upon these principles which have been used with great refinement and have been perfected over centuries in the 。

6、Asian methods and philosophy of design. The Asian image making tradition is entirely concerned with absorbing, and communicating the essence of an idea and giving visible form to formless concepts and complex abstract ideas. These sophisticated image visualization and form generation procedures and。

7、 techniques that have been developed, are a treasure trove for graphic designers today and can be utilized whenever concepts have to be given form. One of the most valuable traditions that Asian graphic designers can draw upon is in the important but often over-looked area of typographic communicat。

8、ion. The eclectic scripts and languages in Asia open up innumerable forms of experimentation with type design to produce culturally richer and locally appropriate typographic based information design. Graphic designers in the Asia-Pacific region are now more than ever faced with the challenge to u。

9、se design as a powerful tool for social change and transformation amongst the masses by developing unique design solutions to design problems that are specific to the Asian region and its people, design that is relevant in its cultural and social context and yet universally articulate. With a stron。

10、g footing in the knowledge base of Asian design traditions, contemporary designers in the Asia can look towards the future confidently as leaders, pushing the boundaries of creativity and innovation. Graphic Design in the Asia-Pacific region is fast developing as an individual movement and assume a。

11、 new role revitalizing modern design, giving it the much needed depth. Bright Future of Asia-Pacific’s Design Modern design originated from western European countries. When Asian countries are learning modern design and discussing about its history, they will always start with The Crystal Palace b。

12、uilt for London World Expo in 1852.The history of modern design is a development history of design, with the mainstream of Europe and America design. With western civilization became prosperous, various style schools were influencing design industry all over the world. It was proud of some Asian de。

13、signer to advocate the works of western design styles. Japanese designers aroused the oriental designers’ attention to the relationship between their own cultures and modern design. For instance, with its modern but Japanese design style, Tanaka Ikko found a method to integrate the traditional cultu。

14、re and modern design. This method became the example of Asian designers. In 1980s,as China market was opened, different design concepts came to China. Design is different from art, because design is more than an expression of people’s emotion, but it’s the solution to people’s problems. There are n。

15、ot only problems about economy, but also about culture, society, even politics. But in western countries, design is not as featuring as before with it’s the foundation characters, such as function oriented feature and solving problems; but it is towards to being similar like art, especially western。

16、 countries with well-developed design industry, such as Netherlands, where design and art is undistinguished. As Mainland China opened up, modern graphic design concepts were introduced by Hong Kong into Mainland. But it was a rough time for graphic design with the media’s indifferent attitude. Whe。

17、n the original posters were criticized for departing from real life, Chinese designers got interested in traditional posters. After all, it the demand of the whole society and the appreciation ability of the public, decide the designer’s career in the future. Designers would feel very down. But for 。

18、China at present, design still focuses on solving people’s problems, and people perceive design by these solutions to problems. With the socialism politics background and mechanical production in Germany, design history after Bauhaus, started highlighting mechanic feature of design. However, as tim。

19、e passed, new design concepts were changing and continuously expanded the meaning of design. In the process of cons and pros, design were being interacted and combined with art and science. Gradually, the difference between traditional design and art was defined in different ways. Western civili。

20、zation has hundreds of years’ history on the world mainstream platform. With the development of Asian-Pacific economy, the world is focusing on this emerging land, but with thousand of years’ history. With the communication with western counties become closer and closer, how prosperous would be the 。

21、design of Asia-pacific region? Please keep tune. Beyond Design The subject of “year” reminded me of “editorials on New Year’s Day” on the newspaper of New Year’s Day when I was a child. It was always a conclusion of the fruitful year passed and a bright prospect for the following year. In recent 。

22、years, I rarely read newspaper, so I don’t know whether the editorials exist or not. Even though they do exist, they are not as impressive to me as before. It is because the daily routine of the so called “visual design” that I am now talking about this topic. The visual language is so powerful with。

23、 its propagation effects to dominate the belief and belief and behavior of the people in the New Year before, which even would be lasting year after year. The posters matched with the editorials, blackboard newspapers and the New Year Paintings were kept in line with the positive mood of the editori。

24、als. We would regard it as a comfort of visual effects to cope with the weathers. A long editorial could be not as useful as a ridicule of undisguised dressing of an actress. Information, especially that on the web, is no longer candid to the public. People could receive the information, but they al。

25、so could shield it, make comments, forward it to others, download it, put it in blacklist, and use proxy to get onto the inaccessible websites; the interaction of information is being involved by the behavior pattern. If you want something serious, read the southern newspapers; if you want a momen。

26、t of being unrestrained, go to Chanyang Park; if you want to reorganize your ideas, read the works collection such as “Year Book of Asian Pacific Design”. The people’s lifestyle is varying, so they can see and experience more fun from it. The uniform information generated by logic of reigning, is b。

27、ecoming extinct as people disregard it. It’s right to inspire people to think, or comprehend by analogy, to reason, even to ignore the rules, but wrong to be rigid and decadent, or to copy and paste others’ idea. The diversification of the ecology also refers to the mindset as well as the animal sp。

28、ecies. Being consist of brilliant allusions, passionate parallelism and neat antithesis, the editorials were technically beautiful expressions, whose doctrines, ideas, theories and speeches seemed capable of invigorate the Chinese people. However, people simply hoped to live a better life, to get th。

29、e authentic information and to be answered in time. It is in order to arouse people’s interest to use the information that we produce the information and spread it. Valuable information should not only be good to read, but also to guide positively people’s mindset. Therefore, it’s not a physical wor。

30、k but psychological efforts to produce good information. You must get ready with your could make a new choice or refuse to read it. I have talked so much about doctrines, and I would like to talk about a tiny household affair. All of us probably have watched drama, today which is called performance。

31、. When I was a child, I like to sit as close to the platform to see clearly, so I always got to the theatre as early as possible, or asked someone to buy the ticket of front rows. But now I’ve changed, and I prefer to take the back seat. It’s not because of prebyopia. I think audience’s reactions mo。

32、tivated by the performance are also a part of it. For example, the old man besides you is snoring, the children are jumping and running, the policeman is alert and nervous, and the couples are twittering. They are the nerve end of the performance, and their reactions are normal and valuable to you. 。

33、It’s not included in your ticket, but you can’t get rid of it. These words could apply to the performance in your daily life, not only the performance you watch. The ending is usually written grudgingly. Because this text might be printed in“Year Book of Asian Pacific Design”, I had written a beaut。

34、iful one about design. But I have deleted it in my mind. For one thing is that I didn’t think my text is beautiful enough, the other thing is that what I am talking about is design. The Second Largest GDP: What about Design? At the beginning of last year, the GDP of 2010 published by China offic。

35、ial announcement is 58768.6 billion, more than that of Japan, which is 5474.2 billion. At the beginning of this year, the GDP of 2011 announced by China is 7426.1 billion, more than that of Japan, which is 5974.3 billion; without doubt, China has become the second largest economic country, and Japan。

36、 retired itself as the third 44 years later, since 1968. From last year to this year, these two pieces of biz news are the most exciting ones. What kind of relationship is between design and GDP of a country or region? It’s very clear that all of the designers could understand the boring biz data I。

37、 mentioned above. Let’s see the newest ranking of GDP in 2011,and the top 7 are America, China, Japan, Germany, France, Great Britain, ltaly … in this case, I’m wondering and thinking whether the ranking of design is the same with that of GDP? Put shame aside, can we ask whether China Design could b。

38、e regarded as the second in the world? This is a meaningless question, ridiculous without self-esteem. Is it ridiculous to doubt the world second place of GDP which seems authentic? Or is it ridiculous to confuse the ranking of China Design? Generally, no one could clarify this problem. Look back 。

39、to the ranking of the countries expect China, it is generally consistent in logic and correspondent between their GDP ranking and design ranking. Therefore, there is another“ridiculous idea”; how is the logic between the authentic“world top 2 GDP”and “the confused ranking of China Design”? Or perhap。

40、s,“Chinese logic” is the only solution to this? Asia-Pacific Design published by Sandu can be a collection of elite works around Asia, Pacific countries and region. As a designer or design industry personnel, I get the honor to contribute my work to it, which can be a valuable horizon and opportuni。

41、ty. When I carefully reading the collection, thinking and asking honestly with self-deception, perhaps, I could in some measure draw a conclusion to the questions and confusion above. Should designer be an “artist or talent” of visual expression? Or“doctor or guide”to the value and solution of comm。

42、unication? Or “servant or slaver ”to the “Gods”, such as market economy, clients and consumers, power and money? The answer would be always different due to different mindset. However, as I have make a living with design for years, I think that designer should be like a hunting dog with uncontrolla。

43、ble intuition, or a thinker and questioner with perfectionism, searching for the seeds, roots and the nature of growth and logic under the earth and water. Setting a Course The past year has been one of upheaval for the world, but exceptionally so for Asia. We have seen the growth of China’s econo。

44、my, surpassing Japan’s to become the second largest in the world. Japan weathered a devastating tsunami, nuclear devastation in the Fukushima area, the resultant economic downturn and the resulting mass exodus of Japan-based foreign creative workers. This was countered with Hong Kong, Singapore, Sha。

45、nghai and other Asian capitals experiencing an exponential immigration of designers and other creatives. 2011 and the first half of 2012 were times of tumult and immense change for Asia…yet, you wouldn’t really notice it if you looked at the bulk of graphic design that has come forth from Asia [and。

46、 the world] over the past year. Globally, Graphic Design feels as if it has hit a visual stump. Truly original graphic design work is rare-nearly everything feels like an update of the work of herb Lubalin and his associates, spins on the blocky display type of NonFormat and copious aping of Archis 。

47、layouts. Originality in visual concepts and form-making is at near-standstill— the output of our industry feels dominated by predetermined standards and aesthetics. North America is still in the throes of Zombie Modernism 2.0, a fascination with decorative design akin to transitional-era produce box。

48、 lettering and design and mid-century Modern design work. Europe is in love with the stripped-down, sparse aesthetics of Karel Martens and his Werplaats Typographie and the low-fidelity look of the British small press mini-explosion of the 1960s and 1970s [with small deviations into Desktop Publish。

49、ing aesthetic territory]. Both are still infatuated with three-dimensional diorama work and modular playful typography, and will continue to do so for a few more years, at least. Unsurprisingly, Western Europe and American graphic design institutions and tastemakers continue to ignore work from abr。

50、oad, The recent U.S-curated retrospective of the past decade of activity within Graphic Design as a sphere of cultural activity. Graphic Design: Now In Production, offers almost no work from Asia [and none whatsoever from Africa]. Japanese design units such as W+K Tokyo Lab [formally rich, detail- o。

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