Craftsman Poster Background - Request a detailed description of the Western Expressionist style posters (posters) and the people who represented them.

How important is a poster for a movie? He drew one for 1 million

In the domestic film and television industry there is a saying: a good movie poster is worth 20 million at the box office.

Movie posters make up people's first impression of a movie, which plays an important role in publicizing the work. Some people will even pay for a movie just for a poster.

There is a top movie poster designer in China: he needs to be booked a month in advance, has a long working period, gives a work that will not be reworked, and has a price tag of one million dollars.

But many big directors are still willing to spend time waiting for his work, and viewers will even go into a theater to see a bad movie for his posters.

The designer is called

Huang Hai

, a native of Fujian who graduated from Xiamen University with a degree in design.

Before Huang Hai, China's movie industry didn't pay much attention to movie posters, and film makers mainly stayed at the stage of attracting viewers with celebrities -

a big face piled up on a poster, which was not aesthetically pleasing at all.

The poster for 2015's

"Dragon Quest"

is a typical example.

What, you said it looked familiar? I thought so too.

Huang Hai decided to break out of this habit after realizing that he liked to pile on the celebrity avatars.

In his posters, the story of the movie itself is the main focus, and the faces of the stars are only a small part of the movie. That's why the pilot poster he designed for "Dragon Quest" looks like this -

Since 2007, when he started designing movie posters, Huang Hai has been subtracting - shaving off useless edges and digging out the movie's inner core.

He's most grateful to Jiang Wen, whose first film he directed,

"The Sun Also Rises,"

which set his design style for the rest of his career.

Jiang Wen's requirements for posters at the time were simple and brutal: look at the feeling, don't shoot portraits, and find the material from the movie. After rejecting hundreds of designs, Huang Hai's work was instantly recognized by Jiang Wen.

The poster was an instant hit at the Cannes Film Festival: with a big red background, a barefoot woman, and embroidered shoes hanging from a tree branch, the story came out in a flash.

This strong visual impact and unique mood impressed everyone, and he designed several other posters for the movie, which immediately gained international fame.

After that, Huang Hai's posters began to be more Chinese.

He would always read the script carefully, select characters and materials from stills, then go to the shooting site to experience and capture the emotions of the characters in detail, and then use traditional Chinese elements as visual language in the poster design.

In 2014, Huang Hai was invited to design the poster for director Ann Hui's

The Golden Age

, and he came up with this piece:

A woman dressed as a young intellectual stands in the corner of a messy ink drop, the traces of the ink spilling irregularly and indiscriminately, a metaphor for the heroine's life in the chaotic world, yet her posture is quiet and calm.

The combination of motion and stillness reflects the contradictions and conflicts of the time and the characters. The heroine stands tenaciously on the paper, like a small character in the midst of the big time.

The story of Xiao Hong, the female writer, is vivid in her mind, and foreshadows a lifetime of wandering.

Huang Hai also designed five international versions of the film, which took more than half a year to produce. After seeing the poster, director Ann Hui, who has always been strict on details, said "yes" and made no further changes.

Huang Hai's use of ink and calligraphy has a strong infectious effect, which neither overpowers nor emphasizes the main point of the film.

In the poster design for Zhang Yimou's

"Shadow"

, he used only two colors, black and white, distilling the black of the ink and the white of the rice paper to form the tone of the poster.

The whole film revolves around the double and the real body, which are both opposites and unities, just like the shape of the eight trigrams of the Tai Chi - integrated with each other and always separate.

The word "shadow" is written in running script, with a strong and elegant brushwork, especially the last stroke of the brush, which is intermittent, and the interruption of the closing stroke, which gives a person a difficult feeling, and precisely suggests the character traits of the "shadow".

In the US poster for Wong Kar-wai's

"The Grandmaster,

Huang Hai used the traditional Chinese arch.

The two men standing opposite each other inside the door, posing in martial arts gait and boxing style - the arch, martial arts, and robes are a perfect balance and interpretation of motion and stillness, a hazy and delicate expression of friendship, and a sense of long history.

It shows the style of Ip Man, the master of his generation, but also has a great sense of camera and literature. All of this fits well with Wong Kar-wai's personal style.

In the poster design of the animated movie, Huang Hai also showed a high level.

The poster of Big Fish Begonia uses highly saturated colors, and through the changes of lines, layers, and colors, it depicts a picture scroll with magnificent colors and fantasy imagery.

A big red fish with smooth lines is in the center, and a young girl touches the fish's mouth, painting a wonderful encounter between the two.

The intertwining of red and cyan, a blend of sea and fire, including the winged phoenix, has a strong oriental aesthetic and opens the viewer's imagination to a mysterious dream.

In the Chinese poster for the digitally restored version of

"Totoro,

Xiao Mei and Xiao Yue are seen happily running on the furry belly of a chinchilla, in a warm and healing style.

The poster caused a strong reaction in Japan when it was released, and even made it to the hot search engine, with people praising the design of the poster as not inferior to the original version.

In the Chinese version of the poster for the Japanese movie

"The Family of Thieves," Huang Hai added an umbrella in the style of ukiyo-e and a classic scene from the movie, creating a sense of "home.

In addition to its strong aesthetic appeal, the Chinese version of the poster also expresses the concept of family that the movie conveys. The director, Hirokazu Yae, appreciated the subtle oriental beauty of the movie.

In the world's best posters of 2018, "Totoro" and "The Family of Thieves" were among the top 20 posters selected by a British movie magazine.

Including a series of posters for the 2016 hit documentary

"I'm Repairing Cultural Relics in the Forbidden City"

which was also designed by Huang Hai.

For one of the posters, he chose a part of a "Ru Kiln Celadon Glaze Stringed Three-Footed Bottle" as the background color of the poster, adding a side view of a figure in a uniform tone amidst the broken pieces of porcelain.

Not only does it make the figure and the artifact blend together, but it also shows the daily restoration work of the craftsmen in detail. The theme of "big history, small craftsmen, choosing one thing and ending up with a lifetime" is perfectly conveyed.

Huang Hai also designed an eye-catching teaser poster for Chen Kaige's

"The Taoist Master Goes Down the Mountain.

The ink-style poster made people feel a sense of high class, and everyone's expectation for the movie was much higher.

With the final official poster, the director chose a star-studded version of the movie, which is not bad for a bad movie.

Also, who would go to see this movie without stars? The story? Chen Kaige hasn't been able to tell a story for a long time.

A good movie poster carries the most sincere emotion and mood behind a movie, not just a pile of heads.

It is in the full guidance of the movie commercial at the same time, but also the Oriental aesthetics will be carried forward. It's no wonder so many people say:

Basically, the movie doesn't deserve his poster.

Finally, I'd like to take a look at a few more of the master's works.

Please ask for a detailed introduction and representative figures related to the Western Expressionist style posters (posters)

I. Arts and Crafts Movement

1. "Arts and Crafts Movement" originated in England, representing a social behavior, with the idealistic idea of transforming society;

2. It is not a specific style, but a variety of styles coexist;

3. "American designers were y influenced by the British Arts and Crafts movement, and their designs were uncomplicated and less decorative;

5. Magazine "Craftsman", advocating a simple, practical style, simple furniture design reminiscent of the pioneering period of furniture style;

6. United States: Wright: architectural design masters, the comprehensive use of Eastern and Western influences, with the use of purely natural materials, skills, architecture and environmental harmony; masterpieces of the "Villa Running Water", "Guggenheim Museum".

Two. Neoclassicism

1. "Neoclassicism" is an art style, refers to the late 18th century to the 19th century, a popular art style in Europe, the pursuit of sublime, solemn, simple, elegant, restrained qualities, as well as "noble simplicity and magnificent grandeur "Background: 18th century Europe, Baroque and Rococo style prevailed for a while, the tedious decorations and precious metal inlays gradually caused people's disgust, the Roman ruins of Pompeii was excavated, caused the study of classical art boom in Europe;

3, Architecture: the pursuit of building form simple, independent and complete, the details of the simple, the form of the logical structure, and reduce the purely decorative components, showing the people for the rational aspiration;

4. Furniture: good at designing simple, practical form, is the precursor of modern furniture design.

III. Art Nouveau

1. "Art Nouveau" a style of art, covering the period from about 1880 to 1910, is a decorative arts movement in Europe, Belgium and France is the birthplace. It was called "Free Style" in Italy, "Youth Style" in Germany, "Art Nouveau" in France, "Sensational Style" in Austria, and "Sensational Style" in Spain. "; in Spain called "modern style". Art Nouveau is a transitional style, an intermediary link in the transition from traditionalism to modernism

2. The motives for its creation: first, to break with historicism and break with old traditions; second, to draw a clear line with naturalism and oppose imitation of rote copying;

3. It involves comprehensive design of buildings, furniture, interiors, daily necessities, clothing, bookbindings, illustrations, posters, and so on, seeking to create a new style. Design, and strive to create a new style of the times.

4. Advocating to draw inspiration from nature, adopting a variety of animal and plant motifs as decorative themes, mostly abstract curves symbolizing organic forms as decorative motifs, presenting intricate curves, full of dynamic rhythms, delicate and elegant aesthetic appeal.

5. Belgian Art Nouveau: Wilde: President of the Bauhaus School of Design, works with beautiful and moderate decorative expression, with a simple and reasonable functional structure;

Vidocq. Horta: Art Nouveau masters, in architecture and interior design often use each other twisted and spiral twisted lines, known as the "Belgian line" or "whip line";

6. French Art Nouveau: the pursuit of gorgeous and elegant style, is the The product of classicism and symbolism, on behalf of the "Group of Six", the most representative works for the Paris subway design, commonly known as the "metro style";

7. Austrian Art Nouveau: Vienna Secession, the core figure Hoffmann, more than Straight lines, focus on geometry, simple and modern.

Four. Art Deco Movement

1. "Art Deco Movement" originated from the "Paris International Exhibition of Decorative Arts for Modernization and Industry" held in Paris in 1925, which developed at the same time as the modernist design movement;

2. An extension of the Arts and Crafts Movement and the Art Nouveau Movement, it is also the decorative activity of designers who have accepted mechanization and new materials to adapt to mass production; it includes many fields;

3. It prefers to use straight lines and symmetrical forms of abstract composition, extremely glossy materials, and colors with a strong color effect, and it also adopts new materials such as machinery, steel and concrete, synthetic resin, and reinforced glass;

4.

4. United States: combined with popular culture, luxury, exaggeration, glamorous, grotesque;

Representative: Paul Foucrain. Fulcrum: representative works: "Empire State Building", "Rockefeller Center", "Chrysler Building".

V. Art Revolution

1. Cubism:Emphasis on geometric composition linked to mechanical aesthetics.

2. Futurism: the cult of machinery established its place in modern design.

VI. Russian Constructivism

1. Pursuing the language in line with the spirit of industrial society, glorifying machine production, marveling at mass production and industrial materials, and advocating the transformation of society with the spirit of industry; Constructivists called themselves artistic engineers;

2. Having a great and far-reaching impact on modern design, the Bauhaus teaching was y influenced by it;

3. Vichy

Tatlin: The Third International Memorial Tower, created in 1919, is a simple spiral geometric shape, expressing the firm upward political beliefs.

VII. Style School

1. The international modern art movement centered in the Netherlands, active from 1917 to 1931, began with Cubism and eventually became a purely abstract movement; the genre originated from Style magazine;

2. The application of abstract geometric shapes and strong colors to divide space, seeking the basic law of harmony, greatly impacting the traditional pure fine art and decorative art; the expression of Yu Jie and the universal harmony and order of nature. and nature's universal harmony and order, exploring the laws hidden by the appearance of things;

3. Representative: Rietveld: Dutch design masters, the main works of "red and blue chairs", "coffee table", "Berlin chair", the works feel very hard, even uncomfortable, with the simplest shape and primitive colors to express the profound concept of modeling, both like products, like sculpture, but also the model of abstract, is a milestone in modernist design. The milestone of modernist design.

VIII. Streamline design

1. Streamline is an aerodynamic term used to describe the shape of an object with a rounded surface and smooth lines, which reduces the wind resistance of an object in high-speed movement. In industrial design, it is a symbol of speed and the spirit of the times modeling language, widely used in automobile and home appliance design;

2. Popular in the United States, mostly smooth appearance, smooth lines of the form, is a "teardrop" language style; rich in a strong flavor of the times, and modernism and symbolism of the same lineage, expressing praise for technology and speed. It expresses the praise of technology and speed. Many streamlined design is entirely due to its symbolic meaning, no functional meaning.

IX. Corporate Identity Design

1. Closely linked to packaging design, different logos in the marketplace mean different companies;

2. The logo is the core of corporate identity design and is used on every product, from the product to the advertisement;

3. Behrens: the first to implement the design.

X. Avant-garde design

1. Avant-garde design is a French word that describes an artist who surpasses his contemporaries' perceptions and design ideas;

2. It has had a great impact on the history of design, guiding the times and constantly innovating new styles.

Eleven Anti-Design Movement

1. Founded in 1960 in Italy, it was a design movement that resisted the mainstream model of radical design;

2. Rejecting the rational component of the modern movement, it attempted to realize the expression of individual creativity in design;

3. Rejecting the spread of conservatism, it committed itself to spontaneity, creativity, and constructiveness, and advocated diversity rather than simplicity. The representative of "Memphis", Italy, furniture design.

Twelve high-tech style

1. an industrial design style, the use of high-tech, in the aesthetics strive to express the new technology;

2. in the architecture has been fully applied, in the 1960s and 1970s was popular;

3. its "minimal decoration" and "excessive decoration". Its "minimal decoration" and "excessive embodiment of the technology and the times", appear indifferent, lack of human touch;

4. Representative: "Pompidou National Center for Art and Culture", built in 1976, Paris, France.

Memphis design Pompidou National Centre for Art and Culture

Thirteen Pop design

1. 1960s in the United Kingdom and spread to Europe and the United States, popular, popular, popular meaning, on behalf of the popular tastes, the pursuit of the form of alienation and entertainment in industrial design, reflecting the optimism of the economic boom period;

2. Break the boundaries between art and life, breaking Breaking the boundary between art and life, breaking all the traditional aesthetic concepts; breaking the overly serious, cold, and monotonous appearance of post-World War II industrial design, replacing it with witty, humane, and diversified designs;

3. Utilizing ready-made industrial and commercial products, transforming and processing them, and then re-collating and combining them to give them a certain social and ideological significance, thus constituting new works of art;

4. Bold exploration and innovation, showing unprecedented exaggeration, bizarre and imaginative modeling; simple, bright colors; materials, mostly plastic or cheap fiberboard, ceramics, etc.;

5. The market target is the youth group, catering to the modern youth's arrogance and uninhibited, cynical attitude towards life and its novelty, with the use of the consumer mentality of the discarded;

6. Pop design has a far-reaching impact, laid the foundation for the development of post-modern art, followed by the art of light effects, illusion art, oriental mysticism, spaceism are affected by its influence;

7. Fashion: Britain's Mary Quilter designed mini-skirts, France's Guehère's cosmic clothing; furniture: Koran's design of inexpensive, brightly colored, bizarre furniture, Mudoshi letters as a decorative design of the fiberboard chair; Roger Tintin's design of cheap, brightly colored, bizarre furniture, Mudoshi letters as a decorative pattern of fiberboard chairs; Roger Ding as toy-like blow-molded chairs; in packaging, bookbinding, advertising and other graphic design, but also appeared in a striking Pop style.

8. Representative masters: artist Richard. Hamilton, sculptor Bao Luoqi, artist Andy Warhol. Warhol

Fourteenth International Style

1. The concept was introduced in 1931, mainly used in the field of architecture;

2. The International Style transcends national boundaries, combining functionality, technology, and geometric language, resulting in the aesthetics of modernism;

3. In the 1920s and 1930s, the International Style in architecture as well as interior design was embodied by geometric formalism, steel, and glass, and was characterized by the use of a variety of materials. In the 1920s and 1930s, the International Style in architecture and interior design was embodied by geometric formalism, with the widespread use of steel, glass, etc.; its post-sculptural and organic elements were combined to humanize the International Style; and there was also the use of dehumanizing materials as well as exposure of rough concrete surfaces and raw geometric forms;

4. In the 1980s, postmodernism sounded the death knell of the International Style.

15 Postmodernism

1. The value orientation of "Postmodernism" is less constructive and more deconstructive, characterized by historicism,

decorative, eclecticism, and entertaining;

2. Firstly, it was reflected in the architectural world, American architect Venturi published his book "Complexity and Architecture" in 1966. Published in 1966, "the complexity and contradictions of architecture" put forward "less is boring", emphasizing the need to pay attention to the public's popular taste; British architect Charles Jenks was the first to put forward "the complexity and contradictions of architecture", "the complexity and contradictions of architecture". British architect Charles Jenks was the first to put forward the concept of "post-modernism";

3. Concerned only with the formal content of the design, the search for bright and eye-catching colors and sensational display effects;

4. Representative works: the U.S. Telegraph and Telephone Building, the Plaza d'Italia in New Orleans

Sixteen Bauhaus movement functional design Radical Design Functionalism Deconstructionism Green Design(omitted)

Summary: Today, product design is closely linked to the context of the times, whether it is structure, shape, color, decoration, will be y branded with the times; design products help us to understand the times, to understand the people's dreams, aspirations, yearnings, as well as the disappointment and the hidden deepest hope; design is not just a function and technical standards. It also expresses the philosophical thought, ideology and complex cultural phenomenon of the society, and it expresses the progress of human civilization in a material way.

What are the traditional expressions of poster design

Visual communication design is a kind of "picture" as the information carrier art, but also with the combination of communication design art form. One of the posters is an extraordinary full of information and communication carrier, it is often not through the text of the reading or prompting, so that people can quickly recognize the content and meaning of the graphics conveyed at a glance. German design master Pierre Mendel believes that: "posters are not only to attract people's attention and understanding, but also a language of beauty, which maps out a country's national tradition and social culture."

However, under the influence of globalization, China's modern visual design is full of Western-influenced visual language, and the phenomenon of "internationalized" visual symbols and "localized" visual language is very prominent. The phenomenon of "internationalized" visual symbols and "localized" visual language is very prominent. The day when the world design becomes common is the day when it comes to an end. When design loses its national character, not only the goal of reaching "world level" cannot be realized, but also it is actually moving towards the road of decline. True "Chinese design" should be an attempt to discover something that is both rooted in our national identity and meaningful to the entire language of contemporary design. A good poster should be looking for the expression of some kind of "Chinese identity" that can identify, analyze, and interpret the wisdom, mood, and spirit of our people that permeate our traditional art. We need to find the right direction for "Chinese design", but also for the richness of international poster art and design to provide from the grasp of our local wisdom and imagination.

(I) National cultural heritage and poster design

The culture and art of the Chinese nation is a rich treasure trove, which has a profound inspiration and reference to poster design. In the face of the rich national cultural resources, we can multi-level, multi-angle re-cognition, re-exploration.

1. From the artistic approach to learn.

China's five thousand years of civilization, whether it is court art or folk art, whether it is literati painting or religious painting, through the painters, artists, craftsmen through the generations of creative practice, accumulated a large number of rich and varied methods of artistic expression and forms of expression. From the colored pottery of the Neolithic Age to the bronze of the Yin and Shang Dynasties, from the vessels and paintings on silk of the Warring States Period to the sculptures and statues of the Han Dynasty, from the paintings of the Tang and Song Dynasties to the porcelains of the Ming and Qing Dynasties, as well as the paper-cutting, woodblock prints, architecture, decorations, costumes, masks and so on, which are widely circulated in the folk culture, they fully embodied a variety of methods, such as magnificent dexterity, simplicity or delicacy, neatness or boldness, warmth or elegance, simplicity or luxury, etc. Whether it is the Chinese brushwork, the Chinese paintings, the Chinese paintings of the literati or religious paintings, through the creative practice of painters, artists and craftsmen over the ages, they have accumulated a large number of rich and diversified artistic expressions and manifestations. Whether it is the sketchy brushwork of Chinese painting or the decorative patterns of plate carving and knotting; whether it is the exaggerated folk paper-cutting or the colorful woodblock prints, all of these provide rich forms of expression and graphic language for poster design nowadays. KAN Tai-keung created a poster with Chinese cultural characteristics for Japan's "Zi Zi" paper workshop, using traditional handmade paper burlap on the paper pattern, the bamboo pattern of rice paper changes to form a Chinese landscape and natural paintings in a sparse mood of imagery, showing the Chinese humanities, unrestrained, relaxed and at ease with the attitude of life, the entire poster production combined with the traditional Chinese arts The whole poster production combined with traditional Chinese art, the style of the work to highlight the fullest. For the rational tendency of monotonous and uniform expression brought by today's mechanical tools and computer technology, traditional national art expression plays an important role in balancing the coordination of modern means and intellectual methods.

2. Borrowing from image elements.

Chinese culture and art after a long history of refinement, and gradually formed a typical cultural connotation of graphics and decorations. They include images of people, plants, animals, totems, geometric symbols and other forms of images, as well as some widely circulated allusions, idioms, legends of the characters, scenery, some of the conventions and combinations of things. For example, the Three Friends of Plum, Bamboo and Pine symbolize chaste friendship, the Three Sheep symbolize auspiciousness, the Lotus and the Fish symbolize "good fortune for years to come", and the Magpie and the Plum Blossom symbolize "joyfulness", etc. These images are rich in local flavor. These local flavor of the image elements is an important part of national culture, as Mr. Zhang Daoyi pointed out that "folk art is a kind of local culture", if these elements rich in characteristics of the national form of organic combination of modern poster design, will undoubtedly bring a breath of fresh air to the monotonous and boring modern design style.

For example, Han Binghua took the ice crack pattern (open piece) combined with Chinese character references and "Suzhou impression" poster as a creative concept. The open-panel patterned window panes and the "three dots of water" brushstroke form the main body of the character "州", and highlights the "苏" in the plaque "姑苏城外寒山寺", to show Suzhou. and highlighting the word "Suzhou" in the plaque of "Cold Mountain Temple outside Gusu City" to show Suzhou. The background is lined with photographs of mountains, water, waves and a boat, and printed in black and silver, showing the poetic mood of Chinese art in its simplicity and elegance.

3. Borrowing from thinking

The holistic, dialectical, cause-and-effect cycle of traditional Chinese culture emphasizes the dialectical unity of all aspects of things and their interconnections, and its thinking process emphasizes synthesis and generalization. Reflected in the view of nature, it emphasizes "the unity of man and heaven", "the harmony of heaven", "things I do not distinguish" and "due to the situation into a ". Its ideas originated from the pre-Qin Taoism, Confucianism and Zen philosophy, and it is the basic core of the primitive and simple chaotic thinking methodology. China's unique way of thinking, for modern science and technology to unlock some of the knowledge of the code provides a powerful ideological weapon of scientific discernment. The concepts and methods of thinking contained in the three major discoveries of modern science - quantum mechanics, relativity theory and chaos theory - are quite consistent with the traditional way of thinking that emphasizes wholeness, harmony, relativity, and transformation, which is embedded in Chinese national culture. Chinese painting theory and design principles have a close relationship with this way of thinking, the yin and yang rotation in the ancient taijitu, the abstraction of bronze ornamentation, and the Chinese painting of large-scale realistic and virtual all exude the essence of this way of thinking. We know that the way of thinking into the poster design, often contributing to the generation of ideas, it is the subconscious of people **** know the existence of ideas. The generation of a good idea of thinking, able to transcend any obstacle to mutual communication between human factors, to achieve a higher level of communication with each other, it is to make the "Chinese poster design" to the international design stage is one of the indispensable conditions. Our designers in the poster design, the works of creative thinking can be blended into the Chinese people's traditional view of nature, philosophy, way of thinking, there will often be unexpected effects.

(B) the traditional culture and contemporary poster design

The interaction between Chinese and Western culture and win-win situation, become the world's multi-cultural pattern of development of the inevitable trend. Poster design should be rooted in the soil of the essence of local culture, in-depth understanding of the traditional "Chinese characteristics", to learn from foreign excellent consciousness, methods, eclecticism, integration, to achieve their own unique features, but not lagging behind the international trend of design concepts and practice system.

1. Creative transformation of the essence of national culture

Our national culture, that is, to explore the rich resources contained therein, but also to see the existence of which is not and shortcomings, in the poster design, to learn and apply. Many designers still have "borrowed from the ancients to self-esteem" tendency to think that the set of a few pieces of ancient clothes or move out of the allusion to the myth is to promote national culture, design has cultural connotations, but do not know that this is far from the culture of a superficial absorption, deliberate imitation of behavioral performance of the clothes and hats.

So how in the poster design will be a combination of ethnicity and creativity of the times, is one of the keys to reflect the design of its local culture. We believe that the first thing is to transform the visual symbols and value systems of Chinese cultural tradition, so that these symbols and value systems become seeds that are favorable to the changes of the times, rooted in the hearts of the people, so that they maintain their cultural identity. Therefore, what we should try to grasp is not only the form and content, but also the spiritual way and aesthetic connotation of traditional Chinese visual symbols, and naturally transform them into our contemporary poster design, i.e., transform traditional cultural symbols into modern visual language. For example, Yu Bingnan's 1995 work "Family Across the Strait" is a "Chinese Character" poster designed for the Taiwan Impression Poster Society. The most ancient seal character "家" is used in this work, "家" is a pig under the roof, what a beautiful image, what a stable and happy family, although it has gone through a long period of changes in form and reproduction, it still cannot be separated from the original intention of creating the character, which is a metaphor for the theme of "One Family Across the Taiwan Straits". Liu Xiaokang designed the "New Beijing, the new Olympic Games", the background is the Forbidden City, Beijing, one of the nine dragons in the wall of a lifelike, powerful and dynamic, coupled with a running human figure and technology sense of line modeling, overlapping the dragon and human form, the traditional culture, modern thinking and sportsmanship combined to express the weather of the new era of Beijing, there are a lot of successful works, Chen Youjian designed in 1987 "Hello Hong Kong", and the "New Beijing" in 1993 by Lee Wing Chuen. Ambrose Lee designed in 1993, "modern Hong Kong designers eight exhibition - eight immortals across the sea" poster, etc., are from the perspective of visual culture to re-look at the traditional Chinese visual symbols, deepening the grasp of the essence of traditional Chinese culture, which has an inspiring significance for the discovery of the new period of national characteristics of the poster design art.

2. Modern Chinese Poster Design in "Globalization"

In today's global integration, posters, as a carrier of information and conceptual exchange, have become an indispensable component of people's lives, and a successful poster design should express the ****common ideas of people from different regions and cultural backgrounds through graphic culture. A successful poster design should be different regions, different cultural backgrounds of people's **** common ideas, through the graphic culture way to show, in order to free people from culture, geography, language, race, etc., so that human communication obstacles to the factors, through visual graphics and achieve direct communication between the hearts and minds.

The real ideal of "modern poster design" should be more of a kind of integration of the past and present,