| 杜昊宇,唐昌乔.“新丑”在当代视觉设计语境下的价值与意义探析[J].包装工程,2022,43(10):204-210. |
| “新丑”在当代视觉设计语境下的价值与意义探析 |
| On the Value and Significance of "New Ugly" in the Context of Contemporary Visual Design |
| 投稿时间：2022-01-05 |
| DOI：10.19554/j.cnki.1001-3563.2022.10.025 |
| 中文关键词: 新丑 当代视觉设计 日常生活审美 多样性 |
| 英文关键词: $p#$TAB包 装 工 程#$TAB2022年5月 |
| 基金项目:贵州省2020年度哲学社会科学规划重大课题(20GZZB11) |
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| 中文摘要: |
| 目的 “新丑”(New Ugly)一词因其视觉形式常与颠覆常规的版式和夸张变形的字体联系起来。多数关于“新丑”的评述却流于表面风格调性的浅析，导致其背后的视觉逻辑在这场对“新丑”的误读中被消解。文中以日常生活审美化作为历史诱因切入，并将新丑的设计现象问题引入设计艺术史中进行分析研究。方法 以历史性研究与比较分析的方法，通过对“新丑”现象新视角下的解读和对设计艺术史中个案与综合作品的分析来定义“新丑”在当代视觉设计语境下的真正意义，挖掘其于当代平面设计语境下的价值。结论 “新丑”作为一种设计现象，是一种建构在外部客观社会审美心理更迭的基础上，对日常审美经验关注的主观思考。在商业主义同质化设计对大众进行无意识劝诱的当下，构建一种以所谓的“丑”作为差异化的文化合法性，使得野生美学在一个更加平等的审美立场下被审视。“新丑”不仅拓宽了当代视觉设计的语境，以一种更加包容多元的态度反映了视觉设计中本应存在的真实，也在一定程度上激发了当下视觉设计创新的超越性和活力，从而唤醒了受众对于日常生活审美经验的再发现。 |
| 英文摘要: |
| In recent years, the visual form of the word "New Ugly" is often associated with the subversion of the conventional layout and exaggerated deformation of the font, making it a hot topic in the context of domestic graphic design. However, most of the comments on "New Ugly" are superficial analysis of style and tonality, and lack of academic comparison, resulting in the elimination of visual logic and value behind it in the misunderstanding of "New Ugly". In this paper, the aesthetics of daily life is taken as historical inducements, and the "New Ugly" design phenomenon problem is introduced into the design art history for analysis and research. By means of historical research and comparative analysis, the true meaning of "New Ugly" in the context of contemporary visual design is defined through the interpretation of "New Ugly" from a new perspective and the analysis of individual cases and comprehensive works in the history of design art, and the value of "New Ugly" in the context of contemporary graphic design is explored. As a design phenomenon, "New Ugly" is a subjective reflection on the daily aesthetic experience based on the external and objective social aesthetic psychology. At the moment when the homogenized design of commercialism unintentionally induces the public, a cultural legitimacy is constructed with the so-called "Ugly" as the difference, so that wild aesthetics can be examined from a more equal aesthetic standpoint. In this way, "New Ugly" not only broadens the context of contemporary visual design and reflects the reality that should exist in visual design in a more inclusive and diversified attitude, but also stimulates the transcendence and vitality of current visual design innovation to a certain extent, thus awakening the audience to rediscover the aesthetic experience of daily life |
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