After the 20th century, the pace of China's industrialization has gradually accelerated, and the way of creation has gradually shifted from hand-made to machine-made. Mechanized mass production has resulted in the separation of design and manufacturing, manufacturing and sales. As a result, industrial design, which aims to transform the interests of producers and consumers into products, has gradually become a major component of modern Chinese craftsmanship.
Chinese modern craftsmanship started from pattern science and pattern design. The word "pattern" was first introduced by Japan, and its connotation was condensed into aesthetic decorative meaning in China from the beginning, becoming the decoration on the product surface or the decorative pattern painting of commercial art. This understanding led to the widespread development of modern pattern studies and pattern design in the 1920s and 1930s. At that time, many art vocational schools established pattern departments or pattern classes. Chen Zhifo compiled China's first modern pattern textbook - "Pattern Lecture Notes" and established Shangmei Pattern Museum in Shanghai to provide design solutions to manufacturers. Later, he also edited and published monographs such as "Pattern ABC", "Table Number Pattern", and "Pattern Composition Method". Lei Guiyuan also wrote monographs such as "New Patternology" and "New Pattern Theory and Practice". Other arts and crafts artists and educators Li Youxing, Zhang Guangyu, Cheng Shangren, Chai Fei, Xiao Jianqing, Wu Renjing, etc. all actively advocate or engage in the research and creation of pattern science. The study of pattern science has promoted the prosperity of basic patterns and various craft pattern designs (such as ceramics, dyeing and weaving, advertising, lacquerware, etc.). However, the patterns at that time were mostly seen as desk work in newspapers, pattern collections or exhibitions, and few were put into production. After entering the 1950s, pattern research continued, and the depth and breadth of research greatly exceeded past levels. Researchers not only summarize and study traditional Chinese patterns, but also extensively study and introduce ancient and modern foreign patterns. The broadening of academic horizons and the stimulation of production practice have given pattern art a new look. On the one hand, as a desk assignment for basic arts and crafts education, it improves the level of artistic creation and enriches expression techniques and techniques. On the other hand, it has enhanced pertinence and applicability as a design solution put into production. The rapid development of industrial production in the 1980s continued to inspire people to break through the narrow concept of decorative patterns and incorporate the comprehensive requirements of industrial design. This trend has triggered and promoted the reform of pattern teaching and even the entire arts and crafts education.
The development of modern industrial design was mainly achieved after the founding of the People's Republic of China. From the 1950s to the 1970s, the country promulgated and implemented several five-year plans and gradually established an independent and complete modern industrial system. Plastics, glass, ceramics, enamel, hardware, clocks and other industries have developed greatly, and the design of industrial products has also developed accordingly. Due to the lack of overall sufficient awareness and attention, the design of this period was at a low level and the design power was also weak. In the 1980s, light industrial production developed rapidly, competition in daily industrial products became fierce, people's living standards and consumption levels greatly improved, and the information of the international industrial design movement spread to the country through frequent cultural exchanges. These factors bring the design of daily industrial products to a new stage. Product design at this time has shown signs of comprehensively considering and dealing with the relationship between decoration, shape, structure, function and other factors, and some relatively excellent designs have stood out. Industrial design education has developed rapidly. Since the Central Academy of Arts and Crafts established the Industrial Art Department, other art colleges and some engineering colleges across the country have also established industrial art majors. Teachers and students from various colleges actively contact the industrial production departments to provide them with product design solutions, so that the industrial product shapes can present a new look. So far, China's daily industrial product styling design has gradually shown imitation and maturity. It can be seen that design concepts are penetrating into people's consciousness at an unprecedented speed. The intention of comprehensively grasping product design from social, economic, technical and aesthetic perspectives has gradually been strengthened by designers. Theoretical research on industrial design has begun to consider the issue of establishing an industrial design system suitable for China's national conditions. All this shows the possibility of China's industrial design leaping to a higher level.
In the early days of dyed fabric design, Chen Zhifo, Lei Guiyuan, Li Youxing, Chai Fei and others were involved. However, at that time, China's national textile industry was in difficulty and the country was suffering from serious disasters. It was difficult to design and manufacture dyed fabrics. and development achievements. Entering the Republic of China period, the textile industry developed rapidly. The state attached great importance to the design of dyed fabrics, established professional colleges such as Suzhou Silk Institute of Technology, and established dyeing and fabric design departments in central and local art schools. Department or major. Enterprises in various places have a sound evaluation system to organize the design, trial production, trial marketing and appraisal of new products and new colors. The national competent authorities also have national textile product research centers and have established textile fashion color research organizations in concentrated areas of the textile industry. The country holds a national new textile product, new design and color evaluation and exchange meeting every two or three years. In the 1980s, research on the release of fashionable colors has become a national task with popular significance, driving the production and sales of the textile industry.
After the Revolution of 1911, the official uniforms, topbands and braids of the Qing Dynasty were abandoned by the radical era, and were replaced by suits, Chinese tunic suits and the constantly modified cheongsam. The solemn and simple Chinese tunic suit was an important achievement of clothing design at the beginning of this century. Before the 1980s, it unified the world of men's clothing and gave rise to modern basic uniforms such as cadre uniforms, military uniforms and student uniforms.
Women's clothing design was relatively active in the 1920s and 1930s, and design plans for new Chinese and foreign women's fashions were often published in publications. Big cities such as Shanghai often hold fashion shows or exhibitions. In the nearly 30 years since the founding of the People's Republic of China, clothing design has been influenced by "Left" ideas and has failed to receive further attention and development. People's daily clothing styles are monotonous and colorless. In the 10 years since the "Cultural Revolution", the world's clothing has become even more gloomy. Since the late 1970s, clothing design has greatly improved, with increasingly rich varieties, styles and colors. Suits, hunting suits, two-way shirts, jackets, embroidered clothes, various long and short skirts, cheongsams, down jackets, sportswear, etc. are all popular clothing. In the 1980s, the fashion design industry began to focus on clothing for children, teenagers, the elderly and various professionals. Various forms of fashion shows and fashion competitions are held frequently. Some provinces and cities have established fashion show teams to showcase new achievements in fashion design at home and abroad. By the 1990s, clothing design was disseminated more and more frequently and through multiple channels, affecting the diversity and improvement of people's lives.
Indoor environment design was very particular in ancient China and formed a set of traditional patterns. After the Revolution of 1911, the living style of urban people has changed a lot. People are dissatisfied with the traditional model that focuses on ethics and spirit, and like the comfortable and free Western-style interior decoration. Lei Guiyuan, Liang Qiyu, Zhang Derong and others had made some European-style interior environment and furniture design plans as early as the 1930s, but this was just an unattainable ideal for most people at the time. The interior design achievements from the 1950s to the 1970s are mainly reflected in some large national buildings, and the Great Hall of the People is a model work. Since the late 1970s, the development of tourism has brought about the construction of a large number of modern hotels and public buildings. Their inner courtyard environment, interior decoration and furnishings may be luxurious and comfortable in the Western style, elegant and simple in the Chinese style, or Chinese and Western. Compatible interest and achieved better artistic results. The awareness of interior environment design is penetrating into people's daily lives. At the same time, the vision and theme of design are expanding from indoors to the spatial environment of the entire city. The issue of comprehensively grasping the built environment and the relationship between people and society is of concern to the design community.
Commercial art had unique creations in ancient China. Those ancient forms, such as guise, packaging, plaques, and Chinese-style facade decoration, are an integral part of modern Chinese commercial art. With the development of national capitalist industry and commerce in the early 20th century, modern commercial art that adopted new technologies, new materials, and reflected new concepts emerged in China. Modern commercial art, led by newspaper advertisements, was valued and promoted in the early years of the Republic of China, and became popular and achieved remarkable success in the 1930s. During this period, broadcasting, postal service, street signs, transportation and electrical advertisements appeared one after another. Most companies and products had registered trademarks. Carton packaging with exquisite pattern decoration and color effects was widely used. Store windows began to appear and were equipped with machinery or electricity. A motivating model of neon technology being used for store decoration or sign advertising. An increasing number of practitioners have formed a professional or semi-professional design team in metropolitan areas, including Hang Zhiying, Jin Meisheng, Zhang Dihan, Li Yongsen, Xie Zhiguang, Hu Boxiang, Zhang Guangyu, Zhang Zhengyu, Ding Wei, Zhang Yitian, Pang Yipeng, Xu Baiyi and other influential commercial art designers. At that time, advertising and commercial art research was quite active, with numerous papers, monographs, and professional journals published. In 1936, the Chinese Commercial Art Writers Association was established in Shanghai. The following year, the first Chinese Commercial Art Exhibition was held on Nanjing Road, Shanghai. Starting from the 1950s, especially from the late 1970s, commercial art entered a new historical stage. Advertising and decoration companies, art companies, design research units and professional associations have been established in all major provinces and cities across the country, and they often organize exhibitions and reviews of works and publish professional publications. In 1980, the Packaging Technology Association was established and the magazine "China Packaging" was founded. Following this, the China Advertising Society was established in 1982 and launched the professional publication "China Advertising". After the 1980s, advertising participated in social and cultural undertakings on a larger scale, using a large number of new printing techniques and creativity that integrated modern consciousness and China's national conditions to bring about a vivid and prosperous situation.
Book binding design has a long history and brilliant achievements in China. But its transformation from ancient form to modern form began in the late 19th and early 20th centuries. After the Opium War, the introduction of modern Western printing technology brought a technological revolution in book binding technology. The May 4th New Culture Movement brought a revolution in the form of book binding: artistic calligraphy, binding patterns and pictures were used in book binding, and the overall design of books began to appear. Book binding and book content tend to be unified. In the first half of the 20th century, the art of book binding experienced a process from mixing old and new to pursuing Western taste and then pursuing national characteristics. Realistic and abstract patterns, paintings and photography, comics and prints were once popular forms of decoration. The book binding of this period made outstanding achievements in modern arts and crafts. In addition to social reality factors, this achievement is also related to Lu Xun's advocacy and support and the work of Tao Yuanqing, Wen Yiduo, Situ Qiao, Feng Zikai, Sun Fuxi, Zhang Guangyu, Zheng Chuangu, Mo Zhiheng, Ye Lingfeng, Qian Juntao It is directly related to the participation of a number of outstanding writers and book binding artists such as , Cao Xinzhi and others. After the 1950s, especially into the 1980s, China's publishing industry developed rapidly. Book binding has been greatly improved and improved in terms of materials, formats, printing quality, binding methods, decorative forms and overall design level, and a complete set of book binding has been formed. Design system.