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Conclusion

With the inheritance and innovation of Chinese illustration art, I have learned many design concepts from traditional Chinese folklore. At the same time, I am deeply aware of the rich creative inspiration contained in Chinese traditional culture. First, I have learned from Guo Chunning’s Olympic logo design and how to apply Chinese traditional culture to the design. Through font design, color change, and cultural image design, I can highlight the characteristics of Chinese culture and make the illustration image more vivid and practical. Second, in future design, I also need to understand the connotation of cultural tolerance. In the illustration works, I need to express my creative thoughts and have the responsibility to inherit the culture so that other people can understand different cultural backgrounds through my works and increase the integration and understanding of culture. Then, modern illustration design needs to consider text and typography. This is an essential factor that needs to be considered when designing works that meet the public's aesthetics. In the end, integrating Chinese folk art elements and Western illustration art design concepts is an inevitable trend that meets the needs of the times. In future creations, we should not confine our artistic creations to one region or one country. We need to integrate multiple cultural elements into a single work. This creation method can attract the public's attention and resonate with the public.

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postcard

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As a Chinese traditional culture symbol, seals were designed four or five thousand years ago in China, which is the origin of the profound Chinese traditional culture and art form. Then the seals are a widely used form of presenting good social faith. Then Beijing will try to implement "the best Olympic Games in history." Then, he also chose a red color, the traditional Chinese festive color, as the base color of the main pattern. Red has always been regarded as the representative color of China, the color of China's national flag, representing the great People's Republic of China, but also representing the country, festival, cultural tradition (Dan, 2011). Therefore, the logo's primary color is red, with the characteristics of representing the country, representing the festival, representing the traditional culture. In addition, the modern Olympic movement has always stressed that athletes are the core parts, and the emblem "Dancing Beijing" embodies this principle. The moving figure in the seal is firm and soft, and the image shows a friendly attitude to the world. It contains Chinese culture and is full of motion. Meanwhile, a unique part of the design is the font design (Ya-ping, 2010). The font is natural, simple, and smooth. It is integrated with the logo and the Olympic rings. The font meets the purpose of market development and harmonizes with the main pattern of the logo. In a word, in illustration design, Chinese illustration should reflect the knowledge and emotion of the designer, and national culture is the element that can best reflect the uniqueness of an illustration. Combining modern illustration design with traditional graphics, colors, and fonts can spread cultural elements contained in illustrations and deepen communication with others.

 Dan, L. (2011). From the logo of Beijing 2008 Olympic Games to see guidelines of computer software design signs. In 2011 6th IEEE Joint International Information Technology and Artificial Intelligence Conference (Vol. 2, pp. 316-318). IEEE. doi: 10.1109/ITAIC.2011.6030339

 Ya-ping, S. O. N. G. (2010). The Cultural Content of the Design of 2008 Beijing Olympic Games Emblem logo. Journal of Anyang Institute of Technology, 4. https://en.cnki.com.cn/Article_en/CJFDTotal-AYXB201004026.htm

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Moodboard and Chinese floklore

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Method

Moodboard positioned as storying

Moodboard emphasizes a clear understanding of the design and a clear theme and tone before implementation. Moodboard helps designers make clear and unambiguous decisions.The goal of Moodboard is to visualize emotions.The goal is to find a story related to the subject story and create a visual Moodboard. 

Brittany Holloway Brown,“The importance of design research and moodboarding in storytelling”，Vox Media (Aug 8, 2016), Accessed October 15, https://storytelling.voxmedia.com/2016/8/8/12367992/the-importance-of-design-research-and-moodboarding-in-storytelling

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Shape defines objects in space. Shapes have two dimensions—width and height—and are often defined by lines. Possible characteristics: solid, boomerang, contour, symmetrical, asymmetrical, dimensional, abstract, free-form, oval, heavy, light, outline, perimeter, transparent, whimsical, imaginary, childlike, realistic. Geometric shapes: mathematical shapes such as circles, cubes, spheres, cones, squares, rectangles, and triangles. Organic shapes: are found in nature and can be irregular like blobs and puddles

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Light often describes the light source or light reflected within the composition. In realistic compositions, if there is light, there is shadow. Possible characteristics: chiaroscuro, brilliant, bright, dark, shadows, shade, holy light, night light, moonlight, sunlight, bulbs, morning light, dusk, diffused, dim, filtered, illuminated, clear, highlights, foggy, mystical, realistic, imaginary. Reflecting light: light that bounces off of objects. Glowing light: the source of light.

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Space is the area between and around an object; real space is three-dimensional. Space can also refer to the two-dimensional illusion of depth. Possible characteristics: perspective, foreground, middle ground, background, shallow, deep, wide, realistic, abstract, primary, inner, outer, deep, white space, picture plane. Positive space: the space the object occupies. Negative space: space between the edge of the positive space and the frame.

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Color is perceived as the light reflected off of objects and has three main characteristics—hue, value, and intensity. Possible characteristics: warm/cool palette, subdued, brilliant, dazzling, sizzling, vibrant, dull, chilly, refracted, pure, soft, muddy, coordinated, tertiary, intensity, pigment, color wheel, spectrum, monochromatic, diluted, natural, chemical, pastel, contrasting. Primary colors: yellow, red, and blue. Secondary colors: orange, purple, and green. Complementary colors: are opposite each other on the color wheel: yellow/purple; red/green; blue/orange.

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Line is a continuous mark with a greater length than width. Actual lines can define the edge of a form. Implied lines can lead your eye into and through the composition and provide information about character and action. Possible characteristics: horizontal, vertical, diagonal, zigzag, curvy, thick, thin, straight, curved, directional, one-dimensional, pathfinding, suggesting movement, broken, angular, loopy. Horizontal lines: allude to repose. Vertical lines: allude to strength and power. Diagonal lines: allude to dynamic movement.

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LINE, COLOR, SPACE, LIGHT, AND SHAPE

The elements and principals of art and design, and how they are used, contribute mightily to the ultimate composition of a work of art—and that can mean the difference between a masterpiece and a messterpiece. Just like a reader who studies vocabulary and sentence structure to become fluent and present within a compelling story, an art appreciator who examines line, color, space, light, and shape and their roles in a given work of art will be able to “stand with the artist” and think about how they made the artwork “work.”

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It's safe to treat every material as partially specular. Even a rubber ball or a plush has a little bit of shine. Using various specularity levels for the materials on your scene is very important for diversity. Shine is so powerful that it's tempting to use it everywhere, but flooding all the scene with oil isn't really the way to an attractive artwork.

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Method

Light color sketch

Light color sketch means that designer creates works based on sketches and pencil sketches, colored with watercolors. Designers can use a light color sketch to analyze the details of the work and constantly modify the proportions of things in the work

 Huang, W., & Shi, Z. , “The Inheritance and Innovation of Sketch Art Against the Background of Modern Cultural Construction,” (2018).  https://www.atlantis-press.com/article/25906546.pdf

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Cultural connotation of folklore

I will first collect different Chinese folklore stories and activities and integrate Chinese folklore and cultural background in my creation, such as eating glutinous rice balls and hanging lanterns at Lantern Festival. This design method can put the folklore factors into illustration.

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Cultural connotation of folklore

This method highlights that folk activities can be transformed into illustrations. 

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Shapes, Forms and Cultural Connotations of Chinese Folklore

As important objects in Chinese folklore, it has a long history and close connection with the traditional culture.

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Character Design Based on the Chinese Folklore

Chinese folklore with its profound cultural asserts and the unconstrained imagination is an indispensable factor in animation creation. The rich resources of myth in ancient China provided a broad space for the creation of animation film and inherited a long ethnic culture. Firstly, it creates an animation mythological character design model for animation design, which consists of three main parts: central idea, research method, and conceptual model. Secondly, the animation character creative process framework with the specific ideas of creative design. Four steps are used to design a mythological character: set a scenario (illustration), tell a story (interpretation), write a script (reaction), and design a character (reflection).