Good posters must be attractive, arouse people's associations, arouse people's good wishes, and express artistic conception. They must have means, which we call craftsmanship. The word "craftsman" has

Good posters must be attractive, arouse people's associations, arouse people's good wishes, and express artistic conception. They must have means, which we call craftsmanship. The word "craftsman" has a derogatory connotation in the minds of artists, as in craftsmanship. But there are also compliments, such as ingenuity, that is, you thought of something that others didn't think of. Craftsmanship is a special means used by artists to process objective things. The level of processing means, to a certain extent, explains the level of the author's artistic achievements. Du Fu, a poet of the Tang Dynasty, said that the artistic conception is bleak and hard to come by, and the words are not astonishing. It shows that the creation of artistic conception must be painstaking. Specifically speaking, craftsmanship involves selecting materials (taking the most essential parts first), tailoring (removing contamination and preserving clarity), exaggeration (emphasizing the characteristics of the image), positioning (composition), and expression (choosing appropriate techniques) (5) p68, and this Everything is precisely the main method used by our country's poster designers when conceiving. Traditional Chinese art pays attention to balance and internal rhythm. In the art of seal cutting in my country, there is the so-called sparse and airtight layout rule, which emphasizes the balance in change. This is not only in line with the principle of scientific relativity, but also It conforms to the rules of formal beauty in art. This kind of unified, vivid, rhythmic aesthetic feeling can be seen in our country's posters, which include traditional compositions such as movement and stillness, sparseness and density, diversity and unity, echoes of guests and hosts, virtuality and reality, vertical and horizontal twists and turns, black and white contrast, overlapping and interlacing, etc. It is also common in the laws. In addition, the ancient bronze patterns, portrait stones, epigraphy and seal carvings, especially Chinese paintings, cleverly use white backgrounds. The rough and bold black-and-white relationship between folk paper-cutting and orchid cloth, the density and concentration of woodcut illustrations in the Ming Dynasty, (2) p21 can all be confirmed in the composition of modern poster art.

Western traditional art is based on the concept of geometric space and starts from simulating life phenomena to display the author's creative ideas. The ancient Greek philosopher Aristotle once pointed out: All kinds of art are imitations of the real world, which established the imitation theory of traditional Western art (1) p24. Chinese artists, on the other hand, are selective and focused. They pursue resemblance with dissimilarity and express the spirit out of form as the artistic pursuit. When objects are often represented in Chinese paintings, the background is not even a single stroke. The traditional Peking Opera stage has nothing but a simple table and chairs. When the audience appreciates a painting, they don’t mainly appreciate what the artist painted, but mainly appreciate the artistic techniques used to express it. The focus of appreciation lies in the pen and ink, composition, charm, and artistic conception. Just like the audience appreciates traditional Peking Opera, they mainly appreciate the skills of the actors and their singing, reading, acting, and fighting skills. Traditional Chinese art has broken through the one-sidedness of naturalism and formalism and created many standardized programs. These are based on nature, derived from life but refined over time, generalized and changeable, and are a highly refined form of beauty. The essence is the beauty of form that accumulates content requirements (4) p68. Because of this, it has infinite vitality. Artists give it new vitality in line with the requirements of the times, making it commonly used and always new. This stylized treatment is also often used in the decorative image processing of posters in our country, showing a dazzling brilliance.

We have never asked traditional Chinese art to use truthful descriptions and lifelike reproductions. No one accuses certain landscape paintings of not conforming to the principle of focus perspective, and no one criticizes the stylized performance mode of traditional operas, because We have a fixed concept of our own traditional art and understand the important value of abstract formal beauty in plastic arts. Traditional Chinese art pays attention to both form and spirit, and pays attention to generalization and transformation. It took Qi Baishi decades to achieve his mastery in painting shrimps. There is a process of continuous generalization and deepening. Finally, he dared to abandon the secondary parts of the shrimp and highlight the main features, making the mother The image of the shrimp is more perfect and vivid. Qi Baishi proposed that the beauty of painting lies in the balance between similarity and dissimilarity. This statement is consistent with Shi Tao's statement that there is no way to achieve the right method, and even to achieve the ultimate method. In connection with his works and practice, we can see that the dissimilarity he advocates is precisely for the sake of likeness. Dissimilarity is actually developed on the basis of likeness. It is by no means specious, but makes the image more general and makes use of the corresponding emotions of the appreciator. Association (4) p35.