Does Minimalism Influence the Chinese Design Development Trend in the Future - Literature review Example

Does minimalism influence the Chinese design development trend in the future? Name Instructor Institution Date of submission Introduction Minimalism is a predominant school of the contemporary Western art of with origin in the early 20th century. The minimalist design, as Obendorf (2009) explains it, is characterised by the elimination of unnecessary techniques and decoration resulting to unsophisticated design elements. The trend has spread globally, including in China following years of innovation, design, and dissemination (Mokhov 2011; Xue 2005). At present, the idea has profoundly affected contemporary Chinese design. A review of the current artworks by graphic designers in China show that minimalism is being fast adopted in the southern city of Shenzhen as well as in first-tier cities like Shanghai and Beijing. Minimalism has had profound influence on the Chinese design development and continues to shape the Chinese designs for the future, as argued by this essay. This paper examines how minimalism is influencing the Chinese design development and how the trend is likely to impact the future. An underlying argument is that minimalism is influencing the Chinese design development and the trend will persist into the future. Embracing minimalism in China Minimalism design trend emerged in the 1920s across the European countries despite gaining prominence in most parts of the world during the post–World War II Western Art, particularly in the visual arts of the United Stated during the 1960s. As a specifically distinctive artistic style, the minimalist model of art has penetrated the popular design representation in China. In Xue’s (2005) view, the concept is usually interpreted as reacting against the abstract expressionism and bridging Post-minimal art forms in China. Characteristically, the designs are stripped down to the bare or basic essentials (Al Qudwa & Muhaisen 2013). Chinese designs today embrace the use of simple, plain style, through the application of single element while abandoning the traditional intricate stereotypes and embracing the application of new technologies, and simple plastic arts (Locher 2013; Al Qudwa & Muhaisen 2013). At any rate, the minimal Chinese design has a history that remains practically unfamiliar because of its relative late development compared to the practice of design in the Western countries like the United States. According to Wong (2001), the history of minimal design in China may have started after 1979 when Chine opened up to allow free trade. It is, possibly, during this time that the history of Chinese minimal graphic design started. Wong (2001) however argues convincingly that before the 1960s, minimalist Chinese designs did not exist. China-based design scholars like Wong (2001) stress that little was written about Chinese designs under the communist governments until 1979 after the implementation of the Open Door Policy. The traditional computer graphics that developed during the past 2 to 3 decades, is viewed by Herman and Duke (1999) to be a direct continuance of traditional European painting. The objective is reproduction of nature using images that computer graphics generate. Within the context of Chinese graphics, Herman and Duke (1999) argue that the purpose of computer graphics is to lead the human observer into understanding information by means of pictorials. For instance, an example of Chinese painting indicates that information on the environment may as well be passed without a striving for photorealism, through the use of a degree of graphical information that sufficiently communicates the planned message. These designs are further characterised by the abandonment of foreign objects to depict a quiet delicate mood in the Chinese philosophy that simplicity is better than complexity, and that rare is more influential than complex. For these reasons, in the spirit of stylish minimalist, the graphic designs are characterised by simple yet exquisite skill, clearly expressing the function to lessen the use of maximum principle. Minimalism is shaping current and future design development in China Minimalism continues to shape the current design development in China. It is argued that the trend will persist into the future. Still, the minimalist designs have taken off to small extent in Chine, despite sufficient evidence showing that the trend will shape most designs in China. Some Chinese researchers like Xue (2005) have attempted to express doubt that minimalism is likely to take root in China to a great extent. One reason for his argument is that Minimalism has significant Western origin and that China has inherently been quite conventional and traditional. While his arguments are somewhat convincing, there is significant evidence indicating that modern-day Chinese designs are in fact the design norms that reflect those in the Western world. It is perhaps based on these reasons that Xue (2005) left a room for doubt regarding the possibility that China will significant embrace the minimalist design development in future. Indeed, Xue (2005) agrees that China's modern-day experimental graphic designs have attempted to be people-oriented, as it is characterised by placing greater emphasis on the ease of use to the end-users of the structure, rather than the intricate aesthetics to create greater impression to the eye. This idea is also supported by Obendorf (2009), who is further of the view that Chinese artworks will most likely be significantly minimalist in future as current trends (since the 1980s) show signs of rejecting the ideological, political, historical and cultural burdens as showed in Lulu Li’s artwork below, as opposed to Rai Lei’s. Figure 1: Ray Lei's artworks showing the tradition of detailing graphic art as opposed to using minimal objects (Arshad 2013) Figure 2: Lulu Li's minimal artwork showing minimal details (Arshad 2013) Again, more scholars have agreed that the trend of rejecting the ideological, political, historical and cultural burdens is an aspect of minimalist designs (Obendorf 2009; Xue 2005).Still, some designers may be too self-indulgent and preoccupied with their individualism and therefore reject the experimental minimalism aspects. However, this is only to a small extent. Despite this, the fashionable aspects and cost-friendliness of minimalist artworks have greatly influenced the experimental graphic designing in China to adopt minimalism to the core. Examples of such designers include Noma Bar and ShaoLan Hsueh and Yang Liu. It is based on this reason that Xue (2005) argues that in comparison to the practice of over-designing the commercial-oriented structures designed and made in China, the creations of the modern artworks are simple and precise. As Herman and Duke (2001) points out, the modern-day Chinese is essentially an aesthetic of visual simplicity. Herman and Duke (2001) proposed the term “minimal graphics” to refer to graphics that are as simple as possible yet convey the planned information. Still, the intended message has to be pleasant to the eye. Golas (2014) also remarks that in graphic design, extracting and using characteristic and geodesic curves, through the application of certain forms of silhouette detection algorithm. Still, Herman and Duke (2001) explain that such approaches should not “simplify” the image. At the same time, they should not be deficient in the “symbolic” aspects they seek to attain. According to Herman and Duke (2001), they could as well use certain forms of smooth hull of the 3D objects. At the same time, wavelet–like encoding may be visualized in addition to multi-resolution techniques for modelling objects, which may extract the “sweep” of a surface or curve. Still, it should be realised that in the process of formulating the issues that minimal graphics bring about, minimal implies that the graphic image is just sufficiently rich for the human mind as well as capable of completing the representation. Obendorf (2009) points out that more Chinese designers of the new generation subsequently embraced the mantra of "less is more" (originally coined by pioneer minimalist designer Ludwig Mies van der Rohe) in describing the aesthetic method of arranging various essential components of a structure to bring about the impression of tremendous simplicity, where they enlist all elements and details to serve divergent symbolic and visual aims. Evidence of Minimalism in China The minimalist design industry is on stead growth path in China, and is becoming mainstream design largely embraced by the Chinese. It is perceivable across the Chinese graphic design industry. Noma Bar and ShaoLan Hsueh While China is 'catching up to the Western countries when it comes to contemporary minimal design, it is gaining steady form in China, particularly in the southern city of Shenzhen although days, first-tier cities like Shanghai and Beijing have also began to attract minimalist designers, among many graphic designers. One prominent example is the minimal art by Noma Bar and ShaoLan Hsueh, who derived their inspirations from the West, particularly the United Kingdom (Brain 2014). Figure 3: ShaoLan and her minimal artworks (Brain 2014) Their minimal artworks have concentrated on everyday objects like fire, wood, knifes, turtles and horses. Analysis Noma Bar and ShaoLan Hsueh’s artworks bring evidence of a close link between the popular Western graphic design trends, end-users preferences and visual appeals. Indeed, Noma Bar and ShaoLan Hsueh’s her inspiration from the United Kingdom, which is a Western country. Noma Bar and ShaoLan Hsueh’s artworks also lack intricate designs. Instead, they have simple designs that a viewer can interpret fast. There is also a hint to the use of monochromatic colours as seen in the graphic design of fire. Again, the designers prefer the use of natural and locally available objects in China, such as the horses, turtle and fire. As Obendorf (2009) explains, the minimalist styles seek to uphold simplicity, economise workmanship while simultaneously seeking to look elegant, fashionable, and modern. At any rate, the designs seek to pass information on the environment may without a striving for photorealism. Yang Liu Additional evidence of minimal artworks that have derived their inspiration from the West is that by Yang Liu, a graphic designer. Yang drew her inspiration from Germany, where she has lived most of her life. She has created several straightforward minimal graphics that to depict the differences between Western and Eastern cultures. Yang has created minimalistic visualizations by relying on simple shapes and symbols to show the difference between the two cultures. As indicates in her designs below, the blue parts represent the Western cultures, while the red part depicts the Eastern cultures (Ying 2013). Figure 4: Creative works by Yang Liu Analysis From the case study, it is discernible that there is a close link between the popular Western graphic design trends, end-users preferences, and visual appeals in Yang Liu’s graphic designs. Yang Liu also drew her inspiration from the West, particularly Germany. This also implies that her minimalism designs have some Western elements. Indeed, she attempted to use of some degree of graphical information that only sufficiently communicates the planned message without much detailed graphics. In spite of these, her designs are characterised by the desertion of foreign objects to represent a more salient and dominant objects in China in the Chinese philosophy that simplicity is better than complexity, and that rare is more influential than complex. Yang Liu’s artworks also contain an aesthetic of visual simplicity. Indeed, they are as simple as possible yet convey the planned information. Despite this, the intended message is pleasant to the eye. The minimalist aesthetic used in the three structures also appears as opposed to the Chinese traditional intricate designs of wall paintings and curving and instead advocate for simple beauty. They have been transformed into simple geometric styles that do away with the “unnecessary” Chinese decorations, except for seeking to enhance clearer view (Obendorf 2009). They also seem to emphasise emptiness, or creating a plenty of empty space. As Obendorf (2009) observes, emptiness is an aspect of minimalism that facilitates viewing space as simply as it is and to prevent it from being hidden in decorations. Basing on these reasons, the minimalist style is gaining prominence due to its rational emphasis on simplicity and use of minimal details. G’Day Design G’Day Design is also an example of a creative studio that creates minimal graphics. The graphic design company re-interprets concepts using visual symbols in marketing or innovative ideas. An example of a graphic design is created by the company is indicated below (Arshad 2013). Figure 5: Creative design by G’Day Design (Arshad 2013) Analysis From the above evidence, it is apparent that the G’Day Design shows a close link between the popular Western graphic design trends of art. For instance, the design seems to be extracting and using characteristic and geodesic curves, through the application of certain forms of silhouette detection algorithm. Even so, the designers did not just “simplify” the image. At the same time, they did not seem to be deficient in the “symbolic” aspects they seek to attain. They are sufficiently enriched for the human eye and mind. Hence, minimalism could be perceived to be the basis of a desirable future design in China. What is discernible is that the design seeks to fit into a consumers’ lifestyle and end-user convenience. They are inherently less feature-oriented, as explained by the plainness. According to Mokhov (2011), minimalist designs emphasise practicality and simplicity and display necessary elements, rather than the detailed ornamental complexities. Conclusion Minimalism is influencing the Chinese design development and the trend will persist into the future. The minimalist trend has spread globally, including in China following years of innovation, design, and dissemination. It has had profound influence on the Chinese design development and continues to shape the Chinese designs for the future, as argued by this essay. Indeed, the Chinese designs today embrace the use of simple, plain style, through the application of single element while abandoning the traditional intricate stereotypes and embracing the application of new technologies, and simple yet available objects. Evidence is provided by graphic designers like Noma Bar, ShaoLan Hsueh, and Yang Liu’s. The three show that more Chinese graphic designers come up with artworks that lack intricate designs and go for simple designs that lack complexity. Reference List Al Qudwa, S & Muhaisen, A 2013, Developing Simple and Economic Buildings in the Gaza Strip Using Minimalist Architecture Principles, A Thesis for the Degree of Master in Architecture Submitted to the Department of Architectural Engineering Deanery of Graduate Studies, the Islamic University of Gaza Arshad, Z 2013, The 10 most inspiring designers in China today, viewed 11 Nov 2015, Brain, C 2014, Minimalist Illustrations to Easily Learn Chinese Characters, viewed 11 Nov 2015, Fanrto 2015, Modern gallery with minimalist architecture in China, viewed 10 Nov 2015, Golas, P 2014, Picturing Technology in China: From Earliest Times to the Nineteenth Century, Hong Kong University Press, Herman, I & Duke, D 1999, Minimal Graphics, viewed 11 Nov 2015, Lavinia 2013, Surprising Minimalist Approach to Bookstore Design in China, viewed 1 Nov 2015, Locher, M 2013, Super Potato Design: The Complete Works of Takashi Sugimoto: Japan's Leading Interior Designer, Tuttle Publishing, North Clarendon Mokhov, O 2011, Minimalist Design: A Brief History and Practical Tips, viewed 10 Nov 2015, Obendorf, H 2009, Minimalism: Designing Simplicity, Springer Science & Business Media, New York Read more: http://designtaxi.com/news/361007/Minimalistic-Visualizations-Explain-Differences-In-Eastern-And-Western-Cultures/#ixzz3rD90OBoD Wong, W 2001, "Detachment and Unification: A Chinese Graphic Design History in Greater China since 1979," Design Issues vol 17 no 4, pp51-71 Xue, C 2005, Building A Revolution: Chinese Architecture Since 1980, Hong Kong University Press, Hong Kong Ying, L 2013, Minimalistic Visualizations Explain Differences In Eastern And Western Cultures, 10 Nov 2015, Read More

These designs are further characterised by the abandonment of foreign objects to depict a quiet delicate mood in the Chinese philosophy that simplicity is better than complexity, and that rare is more influential than complex. For these reasons, in the spirit of stylish minimalist, the graphic designs are characterised by simple yet exquisite skill, clearly expressing the function to lessen the use of maximum principle. Minimalism is shaping current and future design development in China Minimalism continues to shape the current design development in China.

It is argued that the trend will persist into the future. Still, the minimalist designs have taken off to small extent in Chine, despite sufficient evidence showing that the trend will shape most designs in China. Some Chinese researchers like Xue (2005) have attempted to express doubt that minimalism is likely to take root in China to a great extent. One reason for his argument is that Minimalism has significant Western origin and that China has inherently been quite conventional and traditional.

While his arguments are somewhat convincing, there is significant evidence indicating that modern-day Chinese designs are in fact the design norms that reflect those in the Western world. It is perhaps based on these reasons that Xue (2005) left a room for doubt regarding the possibility that China will significant embrace the minimalist design development in future. Indeed, Xue (2005) agrees that China's modern-day experimental graphic designs have attempted to be people-oriented, as it is characterised by placing greater emphasis on the ease of use to the end-users of the structure, rather than the intricate aesthetics to create greater impression to the eye.

This idea is also supported by Obendorf (2009), who is further of the view that Chinese artworks will most likely be significantly minimalist in future as current trends (since the 1980s) show signs of rejecting the ideological, political, historical and cultural burdens as showed in Lulu Li’s artwork below, as opposed to Rai Lei’s. Figure 1: Ray Lei's artworks showing the tradition of detailing graphic art as opposed to using minimal objects (Arshad 2013) Figure 2: Lulu Li's minimal artwork showing minimal details (Arshad 2013) Again, more scholars have agreed that the trend of rejecting the ideological, political, historical and cultural burdens is an aspect of minimalist designs (Obendorf 2009; Xue 2005).

Still, some designers may be too self-indulgent and preoccupied with their individualism and therefore reject the experimental minimalism aspects. However, this is only to a small extent. Despite this, the fashionable aspects and cost-friendliness of minimalist artworks have greatly influenced the experimental graphic designing in China to adopt minimalism to the core. Examples of such designers include Noma Bar and ShaoLan Hsueh and Yang Liu. It is based on this reason that Xue (2005) argues that in comparison to the practice of over-designing the commercial-oriented structures designed and made in China, the creations of the modern artworks are simple and precise.

As Herman and Duke (2001) points out, the modern-day Chinese is essentially an aesthetic of visual simplicity. Herman and Duke (2001) proposed the term “minimal graphics” to refer to graphics that are as simple as possible yet convey the planned information. Still, the intended message has to be pleasant to the eye. Golas (2014) also remarks that in graphic design, extracting and using characteristic and geodesic curves, through the application of certain forms of silhouette detection algorithm.

Still, Herman and Duke (2001) explain that such approaches should not “simplify” the image. At the same time, they should not be deficient in the “symbolic” aspects they seek to attain. According to Herman and Duke (2001), they could as well use certain forms of smooth hull of the 3D objects. At the same time, wavelet–like encoding may be visualized in addition to multi-resolution techniques for modelling objects, which may extract the “sweep” of a surface or curve.

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