Ding Liping: The beauty of TV dance built by the art road

Ding Liping's TV dance beauty design runs through the "Cultural Revolution" until the 40 years of today. These 40 years are exactly the period when the Chinese TV industry is truly mature and developing rapidly. In this sense, Ding Liping is very fortunate. The times have created him and given him valuable historical opportunities. He also gave back to this era with his extraordinary diligence and outstanding achievements.

Walk between "tech", "art", "dao"

Zhou Benyi, a famous stage art educator and professor of the Shanghai Theatre Academy, believes that Ding Liping’s TV dance design has opened up the boundaries between “technology”, “art” and “dao”, thus forming his own unique artistic design style.

Ding Liping also summed up his own dance design system: In design, the first thing to consider is the architecture positioning problem, including how to make the design conform to the theme requirements and the coordination with the venue scene. The second is the positioning of the keynotes, including the grasp of space and space dimensions, and the judgment of the suitability of the overall shape. Once again, the basics of styling constitute a problem. Finally, the form in the design reflects the problem, which consists of a series of questions such as the expression of the style, the distribution of the levels, and the changes in the details.

Under the premise of accurately grasping the theme, the designer must also “materialize” the abstract theme into an intuitive and personalized theme element, and further create a stage art image that is born and visually beautiful. For designers, this is a more critical step than the refinement of the theme, but also reflects the core value of the designer.

On the basis of being good at grasping the theme of the performance and accurately extracting the theme elements, Ding Liping’s TV dance design always has a strong book, which can be called “雅雅”. This is very rare in the fast-food culture, and even in the TV industry where the commercial atmosphere is heavier. It even leads to an aesthetic style in the field of Chinese TV dance beauty design.

The first "Da Li" of Ding Liping's TV dance beauty design is that he can always integrate the refined theme elements with simple, concise and atmospheric design techniques, and interpret these elements in a reasonable and orderly internal logic to avoid the "miscellaneous". The chaos and dispersion of the viewpoint caused by "chaos" and "full"; secondly, his overall style tends to be fresh and timeless. On the whole, Ding Liping rarely uses strong and colorful color blocks, which is highly compatible with the visual traditions of southern China and the temperament of Shanghai culture. This kind of "elegant" creates the ethereal feeling of the stage environment, which not only establishes the basic style of the performance space, but also facilitates other dance elements to play in it. The effect is equivalent to the "white space" in painting. In such an overall pattern, the elements of dance, such as lighting and video, have a greater performance space without appearing “chaotic” and “full”. In this respect, Ding Liping's background in lighting design has probably played a certain role.

Tradition and modernity - both ends of the balance

Although Ding Liping grew up in a modern, cosmopolitan city like Shanghai, he is a designer and artist with a strong interest in Chinese traditional cultural symbols. Many of his designs are also closely related to Chinese culture. . Some of these works directly promote Chinese cultural traditions, such as the 2014 Shanghai New Year Beijing Opera Gala, which was praised by Comrade Zhu Rongji. Although some do not directly use this as the theme, in the large-scale events hosted by China and facing the world, it is often necessary to clearly reflect the elements of Chinese culture, such as the opening and closing ceremonies of the 2010 Shanghai World Expo. .

Although traditional Chinese elements have strong vitality and deep accumulation of national cultural psychology, it is undeniable that a considerable part of these aesthetic elements formed in history have become too complicated in modern life, and some still have obvious The culture of agriculture is breathtaking. Therefore, for the use of Chinese traditional cultural symbols, Ding Liping often does not directly copy the photos, they are both his source of inspiration and his "reconstruction" object. In other words, when Ding Liping skillfully used Chinese traditional cultural symbols, he also carefully designed their online lines, textures, details, etc., so that traditional symbols are more modern and aura under the premise of retaining their cultural connotations. Adapt it to the aesthetic needs of modern people and integrate into modern urban life.

The revelation of "doing nothing"

Why did Ding Liping form his own artistic style in the field of TV and dance design, what supported his career success, and what implications he brought to the training of young TV and dance talents are issues worthy of further exploration.

The first revelation is that Ding Liping has a profound artistic and humanistic literacy, especially a fairly solid painting skills. Ding Liping believes that the same painting, the students of the School of Drama and the students of the Academy of Fine Arts are still different. The biggest difference between the two is that if the paintings of the students of the Academy of Fine Arts pursue conceptual expressions and fine arts skills, the painting activities carried out by the students of the School of Drama should pay more attention to inspiring the spatial imagination and strengthen the control of space. This coincides with the space composition ability emphasized by the beauty design, and can also be regarded as one of the important factors for Ding Liping's success in TV and beauty design.

The second revelation is that, as Professor Zhou Benyi said, Ding Liping’s design has a realm of “doing nothing”. The so-called "doing nothing" is to dare to be good at achieving their own design ideas through various forms, methods and means, as long as they can be used, there are no restrictions and restrictions. The omnipotence is the ultimate pursuit of creation, and the ultimate expression of creation, which indicates that the creation of something has entered the realm of full freedom. Ding Liping's "all-in-one" is a very important point in his extreme familiarity with various materials and materials, and he can clearly know what material materials can be used to implement his own ideas and achieve the desired results. In recent years, he has used more materials such as sun panels, metal strips, and stainless steel in his designs, because they are more conducive to the modern lines that Ding Liping favors, and have produced many commendable effects.

The third revelation is that Ding Liping has a strong interest in and exploration of relevant professional disciplines. Interest is always the best teacher. According to Ding Liping himself, he has a strong interest in architecture. Architectural design and the beauty of the dance are the closest in origin, because the two are fundamentally the planning and interpretation of space. Ding Liping believes that because he is interested in architecture, he has always been sensitive to the issue of architecture and has also drawn a lot of creative inspiration from the architecture. Ding Liping’s design works always feel that he “stands” and “stands up” on the stage, has a strong force and a gas field, and has a guiding effect on the viewer’s vision, which may benefit from architecture. His long-term imperceptible influence. (Source: "Shanghai Artist")

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