What is a public welfare poster? The aesthetic pursuit in China's traditional aesthetics exerts a subtle influence on the modern advertising poster design idea, which in turn affects the traditional national aesthetic concept. This paper discusses the embodiment of traditional aesthetics in modern advertising poster design. It is pointed out that as a foreign poster art, the works of China designers always reveal the subtle influence of traditional aesthetics. Analyzing these influences and affirming the positive factors will contribute to the development of poster art in Socialism with Chinese characteristics. Keywords: the influence of traditional aesthetics and modern poster design in China, advertising has a long history. Oral advertisements of spears and shields during the Warring States Period-high school, high school, high school, high school, high school, high school, high school, high school, high school, high school, high school, high school, high school, high school-all these can be regarded as embryonic forms of advertisements, and they are all examples of China's long advertising history. However, only in capitalist society can advertising really become a professional activity and play its great role. In this sense, China's poster advertising art can be said to be imported. Poster is a popular genre in advertising art, which is used to accomplish certain propaganda and agitation tasks, or to serve the purposes of reporting, advertising, persuasion and education. Posters used for public welfare or cultural propaganda in China are called public welfare or cultural posters or simply posters; Used in commodities, it is called commodity advertising poster or commodity poster. These are called advertising pictures in some foreign countries, or commodity advertisements, cultural advertisements, art advertisements and public service advertisements. There is a common law in the emergence and development of advertisements in all countries of the world. Are produced with the production of commodities and developed with the progress of science and technology and social development. The innovation of communication means brought by scientific and technological progress has greatly promoted the development of advertising. If 1886' s multicolor printed layout painting appeared on the streets of Paris was the beginning of modern posters, then the appearance of China posters was marked by monthly advertisements and street signs appearing in coastal cities in the 1920s, 1930s and 40s. Although it has a certain semi-colonial color, they believe that the form that the masses like has penetrated into thousands of households. So it should be said that it is the development and beginning of poster advertising in China (1)p87. In 1950s and 1960s after the founding of the People's Republic of China, China's poster art was influenced by Soviet Union, Czech Republic and especially Polish posters to varying degrees. On the basis of the original, it improves the ideological and artistic quality. In the past two decades, with the reform and opening up, the country has opened to the outside world, and it has also borrowed poster art techniques from the United States, Japan, Europe and other western countries. It can be said that as a poster art, advertising designers in China have absorbed and used for reference the experiences and practices of many foreign counterparts. Judging from the historical experience of China's cultural development, if a country or a nation wants to be in an invincible position, it must have the courage to absorb, inherit and blend. Whether the early Han culture in China was formed until it reached its peak, or the culture in the prosperous Tang Dynasty was influenced by the western regions and Indian cultures, it shows that only by bravely absorbing can it develop, and only by bravely inheriting and being good at blending can it finally become the master of its own culture. Poster art should be based in China and face the world. We should not only respect the uniqueness of national art, but also reflect the aesthetic psychology of the Chinese nation and the inner spiritual pursuit of modern people. In the design of poster art, we should also seek the roots and find the incomparable thinking advantage and unique style of other nationalities in our traditional culture. Art should always talk about internal continuity. The emergence and adaptation of an art form needs a specific historical and cultural background, including a nation's lifestyle, customs, ethics, aesthetic habits and so on. , constitutes a potential deep cultural structure, deeply locked in the national psychology and spirit, regulating and restricting the development of national culture and the intervention of foreign culture. Because of this, as a foreign poster art, traditional aesthetics always exerts a subtle influence on the works of China designers. Analyzing these influences and affirming the positive factors will contribute to the development of poster art in Socialism with Chinese characteristics. Below, it is analyzed from this angle. First of all, the role of posters in conveying information and encouraging publicity affirms its special form. It is different from the oil painting or printmaking on the bookshelf. It requires being clear at a glance, concise and clear, so that people can see what they want to promote at a certain distance in an instant. In order to achieve this goal, posters often adopt a series of hypothetical techniques, highlight key points, and delete minor details, details and even backgrounds, and can combine activities that take place in different times and spaces in different proportions. And often use symbolism to stimulate people's association. Therefore, its conception should overload the reality, its composition should be summarized and concentrated, its image should be concise and exaggerated, and the things to be publicized should be highlighted with strong and bright colors, showing the internal relationship between things, giving the picture a wider meaning, and making people think of a broader life and feel new meaning in a limited picture. In these respects, China's traditional aesthetics can provide designers with a lot of nutrition. For example, the concept of "one to ten", the refinement of "using less and using more", the simplicity of composition, the impenetrable contrast, and the exaggeration of the image between likeness and dissimilarity are all precious treasures left by our ancestors, which have been fully reflected in the poster art design in China. (4)p68 Jin Daiqiang, a famous Hong Kong graphic designer, has created a large number of cultural posters. In his view, there are three principles of beauty: first, meaning first, taking God in shape; Innovation links the past with the future, breaking the old and establishing the new; Flexible and practical, flexible and vivid. In fact, this emphasizes the philosophical thoughts of Laozi and Zhuangzi, and it is also the artistic conception of China's landscape painting. He advocated that the essence of China traditional culture should be integrated into the concept of western modern design. Many of his works, without exception, embody this idea. In his poster design "Freedom" series, China's ink painting technique is used, which combines the special mechanism effect of modern science and technology, and is modern without losing tradition. In the international water theme poster art exhibition, the graphic works of water-life-culture posters take the graphic images with strong national decoration style as the background of the whole works, and have been richly and appropriately blurred. The whole picture is artistically expressed in black and white, which forms a visual effect of opposition, coordination, conflict and integration between form and color, and constructs a modern graphic design work with visual impact under a specific cultural scene in China. The logo of the 2008 Olympic bid can be said to be a good example. The whole logo modeling does not directly borrow the traditional modeling, but uses China's unique freehand brushwork technique between similarity and dissimilarity, and appropriately conveys the two images of Chinese knot and athlete. This symbol not only embodies the unique aesthetic charm of China culture, but also has been recognized by the world. As mentioned above, posters belong to instantaneous art. A good poster should not only be seen by people at first sight, but also make people fall in love at first sight, be attracted by it, look around and leave a deep impression. This requires the poster to have exquisite creativity. No art can explain everything, especially a special art form like poster. Under the limited time and space conditions, it can make people unforgettable and memorable, so it is necessary to win more with less. (3)p72 Of course, there are still audiences who want art to tell everything. Asking for multiple posters is as unrealistic as asking for multiple sculptures, comic strips and allegro. Using less and using more is a sign of artistic skills, especially poster art, which can only reproduce reality from one side of life rather than all sides. Any image is only a part of the whole. The important thing is whether we can summarize other parts. Posters often have close-ups of faces full of pictures, a pair of hands, a pair of eyes and an expression. As long as we select the most representative phenomena and emphasize some of their characteristics, we can form a concise and good work. Although the composition is simple, it needs a certain and attractive artistic conception. In the artistic conception, the essence of objective things is dealt with centrally, so as to achieve the blending of scenes and scenes, which can affect people's feelings, experiences and associations. A scholar in Qing Dynasty said that a painting makes people think more than love. If a good poster can attract people, arouse people's association, arouse people's good wishes and express artistic conception, it must have means. We call it an artist. The word "craftsman" is derogatory in the minds of artists, such as craftsmanship. But there are also praises, such as ingenuity, which others didn't expect, and you thought of it. Artistry is a special means for artists to deal with objective things, and the level of handling means shows the level of the author's artistic achievements to a certain extent. Du Fu, a poet in the Tang Dynasty, said that you concentrate all your energy on a silk, and the language is not surprising and unsatisfactory, which shows that the artistic conception must be created with your heart. Specifically, artists refer to material selection (taking the essence first), tailoring (decontamination, keeping clear), exaggeration (emphasizing the characteristics of image), business place (composition), performance (choosing appropriate techniques) (5)p68, and all these are the main means for China poster designers to conceive. China's traditional art pays attention to balance and internal rhythm, while China's seal cutting has a sparse and impenetrable so-called layout rule, which emphasizes the balance in change, which conforms to both the principle of scientific relativity and the law of artistic formal beauty. This unified, vivid, rhythmic and rhythmic aesthetic feeling is also common in China's posters, which is dynamic and static, dense, diverse and unified, subject and object echo, virtual and real, vertical and horizontal, black and white contrast and overlapping. In addition, the ancient bronze decoration, stone relief, epigraphy, seal cutting, especially Chinese painting, skillfully used the ingenuity of white background. The bold and bold black-and-white relationship between folk paper-cutting and orchid cloth, the density of woodcut illustrations in Ming Dynasty, (2)p2 1 can all be confirmed in the composition of modern poster art. Western traditional art is based on the concept of geometric space, starting with simulating life phenomena, thus expressing the author's creative thoughts. Aristotle, an ancient Greek philosopher, once pointed out that all kinds of art are imitations of the real world, which laid the representative theory of western traditional art (1)p24, while artists in China chose and focused on it, taking the likeness and miraculous description as their artistic pursuit. They often express objects in Chinese paintings with nothing in the background. The traditional Peking Opera stage has only a simple table and a chair. The audience appreciates painting, mainly not what the artist painted, but what artistic techniques are used to express it. The emphasis of appreciation lies in pen and ink, composition, charm and artistic conception. Just as the audience appreciates traditional Beijing opera, they mainly appreciate the skills of actors and the kung fu of singing, reading, doing and playing. China's traditional art has broken through the one-sidedness of naturalism and formalism and created many standardized programs. These programs, which naturally come from life but have gone through numerous storms, are the essence of highly refined beauty and the formal beauty with content requirements (4)p68. Because of this, it has infinite vitality. With the requirements of the times, artists give it new vitality, which is often used and always new. This stylized treatment is often used in the decorative image processing of China posters, showing dazzling brilliance. We have never asked China's traditional art to have a true description and realistic representation. No one accuses some landscape paintings of not conforming to the principle of focus perspective, and no one criticizes the stylized expression mode of China traditional opera, because we have a fixed concept of our own traditional art and understand the important value of abstract formal beauty in plastic arts. China traditional art pays attention to both form and spirit, generalization and deformation. Qi Baishi's shrimp painting took decades to get its essence, and there was a process of continuous generalization and deepening. Finally, he dared to abandon the minor part of the shrimp and highlight the main features, making the image of the mother shrimp more perfect and vivid. The beauty of painting put forward by Qi Baishi lies in similarity and dissimilarity, which is similar to what Shi Tao said: it is impossible to learn dharma, but dharma is supreme. Connecting with his works and practice, we can see that the dissimilarity advocated by him is only for the sake of similarity, but actually developed on the basis of similarity, which is by no means specious, but makes the image more general and makes use of the corresponding associative function of the viewer (4)p35. Look at some of our posters again, and we will look at them from similar and different angles. Judging from the simplicity and richness of images, many images are obviously not simple imitations of life, and some summarized images are obviously very different from materials, from complex to simple, which must be admitted as a valuable progress. The charm of a work is not only conveyed by its vivid appearance. Sometimes the appreciator does not simply accept the propaganda, but explores, discovers and supplements it, so as to gain the pleasure of appreciation. It is precisely because of the exploration, discovery and creation of the appreciator that the theme of the work can have a far-reaching impact. This feature meets the requirements of poster art, and the graphic image design of Jin Daiqiang's gold, wood, water, fire and earth poster works also fully shows the spiritual characteristics of this culture and art, and haunts the strong spiritual aura of modernist design. The color treatment of traditional art is mainly decorative color. Because of the characteristics of poster art, the role of decorative colors in painting is determined. Decorative color is subjective to some extent, which is also the deliberate pursuit of advertising pictures. It seems that the lack of meaning explains this relationship. Su Shi painted bamboo in the Song Dynasty, which was criticized. Do you have red bamboo? He asked: Is there any black bamboo? Since everyone is used to black bamboo, why not draw bamboo? This shows that the subjective imagination of color in traditional aesthetics is allowed and necessary. However, this kind of subjective imagination is not equal to subjective imagination. Decorative color also comes from life practice and needs to absorb nutrition from objective things. People often get inspiration from natural colors such as butterflies, neon lights and rosy clouds to create colorful decorative effects. The subjectivity of decorative colors makes some natural scenery associated and personalized. Different characters have different views on objective things because of their different personalities, experiences and emotions. Their feelings about some natural colors can be green, fat, red, thin, happy and green. As for the different feelings of color in ancient poets' works, such as sadness, smoke, green and coolness, both sadness, coldness and coolness show the psychological factors that color gives people a feeling. As early as the Song Dynasty, there was a saying (6)p24. These psychological factors and color associations are all formed in people's specific lives. We not only oppose the metaphysical assertion that a certain color represents a certain character, but also do not exclude the formation of certain associations in concrete life, which is the premise of using color symbols in traditional aesthetics. In traditional Chinese painting, lotus flowers are often painted red, and lotus leaves only draw dripping ink. Faced with these images, people will naturally think that the painted ink leaves are green. This is because the painter has adapted to the scientific law of the interrelation of natural phenomena and used the corresponding associative function of the appreciator. Similarly, draw a few swimming shrimps on a piece of white paper, and people will naturally associate a large blank with the endless water surface according to their own life experience. On posters, there are often such examples. A blue picture with several bright fireworks in the upper corner will naturally be accepted as a deep blue sky. It is also a blue background, and several white jib shadows are drawn. This blue color will be regarded as an endless ocean. Draw a pair of frolicking lambs on a piece of green paper, and this piece of green becomes a lush lawn. Because it is only a simple background color, it has more space and gives people more associations. This simplicity is illusory, but it is real. The imagination of the audience is abstract, but concrete. In this way, it is not only different in form, but also enriched in content because of some enlightenment and association. Spring breeze is green. Jiang Nanan, a green word, gives people rich and profound meanings. When the sun rises, the flowers in the river beat the fire. When spring comes, the river is as green as blue. Isn't the use of color symbols by ancient poets in China worth learning from in poster design? What has been described above is only the influence of traditional aesthetics on modern poster art in China. These aesthetic views have a subtle influence on our modern design concept. Of course, we are constantly impacted by foreign cultural design concepts and benefit a lot from them. We believe that in this world-wide cultural exchange and competition, all the advantages of our nation will not be lost, but will only be carried forward. What are the characteristics of public welfare posters? 1. Excellent public welfare poster design works are more characterized by public welfare, that is, non-profit. In other words, public service advertisements are different from commercial posters. Its starting point is not for commercial purposes and interests, but for public interests. The ultimate goal is to maintain social harmony and stability and promote social development. 2. Another feature of excellent public welfare poster design works is extensiveness. Generally speaking, public service posters are aimed at the vast majority of citizens, not a few specific audiences. The responsibility of public service posters determines that the more people see and accept the contents of the posters, the better the effect, regardless of age, gender or even national boundaries and languages. Therefore, the design of public welfare posters should consider the effective dissemination of poster information. 3. In excellent public poster design works, graphic language is the main way to convey information. As a category of poster design, public welfare posters also abide by the principles of poster design, so they have higher requirements for the communication of graphics and creativity, and cannot rely too much on words to convey public welfare information. What is a public welfare poster? This is a poster that is not for profit. It is usually promoted by embracing honesty and other things. Find an enterprise service and put it on Pig Bajie. Promise to accept before payment.