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Reflection of APA 7th reference
In this dissertation research, I have learnt how to use the APA 7th format to properly cite literature sources to support my dissertation ideas. My initial submission had a lack of correct citation and after speaking to my lecture David, I reflected on and revised my paper.
1. it is important to cite all the literature I have cited correctly and to ensure that each reference is a reliable source, such as a published book, electronic literature or website URL.
2. the format of the Reference must be correct and clear, e.g.
Ma, Y. (2021, January). Study on "A Thousand Li of Rivers and Mountains" by Wang Ximeng. Progetto Grafico.
https://www.researchgate.net/publication/348412674_Study_on_A_Thousand_Li_of_Rivers_and_Mountains_by_Wang_Ximeng
3. If I cite other authors in my essay to support my ideas, I need to add Citation in the text, e.g. Xinhua (2019)
4. if there are images in the essay I also need to add the credible source of the image. Add 'Figure' below each image and then add credible sources to the reference to make it more formal.
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Final poster
I abandoned the mountain shapes I had previously drawn in AI and instead referenced the 'Thousand Miles of Mountains' as a Chinese element, keeping the Chinese calligraphy font I had made in AI and enlarging it to occupy the left half of the page with the cd disc shaped drawing in the bottom left corner. The combination of ancient and modern elements within the shape of the CD is based on the visual symbolism of the design, which allows the viewer to experience the image with a pre-determined communication message, i.e. Chinese-inspired design, and thus better connects to the theme of my research. The Chinese calligraphic fonts and the western typographic background ideas with a lot of white space better highlight the theme, Chinoiserie and cross-cultural design.
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After editing with illustrator, the pixels become vectors for a better effect
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Print test
The painting I quoted shows a bad quality when printing out.
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Layout testing
As I kept experimenting with the feasibility of typography, I realised that the poster I had made did not highlight the theme of cross-cultural design, but was more of an exercise in Chinese element posters and needed to continue to adjust the typographic layout. Abandoning the dark background and changing it to a white background, using western design thinking, leaving a lot of white space and using text for typography.
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Typography illustration
Chinese character that means “a thousand miles of river and mountain”.
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Fade effect color pallet made in AI
Tried 3 different ways to make the mountain of fade colour effect.
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My research on the differences between Chinese and Western graphic design expressions
Differences in cultural backgrounds
Different cultural backgrounds shape different personalities. Under the influence of traditional Western culture, Westerners' personality freedom of will, sense of responsibility and outlook on life are governed by the ideal spirit, which is higher than the sensual spirit. But traditional Eastern culture, on the other hand, emphasises human ethics and favours the middle and harmony. Under the influence of this cultural tradition, the inertial thinking of Easterners stays on the horizontal orientation of the earth, with the theory of God and man as the central guide. The differences between Chinese and Western cultures are reflected in the different values and thinking outlooks of Chinese and Western people, which belong to different cultural backgrounds and directly affect the aesthetic and creative concepts of graphic designers, thus reflecting great differences. Chinese people have an introverted and subtle character, and their style of work is steady, so their way of thinking is also more subtle, not needing to show their personality in an exaggerated manner, and reflecting a subtle spiritual world in relatively conservative elements and symbols; while Westerners have a hot and flamboyant character, and like to give vent to their emotions directly, and will exaggerate the theme in their graphic design works, which deeply reflects the differences between the two cultural backgrounds.
Different visual emotions caused by the differences in ethnic folklore
In Eastern culture, different colours represent different meanings, while some colour elements have opposite meanings in Western culture, which will produce strong differences in graphic design. For example, red represents good fortune, peace and harmony, and has a profound spiritual connotation in our cultural system. In Western culture, however, the colour red has a different interpretation. Red in the eyes of Westerners means bloodshed and violence, and is usually directly associated with participation and bloodshed. In Chinese culture, for example, black and white symbolise solemnity and are synonymous with death and grief, but in Western culture the colour of worship is missing. Thus the way of thinking that is reflected in different cultural backgrounds has a direct impact on the way graphic designers create.
Differences in the length of cultural history lead to differences in creative spirit
China has an ancient cultural tradition with deep-rooted agrarian thinking, so Chinese people are relatively conservative in their thinking and lack the motivation to innovate, while the Western world's interest originates from maritime trade and its body flows with innovative and adventurous blood, and the national characteristics under different cultural inculcation are very different, which is clearly reflected in graphic design. Through the differences between the expressions of Chinese and Western graphic design, it can be found that Western designers are notably adventurous, highlighting their individuality in their works, concealing the active spirit of adventure and enterprise, and that Western culture encourages the emancipation of human nature, thus forming a social atmosphere of active thinking, without the shackles of historical and cultural elements and fixed shackles, and that designers are adept at finding innovative and daring sources of creativity, which are reflected in their graphic design works. and reflected in their graphic design works. However, Chinese designers under the influence of traditional Chinese culture attach importance to being faithful to traditional features and show more elements that are accepted by the world in their works, lacking the courage to innovate and display controversial elements.
Differences in creative thinking
The differences in creative thinking are the greatest differences between the expressions of Chinese and Western graphic design, with graphic designers under the influence of Chinese culture focusing on the communication of "state of mind". Through the influence of thousands of years of traditional culture, Chinese culture has to adhere to the cultural thinking of 'heart conveys meaning', using various simple graphic symbols to convey deeper meaning. In Western graphic design works, the author is adept at using exaggerated images to reinforce visual tension and thus highlight special meanings in the work. Chinese graphic design respects the reproduction of the display of traditional cultural resources and is good at incorporating traditional folk style images into the display of works and gradually forming a facially graphic image. For example, Chinese designers may take traditional Chinese implements and combine them with the elements of traditional jigsaw puzzles to construct a work with strong Chinese oriental colours. Western designers, on the other hand, show the visual impact in their works and go straight to the point to show the symbolic meaning of their works, with a modern meaning.
Differences in perspective
Chinese and Western graphic designers use perspective differently. Chinese graphic designers are good at combining one point of perspective with multiple points of perspective to form a grand and expansive mood, encompassing various fictional elements into the space, thus presenting a sky-high and imposing scenic space. In the eyes of Western graphic designers, the expression of perspective should focus on the highlighting of the focal point, in the form of perspective to truly display the form and shape of objects, this form of objective presentation also has deep traces of embodiment in Western sketching, Western graphic design adheres to the characteristics of sketching, the modelling structure of its works respect the real, while this focal point perspective also determines its composition will be limited. The dots highlight the delicacy of the work, and the importance of detailing within the square.
The Western approach to division, the Chinese approach to balance
Western graphic designers are good at dividing the whole in a plane, dividing the whole into different dispersions, and reorganising the different dispersions together to form a complete contextual space, while the division of Western works is usually adhering to the principle of free division, not limited to symmetry and neatness, and its division is more arbitrary, free from the fixed thinking of rules and regulations, giving people a refreshing feeling. There are also many graphic design works that make use of proportion to complete the composition, and their scientific and reasonable visual effect perfectly demonstrates the beauty of division, making the whole work with good order and clear visual effect, perfectly demonstrating the expression of emotion and moral conveyance. The Chinese graphic designer is influenced by the traditional Chinese symmetry culture, and is used to balancing creative techniques and skills. The expression of the whole design work is influenced by traditional factors, reflecting the spirit of self on the basis of inheriting traditional factors, while his creative thinking rises to the height of "opening up the present with the past", elevating graphic design to the height of art. The design is influenced by traditional elements and reflects the spirit of the artist.
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Research of ‘A Thousand Miles of Rivers and Mountains’
The Painting of a Thousand Miles of Rivers and Mountains is a silk on panel painting by Wang Ximeng of the Northern Song Dynasty, now in the Palace Museum, Beijing. The painting is painted on a single piece of silk, without the author's mark, with a poem inscribed by Hongli (Qianlong) of the Qing dynasty and a postscript by Cai Jing of the Song dynasty, with an inscription by Li Pu Xian of the Yuan dynasty on the end paper. The scroll is opened at the head of the wrapping, and several vermilion seals are visible at the head of the scroll, as well as the poem inscribed at the head of the scroll. The opening of the painting is straight into the clouds at the top of a high mountain, followed by rolling hills and steep hills, with a change of scenery and a gradual improvement. The artist's brushstrokes are a natural adaptation of nature's magic, starting with the village in the foreground and painting the peaks from across the river, with the two wings stretching out gently, opposite the rising mountains, playing an exquisite role in taking over. A bridge spans the river at the bottom left of the peaks and connects with the next group of scenes. Over two hills you can see deep mansions and hermits dressed in white everywhere, walking and stopping, seemingly writing poetry or composing music, moving on to another bridge, this one with a small span but with a pavilion on it. If you continue, you will be on the river. The view is like a fairy tale, with its vast, rolling hills. Once on the shore, the cliff path twists and turns leading to a deep courtyard. Waterfalls cascade from the mountains and flow back into the river. The view is fascinating, from high up to far away. At the gentle end of the mountains is a magnificent bridge across the river.
The bridge across the river leading to the second section of beauty is spectacular, with wooden structural girders, thirty-two stirrups underneath and a palatial two-storey pavilion built in the middle, like a rainbow. The frequency of the rhythm of the peaks in this section is clearly intensified, followed by a swirl of peaks to the left and a flat slope stretching straight into the river, stretching out the momentum to Qiongdao, and then painting a close view of the mountains and the fishing village of Jiangzhu connected to Qiongdao. Connected to this are the pavilions of the peaks, and the poem inscribed on the front of the volume is a small, quaint bridge over a village in the mountains with a pavilion, clustered around the peak of the volume, which seems to plunge straight into the sky, reaching its climax. The peaks to the left of the peaks, with the twists and turns of the river deep into the painting, play a rotary role and become the conclusion of the second paragraph. A walk here is endlessly rewarding. From the bridge across the river you step onto the shore, with buildings lining both sides, over the mountains, down the valley and up the mountains to a plain with a patchwork of villages and houses. The cliffs at the edge of the plain are quite dangerous, but the mountains on the other side give the village a sense of security. However, the village appears to be isolated and does not lead to the next place, so return to the original path and enjoy the walk. The village in the valley, the fishing boats on the river bank, and the relaxed seclusion beckoned the boatman to continue on his way. The boat is in the water, and the two mountains echo each other across the water, as if they were cowherds and weavers across the Milky Way, trying their best to lean towards each other but hardly touching. On the shore a green flat land is alive and well, and the fishing boats dotted along the shore seem to carry the shouts of the fishermen. It took a trek over the mountains to stand below the summit. It is difficult to have the courage to climb despite the feeling of climbing.
In the third stanza, the tension of the previous stanza is turned around and the tempo is calmed down, instantly removing the tension. The painting shows a small island, with a fishing village spread out beneath it and fishing boats dotted about, making the momentum of the opening turn downwards and serving as a follow-up. In the lower left of the painting, the sloping shore in a close up scene is connected to it, serving as a segue. At the end of the left-hand side of the painting is a rising peak, which extends upwards over the river and the distant mountains, thus concluding the momentum of the opening and concluding the whole volume.
A Thousand Li of Rivers and Mountains - Panoramic view
A Thousand Li of Rivers and Mountains - Partial view
Colour pallet
For the initial concept, I extracted the colour palette from the Thousand Miles of Rivers and Mountains as the colours for the poster and DPS, using the traditional Chinese colour scheme to create a cultural collision sense poster.
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