Working steps
Selection word
Word exploration / Brainstorming
Word elements collection
Typeface exploration / selection
Color selection
Poster design
Poster display
Working steps
Selection word
Word exploration / Brainstorming
Word elements collection
Typeface exploration / selection
Color selection
Poster design
Poster display
Working steps
Selection word
Word exploration / Brainstorming
Word elements collection
Typeface exploration / selection
Color selection
Poster design
Poster display
Working steps
Selection word
Word exploration / Brainstorming
Word elements collection
Typeface exploration / selection
Color selection
Poster design
Poster display
Case study
Case study
Case study
Case study
Case study
Arrangement and collection of common visual elements in art works
I found some other cases that combine Wu language art with modern art
A fashion brand in China is called "Heaven Gaia", they have been committed to inheriting oriental aesthetics. A couple of years ago, they had a set of clothes inspired by Kunqu Opera (a kind of drama performed in Wu language). In these clothes, you can find that these traditional elements in Wu language culture are well combined with modern clothes.
Special perspective way of Chinese painting
In the process of research, I found that the perspective painting method used in many ancient Chinese paintings is different from that in the West. Perhaps this can be an element of style in my works.
“The Chinese concept of perspective, unlike the scientific view of the West, is an idealistic or suprarealistic approach, so that one can depict more than can be seen with the naked eye. The composition is in a ladder of planes, or two-dimensional or flat perspective.” (Da-Wei 1990, p.70)
The most general criticism aimed at Chinese paintings by Westerners seems to be concerned with the representation of distance, and very often takes the form : Chinese paintings have no perspective. This is, of course, not only untrue, but it is not what the critic meant to say. Perspective, after all, is nothing but a convention for representing distance, and though the term is sometimes limited to mean the type of projection generally used in the West, it properly includes any and all devices for representing three dimensions in two, for symbolizing three-dimensional space on a plane. In painting, the third dimension is usually in recession from the painter, and the plane, either physically or so far as the image is concerned, is perpendicular to the direction of recession. Obviously no perspective can be absolutely true, since two dimensions cannot be three, and the truth of the convention depends not so much upon science as upon custom.
It is common, however, for foreigners to regard Western perspective as somehow truer than the Chinese perspective, and it may be worth while to examine the two from the standpoint of Western mathematics, to determine by Western standards whether or not the criticism is valid. The problem of representing three dimensions is most acute in the painting of landscapes (山水) and the painting of figures (人物), the first two of the traditional four classes of Chinese paintings.
The Chinese, in common with the rest of mankind, have had the experience on which the non-Euclidian definition of parallel lines and the Western method of projection is based, and in their landscapes they represent distant things as smaller than near things. In their drawing of buildings and furniture, however, they make the lines that are parallel or equidistant in the object, parallel or equidistant in the drawing of the object. In a picture of the interior of a room, for instance, the walls are by measurement the same height throughout their length. The lines of tabletops are exactly parallel. But the definition of parallel which we must adopt here is that of Euclidian geometry ; that parallel lines are lines that never meet.
