Creative Graphics

Name: Creative Graphics
ISBN: 9787811274202

董雪莲Communication University of China Press · ChinaOct 2023

Rating 3.7

Word count: 39K words
Chapters: 31
ISBN: 9787811274202

Summary

In the information age, information has become denser and travels faster than ever, and this bombardment of overloaded messages has made people more inclined to accept what is novel, direct and sensual. Visual graphics have therefore been widely applied, leading some to call ours an age of reading images. Against this background, how designers create appealing visual languages has become a pressing issue, and the cultivation of innovation in visual language has become an important task of contemporary art and design education. Since its introduction to China in the 1990s, the course of Graphic Creativity has been widely offered in colleges and universities, and as a foundational course it is much loved by design students. Highly challenging, it gives creative passion full play and offers an imaginative space unmatched by other courses. Through it, students can develop their capacity for unlimited creativity and for examining and solving problems from multiple perspectives. Combining theoretical discussion with the analysis of images, this book explains the methods of conception and techniques of expression in graphic creativity, aiming to organize the fundamental knowledge of the course into a comprehensive and practical textbook for design majors in ordinary universities.

Editor's review

As a design textbook published by the Communication University of China Press, Graphic Creativity derives its value from a systematic and in-depth analysis of graphics—the core element of visual communication design. Drawing on years of teaching and practice, Professor Dong Xuelian constructs a complete body of knowledge from theory to practice. The book does not stop at describing graphic appearances; it probes the inner logic, modes of thinking, and mechanisms of idea generation that make graphics a visual language. It offers distinctive views on the application of graphic semiotics and cognitive psychology to design, and its attempt to integrate traditional Chinese aesthetics with modern design concepts gives readers a cross-cultural perspective.

From a professional standpoint, the book's greatest strength is its clear logical framework and rich case analyses. Each chapter includes highly targeted exercises, enabling theory to translate effectively into practical ability. The cases include both classic international design works and creations by emerging Chinese designers, an arrangement that reflects the author's thinking on localizing design education. For learners seeking to build systematic graphic design thinking, the book provides a solid methodological foundation.

It should be noted that, because of its relatively early publication date, some technical content may not fully reflect the latest developments in digital design tools. This does not undermine the enduring value of its core theory—the essential laws of idea generation remain stable beyond technological iteration. Readers are advised to focus on the thinking-training sections rather than specific software operation guidance.

Who it's for

A good fit for

Visual communication design majors, for use as a supplementary textbook for core courses
Professionals in graphic design and advertising creativity seeking theoretical advancement and broader thinking
Cultural researchers and educators interested in graphic semiotics and visual psychology
Self-learners in creative fields preparing to build their own design methodology

Not a good fit for

Utilitarian readers seeking only software operation tips and ready-made design templates
Purely technique-oriented learners expecting large numbers of the latest digital design cases and trend analyses

Reading tips

Read the chapters in order, and be sure to complete the creative exercises after each chapter to consolidate understanding
Compare the content with contemporary design works to understand the modern relevance of classic theory
For the more theoretical chapters, supplement with related works on visual culture studies

About the publisher

Communication University of China Press China · Founded in 1985

Communication University of China Press focuses on broadcasting and hosting, journalism and communication, film and television arts, and media management, while also covering language and writing, applied psychology, social sciences, and exam preparation books. Representative titles in the library include Research Methods in Communication (2nd Edition), Communication and Society: Political Economy and Cultural Analysis, Empire and Communication, and The Structure and Function of Social Communication, as well as The Network State: Telecommunications as Institutional Legacy, Models of Mental Disorder: Critical Reflections of a Psychiatry Professor, and News and Public Opinion: Selected Papers of Robert E. Park. Its author resources include Richard R. John, Peter Taylor, Ke Huixin, Jin Gengxing, Sun Li, Zhang Tian, Qiu Jianyin, and Wu Yanru, combining translated classics in communication studies with original Chinese research.

版权信息
前言
导论
第一章图形的概念
一、图形释义
二、图形的起源与发展
三、图形的基本形态
四、图形的视觉语言
五、现代图形设计
第二章图形创意的思维特征与创意模式
一、关于图形的创意
二、图形创意的思维过程
三、图形创意的思维方法——创造性思维
第三章图形创意与格式塔原理
一、形态的合拢性
二、图形的连续性
三、图形的相似性
四、图形的共同归结
五、图形的接近性
六、图形的视觉伪装
第四章图形创意的思维表现
一、图形创意的表现特征
二、同构
三、渐变
四、断置
五、一形多意
六、空间转换
七、尺度夸张
第五章图形创意在设计中的运用
一、平面设计领域
二、三维领域

FAQ

What is the main difference between this book and similar graphic design textbooks?

This book focuses more on the thinking process and methodological construction of graphic creativity rather than simply displaying design outcomes. Its distinctive feature is the combination of modern Western design theory with traditional Chinese visual aesthetics, offering a cross-cultural analytical framework.

Can readers without a design background understand the book?

Readers with basic art appreciation skills can build a cognitive framework for graphic design through this book. The theoretical exposition is fairly clear, though some professional terms require readers to consult supplementary materials on their own. It is advisable to start with the case analysis sections and then return to the theoretical chapters.

Are the cases in the book outdated?

The classic cases retain their pedagogical value, as they reveal the essential laws of graphic creativity. By comparing them with contemporary design works, readers can complete their own reflection on updating the cases for the present, which is itself an important part of learning.

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About the author

董雪莲 Author

Dong Xuelian is an author for whom limited public information is available; two works are currently confirmed under her name, namely 21st Century Advertising Basic Textbook: Graphic Creativity and Graphic Creativity. Judging from the titles, her writing and teaching focus on graphic creativity, a foundational area of design, and are aimed at learners in advertising and visual communication courses. Textbooks of this kind generally cover the basic principles of graphic language, methods of creative thinking, and classroom exercises, emphasizing the translation of abstract concepts into workable training steps, and are therefore better suited to use as course companions. In common book categories, her works are grouped under exam preparation and software learning, suggesting that readers preparing for examinations or teaching themselves design software may also encounter relevant content. Since her dates of birth and death, nationality, education, and professional experience are not clearly recorded, this introduction does not speculate further about her personal background and presents her writing direction only on the basis of the available work information.