Wang Jinlei, "Green Garden Sunflower", China

In poster design, how to make visual expression and message through typography? The upcoming exhibition of typographic posters from China and Denmark at The old weaving factory in Tendel, Denmark, gives its answer.

Yin Zhongjun, poster for the 4th Shenzhen International Poster Festival, China

This exhibition was initiated by Chinese curator Xu Li and Danish art director Rikke Hansen, with the aim of exploring how the visual expression and message of posters can be conveyed through typography. The "Typographic Poster Design Exhibition in China and Denmark" unites many designers and artists from home and abroad to create and exhibit, and the open call for works from both China and Denmark was launched in April 2022. After two rounds of evaluation, more than one hundred works were finally selected among nearly one thousand works for the exhibition. The more than one hundred works selected for the exhibition present a rich and diverse form of Chinese character arrangement for posters, which not only brings a variety of perspectives on layout creativity, but also deeply explores the infinite possibilities of Chinese character arrangement. "Those works that have their own experiments and innovations in artistic style and expression of artistic language are more likely to attract the attention of the jury. For example, some works have a novel composition and clear hierarchical structure, some create a unique sense of visual space, some create a strong visual effect through graphic contrast, and others combine external form and content skillfully to aptly express the theme." Xu Li, the Chinese curator, concluded.

Li Hui Zhou, "Free Form", China

"The infinite possibilities of Chinese character arrangement represent the exploration and experimentation of ways to convey information, and we encourage all innovative ways of expression. Infinite possibilities refer to both the horizontal expansion of width and the vertical excavation of depth. Horizontally, the combination of words and graphics, the space of words, and the combination of words and other elements are arranged for creative expression; vertically, each arrangement structure and way can also be explored and explored in infinite possibilities." Curator Xu Li said in reference to this exhibition.

Laura Norgaard Henriksen, "Ensemble National Anthem", Denmark

Gu Runxue, "World Heritage Poster", China

For the poster, the typography of the text can be said to be the most important. Because the font itself has a sense of force, and the text used in the poster are condensed statements, simple and concise. Therefore, the typography of the poster may largely determine the success or failure of the whole work. For a poster with only text elements, the recognition and visibility of the text is very important. Many designers use the pictorial meaning of words to create a graphic text language. For example, the Chinese designer Yin Zhongjun in the creation of the fourth Shenzhen International Poster Festival of the main visual poster, the word "poster" for the dramatic deconstruction of the design, leaving a poster shape in the middle of the blank, giving people countless space for reverie, and in line with the "poster "This form of work brings people the most direct feeling and white space. Gu Runxue from Nanjing designed the "World Heritage Poster" by using a collage of Chinese oracle bones, ancient Egyptian hieroglyphics, Sumerian cuneiform, Mayan script and other world scripts to keep these long-heritage scripts in the world in a sparse order, allowing the audience to understand different world cultures and heritage through words. In addition to the direct use of characters, the curvature of the brush strokes in calligraphy can also be used by the designers as creative materials. For example, "Yangzhou Eight Monsters" one of the works of Huang Shen calligraphy, emphasizing the characteristics of the dots, interspersed with curved lines, the designer Wang Jinlei in the creation of "green garden sunflower" this poster work, it uses the elements of Huang Shen's calligraphy strokes. "This poster work is a tribute to the work of the ancients, the use of modern expression, the expression of Eastern line composition art, showing a strong sense of rhythm and vitality." Wang Jinlei said.

Rick Hansen, "Imagine", Denmark

For this exhibition, there are also a number of designers who have created new works specifically for this purpose. For example, the Danish designer Laura Nørgaard Henriksen's work "Ensemble National Anthem" presents the Chinese national anthem and the Danish national anthem in Chinese characters and Danish respectively on the poster work. The designer's mind: the Sino-Danish poster exhibition about text typography, is to use Chinese and Danish characters to express.

Junxin Tang, "Our Common Home", China

In addition to font-based posters, how should the distance and proportion between text and images be placed in a poster? What is the relationship between text, pictures and colors? What should be the orientation of the text? ...... is also a problem that many designers have to consider when creating. Designer Li Hui Zhou's poster design work "Free Form" conveys the multiplicity and abstractness of the visual language of form through font and color changes and dynamic color block interpolation, superimposition and contrast, and thus conveys the vivid vitality hidden in the modern visual communication design field of penetrating the heart and experimentation. This time, Danish curator Rick Hansen's work "Imagine" simply uses black and white to design the poster. She placed the various text messages in the poster in a maze of circular sticky notes. The white color itself represents white space, which echoes with the black background and the surrounding text with obvious messages, giving the audience a sense of enlightenment when they finally find a clear path in the maze. Chinese designer Tang Junxin's work "Our Common Home" rethinks the relationship between humans, cities and nature in a poster of words and images. "Because plants are an indispensable part of our urban life. The city is our home. For those plants in the city, the city is also their home. We have a common home. We should protect our green neighbors." Tang Junxin said.

Article Source:艺术与设计

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