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Chinese folk paper-cutting has a long history of development, and it is a major folk art form created by the working people of all ages in our country in order to meet the needs of material and spiritual life, and Return lived in it. It has become a design art rooted in the folk, and it is entrusted with the beautiful expectation of the broad working group from life. Plane composition is a very important part of modern design foundation. Points, lines and surfaces are not only the basic elements of plane composition, but also create a colorful environment atmosphere through the artistic treatment of points, lines and surfaces in different indoor environment designs. Many artistic inspirations of modern design come from folk paper-cutting, and we get creative inspiration and enlightenment from the structure and composition of paper-cutting. By studying the comparison between folk paper-cut art and modern graphic design, this paper tries to provide an innovative way for modern graphic design.

[ILLUSTRATION OMITTED] EVELYNE LEBLANC-ROBERGE: In October 2014, I sent letters to men and women who are serving a life sentence or are on death row across the United States, asking if they would be interested in collaborating with me to produce a book and exhibition project about living spaces. I received several responses to my call for collaboration. Initially, receiving their responses was overwhelming. It was like receiving letters and drawings from another world--a parallel, institutionalized world. When I started the residency at the Visual Studies Workshop Project Space in November, I felt an urgency to do something with the letters I had received. As I was replying to my new collaborators, I photocopied the original letters, and selected and cut out parts that were inspiring or spoke to me in terms of visual imagery, and installed the fragments in the room. The walls of the Project Space became a mind map to help me process the next steps of the project. I photographed the small pieces of paper cut out from the copied letters along with the 4x6 images I sent back in response to the first series of letters, thus embedding the gray walls of the Project Space in the work. I then printed these photographs and installed them back in the room. I wanted to reference and integrate the space itself with the spaces described by my collaborators--these spaces that one cannot access, and these spaces that one cannot leave. I also wanted to play with the different possibilities of the (partial) equation "wall + paper" by installing a 1:1 scale photograph of a concrete wall on a wall of the Project Space. The main idea behind this specific installation was that the visitors could experience the exhibition/studio space with a new attention -the textures, colors, and marks of the walls themselves being an integral element in the work. I made booklets with fragments from the letters. This project will become an artist's book that will be a mobile exhibition, allowing my collaborators to have access to the outcomes of the project. The following are some excerpts (with my collaborators' permission) of letters, objects, and artworks I have received in response to my call, and some photographic images I sent in return. [ILLUSTRATION OMITTED] [ILLUSTRATION OMITTED] In reference to my image Office: I must say that the image from the flooded office seems to ask a question: What are the things that really matter? What do we appreciate, pursue and labor towards? What do we need? When the water starts rising those are the things to consider but why wait until the furniture Is washed out the window to ask those questions? (1) The cell Is all concrete covered, smooth and painted white, except the door which Is blue, kind of a dull blue, or a little grayish in color. Everything we are allowed is blue and/or white, some of us older cons that have been to other joints or have gotten packages way back might have different color sheets and towels. (2) A place longed for: There is a secluded spot, high up on the hill. On one side are houses, on the other, a long railing protecting a steep decline to an area below the freeway. The view is nothing spectacular--two highways headed In the opposite directions, twisting around and over each other; yellow streetlights on a large empty boulevard with dimly lit warehouses along its length; a black, starless sky dominating the scene--but it's peaceful, and the people in their homes don't mind me. I slept here, in my car, many nights, when I had nowhere to go and no one to keep me company except for a bottle of gin and the stars I couldn't see. (3) I have invited Peter Christensen and Joshua Dubler to have a conversation about the project and share their insights on the topic of prisons from their respective fields: architecture and religions. PETER CHRISTENSEN: As an architectural historian, it is my task to consider the specifically spatial aspects of Evelyne Leblanc-Roberge's compelling and ongoing project Wall+Paper to see what kind of insight I can offer on both the historical and theoretical levels. …

Qingyang paper-cut paper is a wonderful work of folk paper-cut art in China because of its unique artistic style and deep cultural heritage. Under the background of "Internet +", Qingyang paper-cut art, as an intangible cultural heritage, Way, has been unable to meet the requirements of the times. This paper explores the effective ways of digitization construction of Qingyang paper-cutting art, and promotes the development of Qingyang's paper-cut art of intangible cultural heritage in China.

Modern art is getting more comprehensive and diversified rega rdless of genre in many forms due to the pluralism and anti-aesthetic trend of the time which is impacted by post modernism. This atmosphere is also applied to fashion illustration which creates synergy effect in cooperation with many different genres. This study selected Matisse' paper cut-out as the subject which would reflect the minimalism and abstractionism of modern plasticity. By taking this as the motive for fashion illustration, I made seven illustration works with the subject of minimalism of form and color. The conclusion of this study is as following. First, Matisse's paper cut out has controlled plasticity related to the modern abstractionism and it well fits the modern trend and sensibility which is appropriate for motive of fashion illustration. Second, by upgrading the technique of Matisse' paper cut-out in a modern way such as combination of hand drawing and computer graphic using Photosho p, I was able to make originative and creative illustration works with background and patterns that were closely connected with each other. Third, applying the fashion illustration to other various pro ducts is being well received now and I made my illustrations that could lead to follow up st udies to apply the fashion illustration to other different products. Matisse' paper cut-ou r has forms, colors and patterns that can contain both commercial and artistic value. T herefore it is quite feasible for follow up research to apply into many different areas. Key Words : art illustration, Matisse, paper cut-out, motives, image

Introduce modern art with Matisse's colourful paper cut The Snail and talk about techniques including paper cutting, ripping and crumpling. Collaborate to create ‘noise art’ linked to all the senses!

Paper-cut art is a distinctive folk art of Chinese nation, possessing profound and rich national cultural connotation, long historical traditions as well as high artistic values. Folk Paper-cut is an important folk decorative artwork of China, whose special cultural breath and humanism reflects Chinese people's active aesthetic viewpoints and pursuits of beautiful yearnings. Contemporary Paper-cut inherits Chinese nation's local smells and artistic characteristics. This paper discusses four characteristics of paper cut, which are decoration, imagery, conciseness and planarity, thereby explaining the reference and enlightenment of folk Paper-cut to visual communication design.

There are a lot of similarities between Nantong blue calico and kirigami. There is a systematic study on the relationship between the Nantong blue calico and the art of paper cutting by using the method of historical documents and comparative study. Research results show that, firstly, the stencil design of Nantong blueprint cloth inherits and develops the performance of paper-cut patterns. Secondly, Nantong blue calico and paper-cut patterns have similarities in cultural heritage, namely Nantong blue calico and paper-cut patterns are using harmonics, symbolic form of artistic

In this paper, we do research on the new technique of paper-cut art based on decoration pattern and design ideas of contemporary art. Generalized paper-cut is using the cut tool on thin brittle materials of hollow out modelling and in narrow sense paper-cut is to use scissors or a knife carving on paper and pure paper-cut is hollow-out patterns on the paper with scissors. Paper-cut of the aesthetic feeling is done through its form and the form and contains the certain content and the paper-cut works directly describe the object of the subject. Through the analysis and research in this paper, we believe that paper-cut art will develop fast in the near future.

Chinese folk paper-cut is the most representative of artistic form in Chinese folk, which is the basis of folk art and the maternal art, providing good learning and reference for modern graphic design has played. This paper focuses on an in-depth analysis of how the traditional Chinese folk paper-cut art to make combination and fusion in modern graphic design.