【作者】 苏慧红；

【导师】 帅民风；

【作者基本信息】 广西师范大学 ， 课程与教学论， 2008， 硕士

【摘要】 标志作为一种特定的视觉符号,是企业或社团的形象、特征、信誉、文化的浓缩,它以精练的形象表达深刻的内涵。标志在当代世界正发挥着越来越重要的作用,无论是在社会生活还是在生产活动中都扮演着不可或缺的角色。标志虽小,但方寸之间既体现视觉美,又蕴涵着深邃的人文内涵。当今世界经济全球化的浪潮给标志设计和标志设计课程提出了新的挑战,同时,世界格局的多极化和文化的多元化又为标志设计和标志设计课程利用传统图形提供了机遇和理论支撑。一些优秀的标志作品既体现出现代标志设计的理念与时尚,又折射出各民族、各地区的不同历史文化特征和审美情趣,显示了传统图形与现代标志设计相结合的艺术魅力。中国的传统图形源远流长、形式丰富多彩,其风格具有鲜明的地域性与民族性。鉴于此,本文将在实地调查的基础上,针对目前高校标志设计课程应用中国传统图形的现状和存在的问题,提出一系列将中国传统图形融入标志设计课程的良策,从而达到优化标志设计课程的目的。本文将分六个章节展开论述。第一章引言本章介绍本项研究的缘起,研究目标、研究内容以及研究方法。第二章文献综述本章介绍标志与设计的基本概念,中国传统图形的特征与类别,中国传统图形与标志的异同点,以及学术界关于艺术设计应用传统图形、艺术设计课程应用传统图形、特别是标志设计课程中应用传统图形的研究现状,指出存在的问题,提出解决问题的思路。第三章广州高校标志设计课程利用传统图形的现状本章以坐落在广州市的广州美术学院、中山大学、华南师范大学、华南农业大学、广州大学等五所具有代表性的高校为例,调查标志设计这门课程的课程目标、课程教材、课程资源、课程内容、课程教学、课程评价情况。调查发现,目前中国传统图形在标志设计课程中的地位还不够显著,课程教材中的传统图形知识还不够系统,标志设计课程的传统图形资源还不够丰富,传统图形的内容还不够充实,传统图形的教学还不够到位,学生在设计标志作品时对传统图形还不够重视,课程评价体系还不够科学。第四章利用传统图形优化标志设计课程的探索针对目前高校标志设计课程应用传统图形的现状和存在的问题,本章对利用传统图形优化标志设计课程进行了初步探索。在标志设计课程目标的完善方面,从知识与技能、过程与方法、情感、态度与价值观三个角度将传统图形融入课程目标之中。在标志设计课程的教材优化方面,建议适当加重传统图形知识和应用的比例,尽可能地选取更加丰富、涉猎更加广泛的课程资源来充实教材,还要注重本学科与其他学科越来越紧密的渗透和融合。在标志设计课程资源的优化方面,提议建立一个传统图形的资料库,其中的资源包括中国的图腾、汉字、印章、民俗图形、传统吉祥图案、民间图形等,本地的传统图形资源也值得重视和利用。在优化标志设计课程的内容方面,建议从以下三个方面进行改进和完善:第一、除了标志的概念、特点、设计原则、设计技法外,注重传统图形以及传统图形应用于标志设计的分析讲解;第二、在技法上注重讲解传统图形在标志设计中的技法表现和实现方法;第三、利用多种渠道向学生教授传统图形的内容。为了优化标志设计课程的教学环节,不仅提倡将传统图形有机地融入标志设计的课堂教学之中,还要充分利用第二课堂挖掘传统图形教育资源,让学生参与教师的科研项目,并且在学生完成标志作业的过程中,注意引导他们重视和运用传统图形。最后,还要优化标志设计课程的评价体系,建立一个包括形成性评价、终结性评价和表现性评价的多样化评价标准。第五章利用传统图形优化标志设计课程的意义本章认为利用传统图形优化标志设计课程具有重要价值与意义,将传统图形充分融入标志设计课程之中,不仅能够优化标志设计的课程体系,而且能够从哲学、美学、思维方式、道德培养方面对学生产生深刻的影响,从而促进学生智力因素和非智力因素的全面发展。此外,善于在标志设计中利用中国传统图形也可能对经济的发展产生巨大的推动作用。第六章结论本章是对全文的总结和未来研究的展望。更多还原

【Abstract】 As a special visual symbol which expresses profound connotations with a simple graph, a logo is the condensation of image, feature, credit, and culture of an enterprise or organization. The logo is playing a more and more important role in contemporary world, which is indispensable in social life and production activity. A logo is small, but it not only presents visual beauty, but also embodies deep cultural meaning. Today, the world tide of economic globalization has posed new challenges for logo design and Logo Design Course. Meanwhile, the political multi-polarization and cultural pluralism afford an opportunity and theory for the application of traditional graphs to logo design and Logo Design Course. Some excellent logos not only embodies modern design concept and style, but also refracts the different cultures and aesthetics of different peoples and districts, demonstrating the artistic charms of the combination of traditional graph and modern logo design. Traditional Chinese graphs have a long history and colorful forms with distinct regional and ethnical features. Based on an investigation into the status quo of the application of traditional Chinese graphs in Logo Design Course of universities, the thesis proposes a set of strategies to apply traditional Chinese graphs in Logo Design Course so as to optimize the course.The thesis is divided into six chapters.Chapter One Introduction which addresses the origin, goals, content, and methodology of the present research.Chapter Two Literature Review which introduces some basic concepts concerning logo and logo design, the characteristics of classification of traditional Chinese graphs, and the similarities and dissimilarities between traditional Chinese graphs and logos. The chapter critiques the state of the art of traditional graph’s application in art design, art design courses, and specifically Logo Design Course. The author raises some existing problems and hits upon a solution.Chapter Three The status quo of traditional graph in Logo Design Course of universities in Guangzhou which investigates how traditional graphs find their application in Logo Design Course of five representative universities located in Guangzhou City, namely: Guangzhou Fine Arts Academy, Sun Yat-sen University, South China Normal University, South China Agricultural University, and Guangzhou University. The author finds that traditional Chinese graphs still occupy a lesser place in the goal of the Course, the resources of traditional graphs are insufficient, the teaching content concerning traditional graphs are not complete, the classroom teaching is not very effective, the textbooks do not contain enough information on traditional graphs, the students do not pay much attention to traditional graphs in their design works, and the course assessment system is not scientific enough.Chapter Four Research on exploiting traditional Chinese graphs to optimize Logo Design Course which proposes a series of strategies to optimize Logo Design Course by applying traditional graphs, based on the findings of the previous chapter. As regards the goal of the Course, the author suggests that traditional graphs be integrated into knowledge, skill, process, method, passion, attitude, and values goals of the Course. To optimize the Course’s resources, the author proposes that a corpus of traditional Chinese graphs be established, which includes Chinese totems, Chinese characters, stamps, folk graphs, traditional auspicious graphs. Besides, traditional local graphs are also worth exploiting. With respect to the Course content, the author makes four suggestions: 1. Attach importance to the analysis of traditional graphs in addition to such general concepts as the definition, characters, design principles, and design techniques of the logo; 2. When addressing design techniques, draw students’ attention to the application of traditional graphs; 3. To explore more channels to impart traditional graphs to the students; 4. Engage the students in the teacher’s research projects. In order to optimize course teaching, the author proposes that traditional graphs be appropriately incorporated into classroom teaching and second classroom activities. To improve the textbook, the author recommends that they claim more proportion of knowledge on traditional graph and its application. The textbook compilers are expected to collect more qualitied and extensive materials as well as paying attention to the infiltration and amalgamation of neighboring disciplines. When students design their own works, the teacher is advised to steer them to the application of traditional graphs. Finally, the author advocates for a diversified system of assessment, which consists of Formative Assessment, Summative Assessment, and Performative Assessment.Chapter Five The significance of applying traditional graphs in Logo Design Course which deals with the value and significance of traditional graph application. The author argues that the application not only helps to optimize the course, but also exerts great impacts upon the cultivation of philosophy, aesthetics, thinking mode, and morality on the part of the students, so as to promote the students’ intelligence and non-intelligence development. Furthermore, to skillfully apply traditional graphs in logo design may advance economic development.Chapter Six Conclusion is a summary and prospection of the research更多还原