文旅案例 | 符号化叙事：文旅品牌视觉形象的差异化塑造与当代转向

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当下中国文旅项目遍地开花，但品牌视觉形象的建设却呈现出两极分化态势：一方面，部分项目陷入“模板化”困境，古镇皆灰瓦白墙、民俗村尽显古朴拙趣，同质化现象严重；另一方面，一些前沿项目通过系统性的品牌视觉创新，成功塑造了独特身份，成为吸引游客的强力磁场。

一、文旅品牌视觉形象的发展现状与困境，当前文旅品牌视觉形象建设呈现出三个显著特征：专业化程度提升、文化元素广泛应用、数字化表达普及。越来越多的项目方认识到专业设计的重要性，投入资源进行系统化品牌形象打造；传统文化符号、地方元素被大量提取运用；动态标志、交互视觉等数字表达形式逐渐成为趋势。

然而繁荣背后，深层次问题依然突出：其一，符号搬运，叙事缺失。许多项目仅停留在对文化符号的简单提取和直接应用，如将传统纹样生硬地置于标志之中，缺乏对文化内涵的深度挖掘与现代转译。这种“贴标签”式的设计导致视觉形象流于表面，无法讲述动人的在地故事，难以引发情感共鸣。其二，风格趋同，差异模糊。受设计趋势与成功案例影响，大量文旅项目视觉形象呈现风格一致性。无论是字体选择、色彩搭配还是构图样式，都难免似曾相识。当所有乡村文旅都使用手写字体、大地色系，所有文化园区都采用极简线条与扁平图形，品牌差异性便被淹没在潮流之中。其三，体验割裂，系统薄弱。不少项目的视觉形象缺乏从标志到导视、从线上到线下的系统性应用。游客在不同触点获得混乱甚至矛盾的视觉体验，品牌认知难以统一，削弱了整体形象感染力。这些困境的核心在于，许多文旅项目将品牌视觉形象简单理解为“设计一个好看的logo”，而非将其视为一个持续与游客对话的“视觉叙事系统”。

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、构建差异化品牌视觉形象的核心策略，要打造具有高识别度与差异化的文旅品牌视觉形象，需从以下三个维度系统构建：

深度文化转译，而非表面符号搬运：优秀的文旅品牌形象应根植于在地文化，但不止于符号复制。设计师需要像文化人类学家一样深入当地，理解风俗习惯、生活方式、精神信仰，从中提炼出真正代表地方精神的“文化基因”，并通过现代设计语言进行创造性转化。案例：长安十二时辰主题街区，该项目并非简单复制唐代建筑与服饰，而是从唐文化中提炼出“市井烟火气”这一核心精神。其视觉形象以盛唐长安的市井生活为蓝本，标志设计融合了唐代书法气韵与现代几何构成，色彩体系源自唐三彩与壁画色谱但进行了饱和度调整。最关键的是，整个街区的视觉表达——从店员服饰的纹样到灯笼上的图案，从菜单排版到店铺招牌——都 consistently 讲述着“大唐日常生活”的故事。这种对唐文化精神的深度转译而非表面模仿，使其与众多“仿古”项目形成鲜明区别。

塑造人格化IP，增强情感连接：在体验经济时代，文旅品牌需要人格魅力。通过创造具有个性的品牌IP形象，可以将抽象的文化内涵转化为可亲近、可互动的情感载体。成功的IP形象不仅是视觉符号，更是品牌与游客之间的情感纽带。案例：敦煌研究院“敦煌守护兽”，敦煌研究院突破传统文博机构严肃形象，从敦煌壁画中提取九色鹿、青鸟等形象，创作出“敦煌守护兽”系列IP。这些形象既保留了壁画中的神韵，又被赋予鲜明的现代个性：九色鹿温婉智慧、青鸟活泼灵动。通过社交媒体表情包、文创产品、线下装置等多元载体，这些IP形象与年轻受众建立了深厚情感连接，让千年敦煌文化以亲切有趣的方式走进当代生活，实现了品牌形象的年轻化转型。

构建沉浸式视觉体验系统：文旅品牌的视觉形象应贯穿游客整个旅程，从行前线上宣传到实地游览再到离开后的回忆。通过打造多维度、一体化的视觉体验系统，强化品牌认知，创造记忆点。案例：只有河南·戏剧幻城，该项目构建了一套完整的视觉体验系统。其标志性的黄土色夯土墙不仅是建筑形态，更成为强烈的视觉符号。园区内导视系统采用粗犷的材质与简洁的字体，与整体环境浑然一体；夜间光影秀将戏剧内容投射于墙体， transforming 建筑表面 into 动态画布；甚至连门票设计、节目单排版都延续了质朴厚重的视觉风格。这种从宏观建筑到微观印刷品的系统性视觉表达，创造了高度统一的沉浸式体验，使“黄土”这一寻常元素升华为强烈的品牌记忆符号。

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、当代文旅品牌视觉形象的发展趋势，面向未来，文旅品牌视觉形象正呈现出三个值得关注的新趋向：

动态化与响应式设计：品牌视觉元素不再静态不变，而是根据环境、时间、受众的不同呈现动态变化。如莫干山景区标志在不同季节推出色彩变体，数字化平台则根据用户行为展示不同视觉版本，增强了品牌的鲜活感。在地化与全球化平衡：成功的文旅品牌既深植本土文化，又具备国际视野的审美表达。如阿那亚在视觉形象上既保留了北方海滨的寂寥美学，又融入了全球当代艺术的设计语言，使其既能引发本地游客文化认同，又能满足国际化审美需求。可持续与负责任设计：越来越多的文旅项目在视觉形象建设中考虑环境影响，选择环保材料、减少视觉污染，并将生态理念融入设计。如某些生态景区使用天然材料制作导视牌，采用低环境影响的印刷工艺，使品牌形象与可持续发展价值观相一致。在文旅融合向纵深发展的今天，品牌视觉形象的建设已进入“符号化叙事”的新阶段。成功的文旅品牌形象，既不是对传统文化的简单复刻，也不是对设计潮流的盲目追随，而是基于对在地文化的深刻理解，通过系统性的视觉创新，创造出具有独特魅力的人格化表达。

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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