Two or more figures are combined to form a new graph1 which is isomorphic. Isomorphic graphics are mainly divided into:
Displacement isomorphism. Displacement isomorphism refers to the non-realistic construction of a specific element that makes up a substance with another element that does not belong to the substance, presenting a new meaning and expression. In the new composition, the substitute replacement of the substance or the part of the substance should have a certain similarity with the original modeling image, and enhance the expressiveness of the graphic through a wonderful and abnormal combination.
Heteromorphic isomorphism. Heteromorphism is the synthesis of two completely different objects, according to the similarity of the shape, each part of which is combined into a new image, so as to convey a richer and more profound meaning.
Heterogeneous isomorphism. In the graphic creativity, according to the theme needs to replace the original material of one object with the material of another object, so that the relationship between the two objects is generated, and the original bland image also has new vitality because of the change of material, so that the graphic is more connotative and interesting. Material changes can be expressed by expressing material texture characteristics or by twisting, bending, breaking through, etc.
Place in isomorphism. Insertion isomorphism is to use one contour in the combined element as the shape frame, and other shapes are filled in this shape to form a combination relationship between the outer contour form and the internal elements. It should be noted that the prototype selected as the outer outline in the same construction style should be particularly unique and easily recognizable in the silhouette form, and the audience can clearly identify it by relying only on its shape.
Symbiotic graphics in visual communication design is a unique compositional formal language, which through creative expression, the use of common space common shape, common line and other design elements, so that two or more images share the same space, the same edge contour, interdependence, constitute a complete unity.
The symbiotic figure uses the change between the positive and negative shapes in the shape to make the viewer have a pun feeling, and uses a contour line to define two closely connected and mutually supporting images at the same time, so that the contours between the two shapes can be converted and borrowed from each other, so as to play the purpose of expressing more meaning with the least line.
Whether the symbiotic graphic is all shared or partially shared, or just the common line, it is only a bridge to the imagination, and it is the product of the designer's fiction, exaggeration and imagination. It gives people a novel, exciting, and unique feeling in the way of seeking rationality in the unreasonable, seeking normalcy in abnormality, and seeing magic in the bland.
An inverted graph is a creative graph in which positive and negative shapes borrow from each other, interdependent, you have me, I have you. The plot as a positive shape and the bottom as a negative shape can be reversed to each other, implying two different meanings in a line shape. Modern graphic design pays attention to the rational development of negative space, so that each gap in the picture can "speak", and the unique semantics of the graphics are vividly and vividly expressed.
Paradoxes are absurd, unreasonable, and paradoxical solutions, which refer to conclusions that contradict people's habits, experiences, or laws of nature. Paradoxical graphics are creative graphics that are unlikely to appear in the real world and that look absurd and abnormal but can induce the viewer to think whimsically. Paradoxical graphics use unnatural combinatorial methods to change or transfer the familiar, reasonable, and inherent order of the objective world into an absurd and abnormal image world.
Paradoxical graphics will bring new visual feelings and psychological associations to the audience. In design, paradoxical forms often purposefully confuse objective objects and reverse directions, and then express new meanings. Paradoxical forms are often applied to self-contradictory situations, resulting in strong contrasts and contradictions between logic and vision, so that the audience can feel the special meaning given to the picture in addition to being surprised.
The formation of the contradictory space mainly uses the alternation and transformation of viewpoints to show the fantasy space that cannot exist in the objective world, forming a three-dimensional space between two-dimensional and three-dimensional, with an unmatchable three-dimensional space.
The contradiction of the graphic is born together. Contradiction cogeneration means that two forms exist in a pattern at the same time and show two opposing contradictory spaces. The expression of contradiction and co-existence breaks people's habitual habit of viewing graphics.
The multiplicity of graphics. There are many works that at first glance seem reasonable in form, but a closer look reveals that there are also new graphic spaces in the spatial treatment with two contradictions. Typically, when the size, shape, and position of the base units are swapped, the graphic can be altered and emphasized. Using repetitive graphical representation methods, the representation of the graphics makes people feel not only the transformation of space, but also the disorder of time and space.
It is a natural phenomenon that all things, under the action of light, will produce a shadow corresponding to the original. Because of its unique expressiveness, shadow is widely used in the art of realistic painting and the creative expression of graphics. Graphic design often uses shadows as elements of design to achieve the artistic effect of black and white contrast.
The expression of the shadow in the art of painting focuses on the unity of the object, and the shadow in the creative design of the graphic emphasizes the change of vision and the profound transformation of the idea, which is often expressed as the artistic treatment of the shadow of the object, that is, the shadow of the original object is changed into the "shadow" of another object opposite or related to it, at this time the shadow is not only the real projection of the object, it has become a prominent creative element in the work, and they have a certain internal connection in addition to the similarity of the shape.