Talking about the comparative method in design

"Comparative" can be seen literally as a comparison between one party and another or more, and it has a certain purpose. When people go to shopping malls, they must inevitably pick something and “choose” the “comparative” factors of diet. On the one hand, they make comparisons between objects and make choices based on their own preferences and the purpose of shopping. This is a common and simple comparison in life. In our art design work, “comparison” is also ubiquitous. First of all, from the most basic sketch training, we can see that in the process of drawing, there is a comparison of overall and local relations; there is structure, shape, light and shade Comparisons between reality, practice, distance, line surface, expression techniques, and artistic processing; secondly, such as professional basic training, in completing a feeling of “soft” and “hard” in color, with our perceptual experience, The comparison of image selection; and later, the comparison of color selection, the purpose is to select a shape and color that can better reflect the feelings of “soft” and “hard”; again, such as modern design, first the collected data. Compare and choose, and then propose a number of programs and then compare to choose the best solution. Visible, "Comparative" throughout the entire process of wearing the design, it is all-encompassing, the width of the comparative aspects, the pros and cons of the results of the comparison by many factors. Since design is a comprehensive discipline, it is necessary to organically combine science, art, life, culture, industry, politics, economy, energy, and the environment. When undertaking a specific design, it is necessary to make overall comprehensive considerations, trade-offs, and comparisons as needed. So, what are the factors to be considered in comparison? The author believes that these factors can be divided into two major categories of subjective factors and objective factors. Subjective factors basically consist of the following:

(1) The designer's birthplace's culture, history, geographical environment, economy, ethnic structure, ethnicity, and structural factors.
(2) The designer's family composition, environmental atmosphere, and ethnic root causes.
(3) The location of the designer's life and factors in his life circle.
(4) Designed to be the location of education and the degree of education they receive.
(5) Designers' social experience factors.

The above forms and influences the designer's own personality traits, as well as his world view and design concept, which become intrinsic factors in the "comparative design" process. Objective factors basically include the following:

(1) Human environmental factors: 1 Who is the design, "who" includes the design delegator and the design adaptation object (person: age, cultural level, economic ability, common and shared behavioral factors, personality and specific behavioral factors). 2 Designed superiors, colleagues, and related personnel. 3 related to some sudden human factors. 4 non-related personnel, such as: family members, friends and so on.

(2) Physical and environmental factors: (1) Geographical location, environment, and various laws and regulations for designing the launch site. 2 Design delivery methods. 3 design and design to adapt to the object (object) (material texture, proportion, size, shape, color, technology, technology, economy, function, and some supporting facilities). 4 transportation and environment. 5 time, weather, etc. 6 Economics, energy, technology, and industrial structure. 7 Factors such as culture, life, and human structure. The above are external factors. In most cases, the "design of comparison" process focuses more on the consideration of external factors. In the design process, the Luos have the best design results only if they consider carefully and have comprehensive factors. Of course, in the actual design process, it is not necessarily required to consider them one by one. This has a lot to do with the wealth of knowledge, experience, occupational sensitivity, and technical proficiency.

Design is a systematic project. The work of each link is treated and solved by the method of system engineering in soft science. "Comparative design method" is one of the important methods and an important part of methodology in design. In the traditional Chinese aesthetics, the “observation of things” contains the “comparative” factors. The “observation” is the visual perception of the pitch and the observation of the heavens. The observed objects are all physical objects. All images taken are in line with the "design" image. In the process of "conceptualizing" and obtaining images that conform to "design," they have undergone repeated "comparisons" and are a cycle of "compare after comparison." The process of reciprocation; what Mr. Qi Baishi, a master of modern and contemporary Chinese art, once said: “The wonderfulness of painting is similar to or not...” This has put the “comparative” factor in a quite prominent position. It tells us to learn to draw Both painting and painting should be studied comparatively and comparatively. This is one of the methods leading to the high realm of art; Western gestalt psychology believes that humans have a need for "reconstruction" of perception in shape, of course, This "reconstruction" is not arbitrary and indulgent at any time. It has its own unique tendencies and laws, but it is inevitably subject to stimulation. In most cases, the characteristics of the stimuli themselves must not be composed of themselves. A “gestalt” that adapts to the senses, when the viewer (designed as a designer) itself produces a strong tendency to change the stimulants, and by simulating the stimuli, it will enlarge and expand on the one hand. Emphasizing those appropriate characteristics, on the other hand, it will abolish those good “gestalt” features that hinder it from becoming a concise, regular, and appropriate goal, and iterate several times until it becomes a perfect figure (Gestalt Psychology calls it “ "Complete pressure", therefore, this "reconstruction" process always runs through the "comparative" thinking; this "comparative design" approach in art design is essentially the same as described above. In order to do a good job of design, people often draw many sketches (plans) together to compare, filter, compare and re-screen, and then repeatedly select the optimal design plan. Such examples abound. In addition, the comparative design method in design is based on rationality, which is an important difference between "comparison" with pure art.