The Visual Culture of International Book Binding Design

With the development of society and the continuous development of technology, modern design has increasingly become an important tool and an essential means for international exchange. One of the inevitable trends of this kind of development is that the design national characteristics of various countries are gradually disappearing and replaced by international features. Although international design can bring convenience in communication, the lack of national design is a one-size-fits-all design. The lack of vividness and diversity.

Due to the international exchanges and the sharp increase in international trade, international dialogue has also increased. This development has promoted the formation of international visual language and made internationalist design an irresistible trend. From Asia to Latin America, from North America to Europe, whether in New York, Los Angeles or Tokyo, Hong Kong, Buenos Aires, Tel Aviv or Munich, Beijing or Frankfurt, the world's visual language, whether bookbinding, advertising , Posters, traffic signs and traffic maps, as well as computer networks, increasingly converged in design. Because of the need for human communication and frequent national dialogues, the same requirement for visual communication has been created. Internationalist design seems to be the only basic design method for a long period of time. Moreover, internationalist design has become incapable of not only in bookbinding and graphic design. The main design methods to get rid of, in the architectural design, industrial product design, fashion design, environmental design, urban planning and design, and even to the arts, have become the main, basic way that has to be used.
The rigidness of visual communication design, high functionality, and rationalization are irresistible trends and directions. This is beyond doubt. At the same time, design is an integral part of national culture. This monopolistic development of internationalism naturally leads to the weakening of nationality and even the disappearance of national characteristics. Some designers started to care about the personality of the design, the national characteristics of the design, and this issue runs through the development process of the entire binding design from the 1960s to the present.

In 1966, the German graphic designer Olaf Leu once mentioned in an article: The German design has no nationality. He pointed out that although some people are very fond of and happy about this development, but not everyone is. Many designers are worried about this. He also pointed out that for a considerable period of time, the monopolization of Germany's binding design was the international typographic style developed by Switzerland and the United States' graphic design style, and this happened not only in Detong. There are different developments in various countries around the world.

Since the 1980s, the design and design community, like other design communities, have been challenged by new media and new design techniques. As a result, dramatic changes have taken place. The stimulus is the development of computer technology and the rapid entry into the design process. The former manual labor.
In addition to this, the development of other electronic technologies has also led to great changes in the design, such as the widespread use of fax machines, the globalization of television technology and the new global television channels, computer network systems and e-mail, and the popularization of long distance calls. Widespread use of mobile phones and so on, these technologies have turned away a long distance away into a short distance, and information technology has increasingly transformed the world into what Marshall McLuhan called “Global Village”. Global village)". The development of this technology has on the one hand spurred the monopolistic development of internationalist design, and at the same time promoted the synthesis and blending of design cultures of various countries and peoples. This is the same as the design culture of the East, West, South and North. The frequent and close exchanges between the global villages have been increasingly fused. Therefore, under the trend of internationalism, it has also lurked the possibility and opportunity for the development of national culture. This situation naturally leads to internationalization of design on the one hand and diversification on the other. Under the new conditions of communication, design has undergone changes in unity, resulting in a diversified development of the design under the condition of good basic visual communication. The development of personal style has not been weakened or disappeared because of the increase of international communication, but in The new situation has been developed with a new look.

Through the above discussion of designers' use of design language to communicate directly or indirectly with readers, we can appreciate that designers play a decisive role in this whole process. By studying the explicit meaning and implicit meaning of the design language, the designer realizes a certain fixed meaning and creates an aesthetic information space and relies on the originality of the language itself to complete the realization of the self and realize the aesthetic subject design information. And the aesthetic space tries to explain the power. The designer's mission is to change the constant visual language of the habits of everyday life stipulated by many customary everyday languages, and to bring readers new unidirectional knowledge transfer plane structure styles to multi-directional aesthetic psychological appeal. The transmission process of development is the aesthetic frame that brings new visual stimulation and knowledge to the readers.

Nowadays, part of China's framing designers began to reinvent new forms of books in order to change people's reading habits and reading behaviors on the premise of paying attention to the nationalization and the traditional spirit of the country. This practice of reshaping the form of books is intended to “destroy” the shackles of the inherent patterns of books and the transmission of pure lead characters, creating a subjective and imaginative design, that is, using the binding design language to study the creation of binding aesthetics. Its significance has surpassed the structure of the book itself (or the content itself). The purpose is to inspire readers to look for and gain a free feeling in the reading of books, thus sprouting a source of imagination and wisdom. The process of merging traditional books and modern books by designers is exactly the value of the transformation of book forms. The advances in book art over the past two decades have begun to reveal the charm of Chinese bookmaking in the world.

The development of binding design for nearly two hundred years has provided great convenience to society and human beings, promoted people's information transmission, stimulated the communication and exchange of ideas, and at the same time formed a new category of visual arts and visual culture. With the frequent international exchanges, the development of trade, and the advancement of technology, the tasks undertaken by the design of binding will inevitably become heavier and heavier. Although the language used in binding design varies greatly, the object of its service is still human: the physiological aesthetic requirements of human beings (including the requirements of simple physical functions - manifested in the binding design is the rapid and accurate requirements of visual communication) and the human psychological aesthetic Requirements - beautiful, generous, elegant, consistent with their own taste, etc., these are actually not much change. Therefore, the research on the development of the binding design language and the study of the application of the framing design language in recent two hundred years have become the value standard for revaluation of the new book aesthetics. (Wen/Jia Kaixi)