Let framing design go creative

The reform and opening up has promoted the unprecedented prosperity of the publishing industry and the rapid development of the book framing business. A group of excellent framing designers came to the fore and the book images of publishers everywhere have greatly improved. However, looking at the status quo of the binding industry, it is found that behind the prosperity and development, there is also a prevailing bad trend, in which plagiarism and “follow-up” phenomenon should arouse our attention.

After the reform and opening up, Western advanced design concepts and design forms provide a reference for the country's binding industry to open up a new path. The setting-up industry was once eagerly absorbing the fresh nutrition of foreign modern design achievements. In the meantime, reference and imitation were quite common and plagiarism. The phenomenon is inevitable. With the internationalization of the design field, international exchanges have become more frequent. In recent years, China's design of binding has gradually moved from non-self to self-consciousness. It ended the excitement and dependence on information materials that were greatly enriched, and began a new range of calm thinking and independent operation, and gradually developed with the economic and cultural development. Into the world. However, it is disturbing that plagiarism still occurs. If you look carefully at the comparison, you will find that there are a certain number of book designs in the current publication that obviously retain the traces of others' works, and some of them are almost intact. Even the works of the most famous domestic and foreign designers have dared to become their own works. The phenomenon is mainly manifested as follows: Once a designer has made breakthroughs in performance techniques, materials, etc., designs works that highlight new ideas, and then there are similar works flocked to, and regardless of the appropriateness of the contents of books, blindly follow others to run, This "follow-up" is essentially plagiarism. For this phenomenon, wise men in the framing world regard it as shame. However, due to the incompleteness of domestic copyright awareness and academic criticism, this kind of abuse has not been stopped, and even warnings are rare. But outside the line, including the majority of editorial staff, due to the design is not familiar with, generally do not interfere, virtually, this trend is increasingly prevalent.

Plagiarism and “follow-up” revealed that China’s framing design circles lacked sufficient understanding of innovation, and many designers have developed bad habits of thinking froze. Advanced design concepts compare creativity to the soul of design. Creativity focuses on consciousness, cultural roots, and social life. It emphasizes creative thinking. Therefore, a good design must have a novel idea and a unique personality. As a designer, if you always imitate or plagiarize, there will be no real creativity, and you will not be able to design your own work. For the rigging industry, without the hard work and innovation of most people, there will be no "hundred flowers" and there will be no rapid development of the framing business. Therefore, eliminating plagiarism and advocating innovation are the top priorities of the current framing work.

There are many reasons for plagiarism and “follow the trend”. The root causes are the problems in the education sector. It can be said that the current education system of China's design profession is not reasonable, resulting in an inert system of enrollment, teaching, and even practice. Designers have already undergone elementary, stylized techniques and training before they receive higher education. Over the years, the enrollment of institutions of higher learning has also adopted a similar approach of “eight-for-one entrants” to determine the merits and demerits, without paying attention to the quality of students’ thinking. Therefore, any person who can better recall the off-the-shelf model can easily score high points. After entering colleges and universities, in addition to the basic theory and conventional skills teaching, it is the “creative” process of Dong Huxi’s copying. The setting of the curriculum does not attach importance to cultivating and developing students’ imagination and creative thinking. In this way, how can students easily change their habits and become creative designers after they have taken up jobs?

Second is the question of history. At present, most of the design masters who are responsible for design duties are experienced during the planned economy period. Even when they reach the market economy today, their consciousness still bears traces of planned economy, and there are different degrees of ideological conservativeness. Treating the framing design is slightly more difficult to accept. Under normal circumstances, as long as the book design is beautiful and relevant, no one else will care about it. There are also many misallocations in the distribution system. As long as they are able to cope with work, there is no difference between doing good and bad. Many problems have dampened the enthusiasm of some designers who want to make a difference to a certain extent, and have destroyed some designers’ sense of innovation. This kind of reality in turn affects the education sector, thus creating a vicious cycle of self-learning and practical use that does not re-create.

Then there is the subjective factor of designers. One is inertia, many people are only satisfied with the design draft can be passed, or the customer can be recognized, so they can steal stolen, can save the province, do not want to work on innovation, creativity, do the kind of effort is not good Things. In addition, in the subconscious of some designers, there are different degrees of inferiority complex, the most serious of which is the sense of national inferiority. We think that our country's design thinking and design methods are quite different from Western countries. "We can't catch up and we can't go beyond it." Virtually, we have planned a gap for the peripherals in the mind and set a gap between ourselves and the masters. The next barrier, which is self-inflicted, cannot be reached. Therefore, he would be willing to pray, and he would not rise.

The Chinese nation is an ethnic group full of creativity and has five thousand years of glorious civilization. Regarding artistic design alone, regardless of the characters of the pre-Qin period, the bronze wares of the Shang dynasty, or the bricks of the Han dynasty, their style and craftsmanship were comparable to contemporary Western civilization. Taking the abstract ideas and imagery of ancient Chinese civilization as an expression, it can even be said to be higher than one level compared with western realistic techniques and image representations. Numerous historical facts fully demonstrate that the Chinese nation has enormous creative potential. In today's era, the Chinese nation is also surpassing the world advanced level in other design fields. China's book binding can also stand with a completely new look in the world of binding design. In recent years, China has emerged a number of outstanding design artists who have inherited national traditions and absorbed foreign modern design nutrition. They have created new paths and designed a strong national style, full of innovative consciousness and an era. Spiritual works. They displayed their own values ​​with their unique creativity, and also demonstrated the artistic potential of the Chinese nation. They were recognized and praised by the international design community.

In recent years, many problems caused by the old education system have caused widespread concern in the art education sector and have begun to improve accordingly. It is believed that the education sector will introduce a series of scientific management methods for the design profession as soon as possible, and make active efforts to cultivate and create a new generation of design talents.

We hope that our country’s design and creation environment will be improved as soon as possible. In addition to strengthening copyright awareness and punishing plagiarism, it is also hoped that leaders from all walks of life, especially the press and publishing department, will encourage innovation and promote creativity. Strengthen the supervision of the quality of design ideas and timely discover and eliminate plagiarism.

More importantly, our colleagues in the design community must establish self-confidence, be diligent in thinking, and be creative. The setting up industry can't just expect a few excellent designers to run ahead. We must all run forward together not only to learn behind others, but also to strive to surpass those in front. Of course, in the process of advancement, we must learn from and draw lessons from it. However, it should be understood that it is not copying, and learning does not mean plagiarism. It should be noted that each designer is different in the country where the culture and aesthetic background are different, and his experience, his skill in expressiveness, and the ideas to be expressed are all different. Therefore, we must not only learn superb performance skills and forms of expression, but more importantly, learn masters' thinking methods and creative ideas. We must introduce new ideas on the basis of merging, break through the image that the master has established and have accumulated. Experience and digest itself as new ideas.

As a qualified framing designer, it is necessary to acquire as much knowledge and life experience as possible, and to nourish one's own imagination with fresh information. In addition, we must also learn from traditional Chinese culture and art forms, because the more ethnic, the more world-wide. Only by promoting the essence of traditional culture and paying attention to local languages ​​can we design outstanding, creative and ethnically-accepted design designs.

Let us boldly innovate and let our book design go to creativity.

Source: First District