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當(dāng)下中國(guó)文旅項(xiàng)目遍地開(kāi)花，但品牌視覺(jué)形象的建設(shè)卻呈現(xiàn)出兩極分化態(tài)勢(shì)：一方面，部分項(xiàng)目陷入“模板化”困境，古鎮(zhèn)皆灰瓦白墻、民俗村盡顯古樸拙趣，同質(zhì)化現(xiàn)象嚴(yán)重；另一方面，一些前沿項(xiàng)目通過(guò)系統(tǒng)性的品牌視覺(jué)創(chuàng)新，成功塑造了獨(dú)特身份，成為吸引游客的強(qiáng)力磁場(chǎng)。

一、文旅品牌視覺(jué)形象的發(fā)展現(xiàn)狀與困境，當(dāng)前文旅品牌視覺(jué)形象建設(shè)呈現(xiàn)出三個(gè)顯著特征：專業(yè)化程度提升、文化元素廣泛應(yīng)用、數(shù)字化表達(dá)普及。越來(lái)越多的項(xiàng)目方認(rèn)識(shí)到專業(yè)設(shè)計(jì)的重要性，投入資源進(jìn)行系統(tǒng)化品牌形象打造；傳統(tǒng)文化符號(hào)、地方元素被大量提取運(yùn)用；動(dòng)態(tài)標(biāo)志、交互視覺(jué)等數(shù)字表達(dá)形式逐漸成為趨勢(shì)。

然而繁榮背后，深層次問(wèn)題依然突出：其一，符號(hào)搬運(yùn)，敘事缺失。許多項(xiàng)目?jī)H停留在對(duì)文化符號(hào)的簡(jiǎn)單提取和直接應(yīng)用，如將傳統(tǒng)紋樣生硬地置于標(biāo)志之中，缺乏對(duì)文化內(nèi)涵的深度挖掘與現(xiàn)代轉(zhuǎn)譯。這種“貼標(biāo)簽”式的設(shè)計(jì)導(dǎo)致視覺(jué)形象流于表面，無(wú)法講述動(dòng)人的在地故事，難以引發(fā)情感共鳴。其二，風(fēng)格趨同，差異模糊。受設(shè)計(jì)趨勢(shì)與成功案例影響，大量文旅項(xiàng)目視覺(jué)形象呈現(xiàn)風(fēng)格一致性。無(wú)論是字體選擇、色彩搭配還是構(gòu)圖樣式，都難免似曾相識(shí)。當(dāng)所有鄉(xiāng)村文旅都使用手寫(xiě)字體、大地色系，所有文化園區(qū)都采用極簡(jiǎn)線條與扁平圖形，品牌差異性便被淹沒(méi)在潮流之中。其三，體驗(yàn)割裂，系統(tǒng)薄弱。不少項(xiàng)目的視覺(jué)形象缺乏從標(biāo)志到導(dǎo)視、從線上到線下的系統(tǒng)性應(yīng)用。游客在不同觸點(diǎn)獲得混亂甚至矛盾的視覺(jué)體驗(yàn)，品牌認(rèn)知難以統(tǒng)一，削弱了整體形象感染力。這些困境的核心在于，許多文旅項(xiàng)目將品牌視覺(jué)形象簡(jiǎn)單理解為“設(shè)計(jì)一個(gè)好看的logo”，而非將其視為一個(gè)持續(xù)與游客對(duì)話的“視覺(jué)敘事系統(tǒng)”。

At present, cultural and tourism projects are blooming everywhere in China, but the construction of brand visual images shows a polarized trend: on the one hand, some projects have fallen into the predicament of "templating", with ancient towns all having grey tiles and white walls, and folk villages exuding a simple and ancient charm, with serious homogenization. On the other hand, some cutting-edge projects have successfully shaped unique identities through systematic brand visual innovation, becoming a powerful magnetic field to attract tourists.

I. The Current Development Status and Predicaments of Visual images for Cultural and Tourism Brands: At present, the construction of visual images for cultural and tourism brands presents three notable features: enhanced professionalization, extensive application of cultural elements, and widespread digital expression. More and more project parties have recognized the importance of professional design and are investing resources in systematic brand image building. Traditional cultural symbols and local elements have been extensively extracted and utilized. Dynamic signs, interactive visuals and other digital expression forms are gradually becoming a trend.

However, behind the prosperity, deep-seated problems remain prominent: First, the diversion of symbols and the lack of narrative. Many projects merely remain at the stage of simple extraction and direct application of cultural symbols, such as mechanically placing traditional patterns within logos, lacking in-depth exploration of cultural connotations and modern translation. This kind of "labeling" style design leads to the visual image being superficial, unable to tell touching local stories and difficult to evoke emotional resonance. Secondly, the styles tend to be similar and the differences are ambiguous. Influenced by design trends and successful cases, the visual image presentation style of a large number of cultural and tourism projects is consistent. Whether it's font selection, color matching or composition style, they all seem familiar. When all rural cultural tourism uses handwritten fonts and earth tones, and all cultural parks adopt minimalist lines and flat graphics, brand differences are submerged in the trend. Thirdly, the experience is fragmented and the system is weak. The visual identity of many projects lacks systematic application from logos to wayfinding, and from online to offline. Visitors have chaotic or even contradictory visual experiences at different touchpoints, making it difficult to unify brand perception and weakening the overall image's appeal. The core of these predicaments lies in the fact that many cultural and tourism projects simply understand their brand visual image as "designing an attractive logo", rather than viewing it as a "visual narrative system" that continuously engages in dialogue with tourists.

二、構(gòu)建差異化品牌視覺(jué)形象的核心策略，要打造具有高識(shí)別度與差異化的文旅品牌視覺(jué)形象，需從以下三個(gè)維度系統(tǒng)構(gòu)建：

深度文化轉(zhuǎn)譯，而非表面符號(hào)搬運(yùn)：優(yōu)秀的文旅品牌形象應(yīng)根植于在地文化，但不止于符號(hào)復(fù)制。設(shè)計(jì)師需要像文化人類學(xué)家一樣深入當(dāng)?shù)?，理解風(fēng)俗習(xí)慣、生活方式、精神信仰，從中提煉出真正代表地方精神的“文化基因”，并通過(guò)現(xiàn)代設(shè)計(jì)語(yǔ)言進(jìn)行創(chuàng)造性轉(zhuǎn)化。案例：長(zhǎng)安十二時(shí)辰主題街區(qū)，該項(xiàng)目并非簡(jiǎn)單復(fù)制唐代建筑與服飾，而是從唐文化中提煉出“市井煙火氣”這一核心精神。其視覺(jué)形象以盛唐長(zhǎng)安的市井生活為藍(lán)本，標(biāo)志設(shè)計(jì)融合了唐代書(shū)法氣韻與現(xiàn)代幾何構(gòu)成，色彩體系源自唐三彩與壁畫(huà)色譜但進(jìn)行了飽和度調(diào)整。最關(guān)鍵的是，整個(gè)街區(qū)的視覺(jué)表達(dá)——從店員服飾的紋樣到燈籠上的圖案，從菜單排版到店鋪招牌——都 consistently 講述著“大唐日常生活”的故事。這種對(duì)唐文化精神的深度轉(zhuǎn)譯而非表面模仿，使其與眾多“仿古”項(xiàng)目形成鮮明區(qū)別。

塑造人格化IP，增強(qiáng)情感連接：在體驗(yàn)經(jīng)濟(jì)時(shí)代，文旅品牌需要人格魅力。通過(guò)創(chuàng)造具有個(gè)性的品牌IP形象，可以將抽象的文化內(nèi)涵轉(zhuǎn)化為可親近、可互動(dòng)的情感載體。成功的IP形象不僅是視覺(jué)符號(hào)，更是品牌與游客之間的情感紐帶。案例：敦煌研究院“敦煌守護(hù)獸”，敦煌研究院突破傳統(tǒng)文博機(jī)構(gòu)嚴(yán)肅形象，從敦煌壁畫(huà)中提取九色鹿、青鳥(niǎo)等形象，創(chuàng)作出“敦煌守護(hù)獸”系列IP。這些形象既保留了壁畫(huà)中的神韻，又被賦予鮮明的現(xiàn)代個(gè)性：九色鹿溫婉智慧、青鳥(niǎo)活潑靈動(dòng)。通過(guò)社交媒體表情包、文創(chuàng)產(chǎn)品、線下裝置等多元載體，這些IP形象與年輕受眾建立了深厚情感連接，讓千年敦煌文化以親切有趣的方式走進(jìn)當(dāng)代生活，實(shí)現(xiàn)了品牌形象的年輕化轉(zhuǎn)型。

構(gòu)建沉浸式視覺(jué)體驗(yàn)系統(tǒng)：文旅品牌的視覺(jué)形象應(yīng)貫穿游客整個(gè)旅程，從行前線上宣傳到實(shí)地游覽再到離開(kāi)后的回憶。通過(guò)打造多維度、一體化的視覺(jué)體驗(yàn)系統(tǒng)，強(qiáng)化品牌認(rèn)知，創(chuàng)造記憶點(diǎn)。案例：只有河南·戲劇幻城，該項(xiàng)目構(gòu)建了一套完整的視覺(jué)體驗(yàn)系統(tǒng)。其標(biāo)志性的黃土色夯土墻不僅是建筑形態(tài)，更成為強(qiáng)烈的視覺(jué)符號(hào)。園區(qū)內(nèi)導(dǎo)視系統(tǒng)采用粗獷的材質(zhì)與簡(jiǎn)潔的字體，與整體環(huán)境渾然一體；夜間光影秀將戲劇內(nèi)容投射于墻體， transforming 建筑表面 into 動(dòng)態(tài)畫(huà)布；甚至連門票設(shè)計(jì)、節(jié)目單排版都延續(xù)了質(zhì)樸厚重的視覺(jué)風(fēng)格。這種從宏觀建筑到微觀印刷品的系統(tǒng)性視覺(jué)表達(dá)，創(chuàng)造了高度統(tǒng)一的沉浸式體驗(yàn)，使“黃土”這一尋常元素升華為強(qiáng)烈的品牌記憶符號(hào)。

Second, the core strategies for building a differentiated brand visual image. To create a cultural and tourism brand visual image with high recognition and differentiation, it is necessary to systematically construct it from the following three dimensions:

In-depth cultural translation rather than superficial symbol transfer: An outstanding cultural and tourism brand image should be rooted in local culture, but not limited to symbol replication. Designers need to delve into the local area like cultural anthropologists, understand customs, lifestyles and spiritual beliefs, and extract the "cultural genes" that truly represent the local spirit from them, and creatively transform them through modern design language. Case: The Chang 'an Twelve Hours Theme Street. This project does not simply replicate the architecture and clothing of the Tang Dynasty, but rather extracts the core spirit of "the hustle and bustle of the market" from Tang culture. Its visual image is based on the daily life of Chang 'an in the prosperous Tang Dynasty. The logo design integrates the charm of Tang Dynasty calligraphy with modern geometric composition. The color system is derived from the color spectrum of Tang Tri-color glazed pottery and murals but with saturation adjustments. Most importantly, the visual expression of the entire block - from the patterns of the shop assistants' clothing to the designs of the lanterns, from the layout of the menus to the shop signs - all consistently tell the story of "daily life in the Tang dynasty". This in-depth translation of the spirit of Tang culture rather than superficial imitation sets it apart from numerous "ancient-style" projects.

Shaping personified ips and enhancing emotional connections: In the era of experience economy, cultural and tourism brands need personal charm. By creating a distinctive brand IP image, abstract cultural connotations can be transformed into approachable and interactive emotional carriers. A successful IP image is not only a visual symbol but also an emotional bond between a brand and its visitors. Case: The "Dunhuang Guardian Beasts" of the Dunhuang Academy. The Dunhuang Academy broke through the serious image of traditional cultural and museum institutions and extracted images such as the nine-colored deer and the bluebird from Dunhuang murals to create the "Dunhuang Guardian Beasts" series of ips. These images not only retain the charm of the murals but are also endowed with distinct modern personalities: the nine-colored deer is gentle and wise, and the bluebird is lively and agile. Through diverse carriers such as social media emoticons, cultural and creative products, and offline installations, these IP images have established deep emotional connections with young audiences, allowing the thousand-year-old Dunhuang culture to enter contemporary life in a friendly and interesting way, and achieving a youthful transformation of the brand image.

Build an immersive visual experience system: The visual image of a cultural and tourism brand should run through the entire journey of tourists, from online promotion before departure to on-site visits and then to memories after leaving. By building a multi-dimensional and integrated visual experience system, brand recognition is strengthened and memorable points are created. Case: Only Henan · Drama Illusion City, this project has built a complete visual experience system. Its signature yellow earth-rammed earth walls are not only architectural forms but also strong visual symbols. The wayfinding system within the park adopts bold materials and simple fonts, blending seamlessly with the overall environment. The night light and shadow show projects the dramatic content onto the walls, transforming the building surface into a dynamic canvas. Even the ticket design and the layout of the program list continue the simple and substantial visual style. This systematic visual expression, ranging from macroscopic architecture to microscopic prints, creates a highly unified immersive experience, elevating the ordinary element of "yellow earth" into a strong brand memory symbol.

三、當(dāng)代文旅品牌視覺(jué)形象的發(fā)展趨勢(shì)，面向未來(lái)，文旅品牌視覺(jué)形象正呈現(xiàn)出三個(gè)值得關(guān)注的新趨向：

動(dòng)態(tài)化與響應(yīng)式設(shè)計(jì)：品牌視覺(jué)元素不再靜態(tài)不變，而是根據(jù)環(huán)境、時(shí)間、受眾的不同呈現(xiàn)動(dòng)態(tài)變化。如莫干山景區(qū)標(biāo)志在不同季節(jié)推出色彩變體，數(shù)字化平臺(tái)則根據(jù)用戶行為展示不同視覺(jué)版本，增強(qiáng)了品牌的鮮活感。在地化與全球化平衡：成功的文旅品牌既深植本土文化，又具備國(guó)際視野的審美表達(dá)。如阿那亞在視覺(jué)形象上既保留了北方海濱的寂寥美學(xué)，又融入了全球當(dāng)代藝術(shù)的設(shè)計(jì)語(yǔ)言，使其既能引發(fā)本地游客文化認(rèn)同，又能滿足國(guó)際化審美需求。可持續(xù)與負(fù)責(zé)任設(shè)計(jì)：越來(lái)越多的文旅項(xiàng)目在視覺(jué)形象建設(shè)中考慮環(huán)境影響，選擇環(huán)保材料、減少視覺(jué)污染，并將生態(tài)理念融入設(shè)計(jì)。如某些生態(tài)景區(qū)使用天然材料制作導(dǎo)視牌，采用低環(huán)境影響的印刷工藝，使品牌形象與可持續(xù)發(fā)展價(jià)值觀相一致。在文旅融合向縱深發(fā)展的今天，品牌視覺(jué)形象的建設(shè)已進(jìn)入“符號(hào)化敘事”的新階段。成功的文旅品牌形象，既不是對(duì)傳統(tǒng)文化的簡(jiǎn)單復(fù)刻，也不是對(duì)設(shè)計(jì)潮流的盲目追隨，而是基于對(duì)在地文化的深刻理解，通過(guò)系統(tǒng)性的視覺(jué)創(chuàng)新，創(chuàng)造出具有獨(dú)特魅力的人格化表達(dá)。

Iii. The Development Trends of Visual Images for Contemporary Cultural and Tourism Brands Looking to the future, the visual images of cultural and tourism brands are presenting three new trends worthy of attention:

Dynamic and responsive design: Brand visual elements are no longer static and unchanging, but present dynamic changes according to different environments, times, and audiences. For instance, the logo of Moganshan Scenic Area introduces color variations in different seasons, while the digital platform displays various visual versions based on user behavior, enhancing the brand's vitality. A balance between localization and globalization: Successful cultural and tourism brands are deeply rooted in local culture while also possessing aesthetic expressions with an international perspective. For instance, Aranya not only retains the desolate aesthetic of the northern seaside in its visual image but also incorporates the design language of global contemporary art, enabling it to not only evoke cultural identity among local tourists but also meet international aesthetic demands. Sustainable and responsible design: An increasing number of cultural and tourism projects are taking environmental impact into account in their visual image construction, choosing eco-friendly materials, reducing visual pollution, and integrating ecological concepts into their designs. For instance, some ecological scenic spots use natural materials to make wayfinding signs and adopt printing techniques with low environmental impact, aligning their brand image with the values of sustainable development. Today, as the integration of culture and tourism deepens, the construction of brand visual images has entered a new stage of "symbolic narrative". A successful cultural and tourism brand image is neither a simple replication of traditional culture nor a blind following of design trends. Instead, it is based on a profound understanding of local culture and through systematic visual innovation, it creates a personalized expression with unique charm.

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