How important are posters to movies? He charges 1 million for a painting

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

Movie posters form people’s first impression of a movie, which plays an important role in the promotion of the work. Some people will even pay for a movie just for a poster.

There is such a top movie poster designer in China: he needs to make an appointment one month in advance, and the construction period is long, the work he gives will not be reworked, and the price starts at 1 million.

However, many big directors are still willing to spend time waiting for his work, and the audience will even walk into the theater to watch a bad movie just because of his poster.

This designer is called

Huang Hai

, a native of Fujian, who graduated from the Design Department of Xiamen University.

Before the Yellow Sea, our country’s film industry did not attach much importance to movie posters. Film producers mainly stayed at the stage of using celebrities to attract audiences——

Big faces on posters Stacking up on top is not aesthetic at all.

The poster of "The Secret of the Dragon" in 2015

is a typical example.

What, you said it looks familiar? I think so too.

After Huang Hai realized that he liked to pile up celebrity portraits, he decided to break this inertial thinking.

In his poster, the story of the movie itself is the focus, and the star's face is only a small part of the movie. So the pilot poster he designed for "The Secret of the Dragon" looks like this -

Since he started designing movie posters in 2007, Huang Hai has been doing subtraction - removing useless leftovers and digging out the core of the movie. .

The person he is most grateful to is Jiang Wen, because his first work was directed by Jiang Wen

"The Sun Also Rises"

This also laid the foundation for His future design style.

At that time, Jiang Wen's requirements for the poster were simple and crude: it depends on the feeling, no photos are taken, and the material is found in movies. After rejecting hundreds of designs, Huang Hai's work was spotted by Jiang Wen.

This poster became an instant hit at the Cannes Film Festival: with a bright red background, a barefoot woman, and embroidered shoes hanging on a branch, the story came out at once.

This strong visual impact and unique artistic conception impressed everyone. He designed several other posters for this film, which instantly became famous internationally.

Afterwards, Huang Hai’s posters began to experiment with more Chinese styles.

He always carefully studies the script, selects characters and materials from the stills, and then goes to the shooting site to experience it, carefully captures the emotions of the characters, and uses traditional Chinese elements as a visual language into poster design.

In 2014, Huang Hai was invited to design a poster for

"The Golden Age"

directed by Ann Hui. He gave this work:

< p>A woman dressed as an educated youth stands in a corner among the messy dripping ink. The traces of ink dripping are irregular and spread out wantonly, which is a metaphor for the heroine's quiet and peaceful posture in troubled times.

The combination of movement and stillness reflects the contradictions and conflicts of the era background and characters. The heroine stands tenaciously on the page, just like a little person in the torrent of the great era.

The story of female writer Xiao Hong is vivid in my mind, and it also foreshadows the drift of life.

After that, Huang Hai also designed five international versions, which took more than half a year in total. Director Xu Anhua, who has always been strict with details, said "OK" after seeing the poster and made no further changes.

Huang Hai’s use of ink and calligraphy has a strong appeal, which is both the finishing touch and the finishing touch.

In the poster design of Zhang Yimou

"Shadow"

, he only used black and white to extract the black of ink and the white of rice paper. , forming the tone of the poster.

The entire film revolves around the avatar and the real body. The two are in opposition but have a unified relationship, just like the shape of Tai Chi and Bagua - merging with each other but always separate.

The word "shadow" is written in running script, with vigorous and elegant brushwork. Especially the intermittent strokes and discontinuities in the last stroke give people a difficult feeling, which just hints at the character of "shadow" Features.

In the American version of the poster designed for Wong Kar-Wai

"The Grandmaster"

, Huang Hai used traditional Chinese arch elements.

Two people inside the door stood opposite each other, showing off the gait and boxing skills of martial arts - arches, martial arts, and robes. It is the perfect balance and interpretation of movement and stillness, and a hazy and delicate expression of friendship. A long sense of history.

It not only shows the style of the great master Ip Man, but also has a great sense of lens and literature and art. These are quite consistent with Wong Kar-wai's personal style.

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

The poster of "Big Fish and Begonia"

uses highly saturated colors. Through changes in lines, layers, and colors, it depicts a picture of magnificent colors and fantasy. picture scroll.

A big red fish with smooth lines is in the center, and the girl touches the mouth of the fish, which depicts the wonderful encounter between the two.

The interweaving of red and cyan is the blend of ocean and flame, including the spreading wings of the phoenix, which has strong oriental aesthetic characteristics, and also opens up the audience's imagination of a mysterious dream.

In the Chinese version poster designed for the digitally restored version

"My Neighbor Totoro"

, Xiaomei and Xiaoyue happily run on the furry belly of Totoro On top, the whole style is warm and healing.

As soon as this poster came out, it caused a strong response in Japan, and it was even on the hot search. Everyone praised the design of the poster as no less than the original one.

In the Japanese movie

"Shoplifters"

In the Chinese version of the poster, Huang Hai uses an ukiyo-e style and adds an umbrella to the classic scene of the film, forming a The feeling of "home".

In addition to having a strong sense of beauty, it also vividly expresses the concept of family conveyed in the movie. After the director Hirokazu Kore-eda read it, he greatly appreciated this euphemistic and implicit oriental beauty.

In the 2018 world's best posters selected by a British film magazine, "My Neighbor Totoro" and "Shoplifters" were both selected into the top 20.

A series of posters including the 2016 fire documentary

"I Repair Cultural Relics in the Forbidden City"

were also designed by Huang Hai.

In one of the posters, he selected part of a "Ru kiln azure-glazed string-patterned three-legged bottle" as the background color of the poster, and added a silhouette of a character with a uniform tone among the broken porcelain pieces.

It not only integrates characters and objects into one, but also details the daily restoration work of craftsmen. It perfectly conveys the theme of "big history, small craftsmen, choose one thing, and last a lifetime".

Huang Hai also designed a very eye-catching trailer poster for Chen Kaige's

"The Taoist Comes Down the Mountain"

.

When this ink-style poster came out, it made people feel high-end, and everyone's expectations for the movie were much higher.

Unfortunately, for the final official poster, the director still chose a version with many celebrities, which can be regarded as living up to the reputation of a bad movie.

Also, without stars, who would go to see this movie? Story? Chen Kaige has not been able to tell stories for a long time.

An excellent movie poster carries the most sincere emotions and artistic conception behind a movie, not a simple pile of heads.

While fully guiding the commercial nature of the film, it can also carry forward oriental aesthetics. No wonder so many people say:

Basically, the movies are not worthy of his posters.

Finally, let’s appreciate some of the master’s works.

Looking for a detailed introduction and representative figures related to Western Expressionism style posters

1. Arts and Crafts Movement

1. The "Arts and Crafts Movement" originated in the United Kingdom and represents a Social behavior, with the idealistic idea of ??transforming society;

2. It is not a specific style, but the coexistence of multiple styles;

3. It advocates that artists engage in design , opposes "pure art"; advocates the combination of beauty and technology, is loyal to materials, and creates simple and practical works;

4. American designers are deeply influenced by the British Arts and Crafts Movement, and the designs are not complicated and more decorative. Weak;

5. United States: Gastavi: Established his own studio in New York, published the influential magazine "Artisan", advocated a simple and practical style, and the simple furniture design reminded people of the pioneers Furniture style of the period;

6. United States: Wright: Master of architectural design, comprehensive use of Eastern and Western influences, with skills in using pure natural materials, harmonious unity of architecture and environment; representative works include "Fallingwater", "Guggenheim Museum".

2. Neoclassicism

1. "Neoclassicism" is an artistic style, which refers to an artistic style popular in Europe from the late 18th to the 19th century, pursuing nobility and solemnity. , simplicity, elegance, moderation quality, as well as "noble simplicity and majestic grandeur", with retro interest;

2. Background: In Europe before the 18th century, Baroque and Rococo styles were prevalent. , its tedious decoration and inlay of precious metals gradually aroused people's disgust, and the Roman Pompeii ruins were excavated, which triggered an upsurge in the study of classical art in Europe;

3. Architecture: Pursue the simplicity of the building shape , independent and complete, the details are simple, the form conforms to the structural logic, and the reduction of purely decorative components shows people's yearning for rationality;

4. Furniture: good at designing simple and practical forms , is the forerunner of modern furniture design.

3. Art Nouveau Movement

1. "Art Nouveau Movement" is an art style that covers the period from about 1880 to 1910. It is a decorative art movement in Europe. ,Belgium and France are the birthplaces. In Italy it is called "Liberty Style"; in Germany it is called "Youth Style"; in France it is called "Art Nouveau"; in Austria it is called "Sensation Style"; in Spain it is called "Modern Style". Art Nouveau is a transitional style, an intermediary link in the transition from traditionalism to modernism

2. Motives: First, to break with historicism and break the old tradition; second, to break with naturalism Draw clear boundaries and oppose mechanical imitation;

3. Involving architecture, furniture, interior decoration, daily necessities, clothing, book bindings, illustrations, posters, etc., conduct comprehensive designs and strive to create a new era style .

4. It advocates drawing inspiration from the natural world, using various animal and plant patterns as decorative themes, and mostly using abstract curves symbolizing organic forms as decorative patterns, showing intricate, dynamic and rhythmic curves, delicate and elegant aesthetic taste.

5. Belgian Art Nouveau: Wilder: Dean of the Bauhaus School of Design, his works have beautiful and moderate decorative expressions and simple and reasonable functional structures;

Dimension Doc Horta: Master of the Art Nouveau movement, he often used intertwined and spirally twisted lines in architecture and interior design, called "Belgian lines" or "whip lines";

6. French New Art movement: the pursuit of gorgeous and elegant style, which is the product of classicism and symbolism, and represents the "Group of Six". The most representative work is the Paris subway design, commonly known as "Metro Style";

7 . Austrian Art Nouveau Movement: Vienna Secession, the core figure Hoffmann, mostly used straight lines, focused on geometric shapes, simple and modern.

4. Art Deco Movement

1. The "Art Deco Movement" originated from the "Paris International Exhibition of Modern Industrial Decorative Arts" held in Paris in 1925. This movement is closely related to modernist design The movement developed at the same time;

2. It is an extension of the Arts and Crafts Movement and the Art Nouveau Movement, and is also the decorative activity of designers after accepting mechanization and new materials to adapt to mass production; including multiple fields;

3. Like to use straight lines and symmetrical abstract forms, extremely glossy materials, colors with strong color effects, and also use new materials such as machinery, reinforced concrete, synthetic resin, and tempered glass;

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4. United States: combined with popular culture, luxurious, exaggerated, charming and grotesque;

Representative figure: Paul Fulkland: Representative works: "Empire State Building", "Rockefeller Center" , "The Chrysler Building."

5. Art Revolution

1. Cubism: emphasizes the connection with mechanical aesthetics and geometric composition.

2. Futurism: The worship of machinery establishes its position in modern design.

6. Russian Constructivism

1. Pursue language that is consistent with the spirit of industrial society, praise machine production, admire mass production and industrial materials, and advocate the use of industrial spirit to transform society; Constructivists call themselves art engineers;

2. They have a huge and far-reaching impact on modern design, and Bauhaus teaching is deeply affected by it;

3. Representative figure: Malevich

Tatlin: "Monument to the Third International", created in 1919, is a simple spiraling geometric shape, expressing firm and upward political beliefs.

7. De Stijl

1. The international modern art movement centered in the Netherlands, active from 1917 to 1931, started with Cubism and eventually became a pure abstract movement; school From "Style" magazine;

2. Apply abstract geometric shapes and strong colors to divide space, seek the basic rules of harmony, and greatly impact the traditional fine arts and decorative arts; express the aesthetics and nature Universal harmony and order, exploring the laws hidden by the appearance of things;

3. Representative figure: Rietveld: Dutch design master, whose main works are "Red and Blue Chair", "Coffee Table", " "Berlin Chair", the work feels very hard and even uncomfortable. It uses the simplest shapes and original colors to express profound modeling concepts. It is both like a product and a sculpture. It is also a model of abstraction and a milestone in modernist design.

8. Streamlined design

1. Streamlined is originally an aerodynamic term, used to describe the shape of an object with a smooth surface and smooth lines. This shape can reduce the risk of objects moving at high speeds. wind resistance. In industrial design, it is a styling language that symbolizes speed and the spirit of the times, and is widely used in the design of automobiles and home appliances;

2. Popular in the United States, it mostly adopts a form with smooth appearance and smooth lines. "Teardrop" language style; full of strong flavor of the times, in line with modernism and symbolism, expressing praise for technology and speed. Many streamlined designs are entirely due to their symbolic meaning and have no functional meaning.

9. Corporate identity design

1. Closely related to packaging design, different logos on the market mean different companies;

2. Trademarks are the basis of corporate identity Identify the core of the design and use it on every product, from products to advertising;

3. Behrens: The first person to implement the design.

10. Avant-garde design

1. Avant-garde design is a French word that describes artists who surpass contemporary recognition and design concepts;

2. In the history of design It has a huge influence, leading the new trend of the times and constantly innovating new styles.

National Day Anti-Design Movement

1. Founded in Italy in 1960, it is a design movement that resists the mainstream and a radical design model;

2. Rejection The rational component of the modern movement attempts to realize the expression of personal creativity in design;

3. Reject the spread of conservatism, commit to spontaneity, creativity, and constructiveness, and advocate diversity rather than simplicity;< /p>

4. Representative: Italian “Memphis”, furniture design.

Twelve high-tech styles

1. An industrial design style that uses high-tech and strives to express new technologies aesthetically;

2. In architecture It has been fully used in the 1960s and 1970s and became popular in the 1960s and 1970s;

3. Its "minimum decoration" and "excessive reflection of technology and times" appear cold and lack of human touch;

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

Memphis Design Pompidou National Center for Arts and Culture

Thirteen Pop Design

1. It emerged in the United Kingdom in the 1960s and spread to Europe and the United States. It is popular and popular. , popular meaning, representing popular tastes, pursuing formal alienation and entertainment in industrial design, reflecting the optimism of the economic boom;

2. Break the boundaries between art and life, and break all traditions aesthetic concepts; break the overly serious, cold, and single look of industrial design after World War II and replace it with humorous, humane, and diversified designs;

3. Use ready-made industrial and commercial products, Transform and process, and then re-collage and combine, giving a certain social and ideological meaning, thus forming a new work of art;

4. Carry out bold exploration and innovation, showing unprecedented exaggeration, strangeness and richness Imaginative shapes; colors are simple and bright; materials are mostly made of plastic or cheap fiberboard, ceramics, etc.;

5. The market target is the youth group, catering to the unruly, cynical life attitude and life attitude of modern youth. Its consumer mentality of seeking novelty and difference, and throwing it away after use;

6. Pop design has a profound influence and laid the foundation for the development of post-modern art. Subsequently, light effect art, illusion art, and oriental mystery ism and spaceism are all influenced by it;

7. Fashion industry: miniskirts designed by British Mary Quite, French cosmonauts by Gouhage; furniture industry: cheap and bright designs designed by Colan , strange furniture, Mudosh's fiberboard chairs with English letters as decorative patterns; Roger Ding's toy-like blow-molded chairs; eye-catching Pop also appeared in graphic design such as packaging, book binding, and advertising. style.

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

Fourteen International Styles

1. This concept was proposed in 1931 and is mainly used in the field of architecture;

2. International style transcends national boundaries and combines functionality, technology and geometric language to produce modernist aesthetics;

3.20 In the 1920s and 1930s, the International Style of architecture and interior design was embodied by geometric formalism, and steel, glass, etc. were widely used. Later, sculptural elements and organic elements were combined to humanize the International Style; non-human materials and other materials were also used. Exposed rough gray cement surfaces and rigid geometric forms;

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

Five-fifth-century postmodernism

1. The value orientation of "postmodernism" is less construction and more deconstruction; its characteristics are: historicism,

ornamentalism , eclecticism and entertainment;

2. First reflected in the architectural world, American architect Venturi proposed "less is boring" in "Complexity and Contradictions in Architecture" published in 1966. Emphasizing the need to pay attention to the popular taste of the public; British architect Charles Jenks first proposed the concept of "postmodernism";

3. Focus only on the form and content of the design, seeking bright and eye-catching colors and sensational displays Effect;

4. Representative works: American Telegraph and Telephone Building, Plaza Italia in New Orleans

Sixteen Bauhaus Movement Functional Design Radical Design Functionalism Deconstruction Green Design (omitted)< /p>

Summary: Today, product design is closely connected with the background of the times. Whether it is structure, shape, color, or decoration, it will deeply leave the mark of the times; design products help us understand this era, understand people's dreams, Desires, yearnings, disappointments and hidden inner hopes; design is no longer just the need for functions and technical standards, it also expresses social philosophical thoughts, ideologies and complex cultural phenomena. It expresses human civilization in a material way. progress.

What are the traditional expressions of poster design?

Visual communication design is an art that uses “pictures” as information carriers, and it is also a design art form combined with communication. Among them, posters are an unusual communication carrier full of information and communication. They often allow people to quickly identify the content and meaning conveyed in graphics at a glance without reading or prompting text. German design master Pierre Mendel believes: "Posters are not only to attract people's attention and understanding, but also a beautiful language, which reflects a country's national tradition and social culture."

However, , Under the influence of globalization, China's modern visual design is full of visual languages ????influenced by the West. The proliferation of "international" visual symbols and the "aphasia" of "localized" visual languages ??are very prominent. The day when the world is designed to be unified is when its end will come. When design loses its national identity, not only the goal of reaching "world level" cannot be achieved, but it is actually on the road to decline. True "Chinese design" should be an attempt to discover something that is both rooted in the locality of our nation and meaningful to the entire contemporary design language. A good poster should be looking for something that can identify, analyze, and interpret the "Chinese characteristics" of our nation's wisdom, artistic conception, and spirit that permeate our traditional art. We need to find the right direction for "Chinese design" and also provide our local wisdom and imagination for the richness of international poster art design.

(1) The inheritance of national culture and poster design

The culture and art of the Chinese nation is a rich treasure house, which has a profound enlightenment and reference effect on poster design. Facing the rich national cultural resources, we can re-understand and re-discover them at multiple levels and angles.

1. Learn from artistic techniques.

With the development of 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 creative practice of painters, artists, and craftsmen of the past dynasties, a large number of rich and diverse arts have been accumulated Expression techniques and forms of expression. From the painted pottery of the Neolithic Age to the bronzes of the Yin and Shang Dynasties, from the utensils and silk paintings of the Warring States Period to the sculptures and portrait stones of the Han Dynasty, from the paintings of the Tang and Song Dynasties to the porcelain of the Ming and Qing Dynasties, as well as the widely circulated paper-cuts, woodblock New Year paintings, architecture, Decoration, costumes, masks, etc., fully embody various techniques such as grand and clever, simple or exquisite, neat or extensive, warm or graceful, simple or luxurious. Whether it is the hasty brushstrokes of Chinese painting or the rounded decorative patterns of engravings; whether it is the exaggerated folk paper-cuts or the strong-colored woodblock New Year pictures, all of these provide rich forms of expression and graphic language for current poster design. Jin Daiqiang created a poster with Chinese cultural characteristics for the Japanese "Zizai" paper shop. The burrs of traditional hand-made paper were used on the paper texture. The changes in the bamboo texture of the rice paper formed an image of the scattered artistic conception of Chinese landscape and natural paintings, showing the Chinese Humanistic temperament, leisurely and contented attitude towards life, the whole poster production is combined with traditional Chinese artistic expression techniques to fully highlight the style of the work. For today's mechanical tools and computer technology, which bring about a monotonous and uniform rational tendency in expression techniques, traditional national artistic expression techniques play an important balancing role in the coordination of modern means and intellectual techniques.

2. Learn from image elements.

After a long history of condensation, the culture and art of the Chinese nation have gradually formed graphics and patterns with typical cultural connotations. They include images in the form of characters, plants, animals, totems, geometric symbols, etc., as well as some widely circulated allusions, idioms, legendary characters, scenery, and some conventional things and combinations. For example, the three friends of plum, bamboo and pine symbolize steadfast friendship, the three sheep and kaitai symbolize good luck, the lotus and the fish mean "more than one year after year", the magpie and plum blossoms mean "joy" and so on. These graphic elements with strong local flavor are an important part of national culture. As Mr. Zhang Daoyi pointed out, "Folk art is a kind of original culture." If these elements with rich national form characteristics are organically combined into modern poster design, it will undoubtedly be It will bring a breath of fresh air to the monotonous and boring modern design style.

For example, Han Binghua combined ice cracks (opening film) with Chinese character references and "Suzhou Impression" posters as a creative concept. The open patterned window pane and the calligraphy of "Three Points of Water" form the main body of the word "zhou", and the word "Su" in the plaque of "Hanshan Temple Outside Gusu City" is highlighted to show Suzhou.

The background is lined with photos of mountains, rivers, shadows, waves, and a small boat, and is printed in black and silver, showing the simple and elegant poetic mood of Chinese art.

3. Draw lessons from the aspect of thinking

The holistic, dialectical, and causal cycle of thinking in traditional Chinese culture emphasizes the dialectical unity and mutual connection of all aspects of things. The process emphasizes synthesis and induction. Reflected in the view of nature, it emphasizes "the unity of nature and man", "natural creation", "no distinction between things and myself" and "what happens due to circumstances". Its ideas originate from the Taoist, Confucian and Zen concepts of the pre-Qin Dynasty, and are the basic core of the original and simple chaos thinking methodology. China's unique way of thinking provides a powerful ideological weapon for scientific identification for modern science and technology to unlock certain knowledge codes. The concepts and thinking methods 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 contained in Chinese national culture that focuses on wholeness, harmony, relativity and transformation. Chinese painting theory and design principles are closely related to this way of thinking. The rotation of yin and yang in the ancient Tai Chi diagram, the abstract multi-meanings of bronze decorations, and the interplay of virtuality and reality in the freehand brushwork of Chinese paintings all reveal the essence of this way of thinking. We know that the transformation of thinking patterns into poster design often leads to the generation of creativity. It is the most well-known idea that exists in the subconscious mind. The generation of a good idea can transcend any factors that hinder human communication and reach a higher level of communication. It is one of the indispensable conditions for "Chinese poster design" to enter the international design stage. When designing posters, our designers can integrate the creative thinking of the work into the traditional view of nature, philosophy, and thinking of the Chinese nation, which often produces unexpected effects.

(2) National traditional culture and contemporary poster design

The interaction and win-win situation between Chinese and Western cultures has become an inevitable trend in the development of the world's multicultural pattern. Poster design should be rooted in the essence of local culture, deeply understand the "Chinese characteristics" in tradition, absorb excellent foreign consciousness and methods, and be eclectic and comprehensive, so as to have its own uniqueness without lagging behind the international trend. design concept and practice system.

1. Creative transformation of the essence of national culture

For our country’s national culture, we must not only discover the rich resources contained in it, but also see the shortcomings and shortcomings in it. When designing posters, you must learn and apply them flexibly. Many designers still have the tendency to "borrow from the ancients to show their own self-respect". They believe that putting on a few pieces of ancient costumes or bringing out allusions and myths is to promote national culture, and the design has cultural connotations. Little do they know that this is just a superficial absorption away from culture. , deliberately imitating the behavior of dressing and wearing hats.

So how to combine nationality and contemporary creativity in poster design is one of the keys to embodying its local cultural design. We believe that the first thing is to transform the visual symbols and value systems in Chinese cultural tradition, so that these symbols and value systems can become seeds that are beneficial to the changes of the times, rooted in the hearts of the Chinese people, and maintaining their cultural identity. Therefore, what we must strive to grasp is not only the form and content, but more importantly, the spiritual style and aesthetic connotation contained in traditional Chinese visual symbols, and naturally transform it into our contemporary poster design, that is, the traditional Cultural symbols transformed into modern visual language. For example, Yu Bingnan's "A Family on Both Sides of the Strait" created in 1995 was a "Chinese character" poster designed for the Taiwan Impression Poster Conference. The work uses the oldest seal character "家". Home is a pig under the roof. What a beautiful image, what a stable and happy family. Although it has experienced long-term changes in shape and reproduction, it is still inseparable from the character-making process. The original intention is a metaphor for the theme of family members on both sides of the Taiwan Strait. "New Beijing, New Olympics" designed by Liu Xiaokang, the background is a lifelike, mighty and dynamic dragon wall in the Forbidden City in Beijing, coupled with a running human figure and technological line shapes, overlapping dragon shapes and human shapes, combining traditional culture and modern thinking Combined with the spirit of sports to express the atmosphere of Beijing in the new era, there are many successful works, such as "Hello Hong Kong" designed by Chen Youjian in 1987, "Eight Modern Hong Kong Designers Exhibition - Eight Immortals Crossing the Sea" poster designed by Li Yongquan in 1993, etc. They all re-view traditional Chinese visual symbols from the perspective of visual culture, deepening the grasp of the essence of traditional Chinese culture, which is of enlightening significance for discovering poster design art with national characteristics in the new era.

2. Modern Chinese poster design in "globalization"

In today's world of globalization, posters, as a carrier for the exchange of information and ideas, have become an indispensable ingredient in people's lives. , a successful poster design should express the universal ideas of people from different regions and cultural backgrounds through graphic cultural means, so as to avoid the problems of human communication caused by culture, region, language, race, etc. Factors that hinder the direct communication between souls through visual graphics.

The truly ideal "modern poster design" should be more of a blend of the past and the present,