On image in graphic design: different types of design have different performance characteristics. Graphic design can be said to create visual images through complex psychological activities, using formal rules and "meaning". Through this image, the connotation of "meaning" is directly or indirectly expressed or symbolized, while the viewer obtains the connotation of "meaning" through the associative mechanism triggered by graphics (memory, experience and impression). Design refers to pertinence in a certain sense. The process from internal activity to external expression when expressing or creating things and forms. We can call this kind of design "image design". As the name implies, it is to generate images from images and express "meaning" with images. But graphics are by no means a simple statement of meaning, but a process of sublimation and refining, and a process of re-creation. Looking at many other art forms, how many are not formed by "meaning". How many works of art have no expression or implied meaning? Even if it is just a feeling or experience, it is inseparable from some kind of judgment formed by psychological impression and experience. China's freehand brushwork, modern abstract painting, pure color expression and pure form flow can better illustrate this point. Music and dance rarely have no conscious theme. This is especially true for graphic design. Especially in the long history of the development of traditional art in China, it has always been dominated by providence. Those who are good at books intend to draw examples first, while those who are good at painting have thousands of ideas. Good fighters, as far as design is concerned, also praise "handsome for strength" and "only seeking God's will, not like a skeleton". We can still absorb a lot of nutrition from here, and then use some modern design techniques, including some good western design concepts and psychological achievements. As we know, graphic design is basically composed of three design elements: graphics, colors and words. As one of the three elements, graphic design is a key link, and the success of its design will directly affect the internal force of the relationship between the three elements and the accurate transmission of information. Good graphic design can be communicated through visual language, and can be understood without words. We can cross geographical restrictions, language barriers, cultural differences and communicate silently. So as to achieve the artistic effect of silent infection. This may be an important reason why graphics cannot be replaced by words. First of all, we need to understand a phenomenon, what makes the same figure get the same explanation in different countries, which is the "isomorphism" of the relationship between things. Isomorphism is essentially "a mapping phenomenon, through which the structure of one system can be expressed in another system". The moon in reality, formally speaking, has nothing to do with the abstract symbol "moon", so why do we only see the word "moon" and associate it with its form? According to the evolutionary history of Chinese characters, we can see that the earliest hieroglyphs basically retained the basic information of the form. With the development of human civilization, characters have gradually become the present structure, but the basic information of the original structure has been retained every time. Although it has long been far from the morphological appearance, it is closer to its essence and significance. Finally, abstract symbols such as words and graphics are made. From the lowest direct expression to the highest expression and symbol, it marks the rise of human wisdom. Obviously, as a Chinese character, "Yue" has an isomorphic relationship with its morphological meaning. Every time mankind creates something, it is inseparable from "isomorphism". So, can we say that when we design graphics, we are actually looking for formal symbols that can be isomorphic with the meaning of the real world? On the other hand, when people understand graphics, it is also through this way to find the meaning of the real world. In this regard, thousands of years later, the mathematician Godel used the isomorphism principle to discover the amazing similarity and consistency of various fields that seem to be far apart in human activities. His theory changed the development process of mathematics and touched the deep structure of human thinking. At the same time, it penetrated into the fields of art, bioengineering, artificial intelligence, etc., and became one of the greatest mathematical achievements in the 20th century, namely Godel theorem. There are usually two kinds of "isomorphism" in graphic design, one is isomorphism between forms, and the other is isomorphism between form and meaning, but they are inseparable. The value of graphic form depends on meaning, and meaning is embodied by the organizational relationship expressed by graphics. They are also heterotopic isomorphic, the difference is. Graphics do not directly describe meaning, but retain the information of meaning, and express meaning from many aspects and levels by using the similarity of things. So isomorphism is also a process of information exchange. In fact, the design of graphics is to find formal symbols that can be isomorphic with meaning, which is a big thinking image of graphic design. Because graphic design is generally targeted. Or as a separate design or in other graphic design forms, such as invitations, covers, packaging, advertisements, etc. Then, it is a question worthy of our consideration to choose what kind of thinking mode and composition form to complete the image of graphic design. Through several years of study, teaching and practice, I think comprehensive association is a more effective way of thinking. When designing a graphic design, we should be good at associating according to the meaning to be expressed, looking for some factors that can link seemingly unrelated things, that is, similarity (similar relationship, similar form), and then expressing it in design language. Association is sometimes conscious and sometimes unconscious. Consciousness reflects the unconscious in many ways, and the unconscious thought fluid can form conscious thoughts. The formation of consciousness is completed in an unconscious accumulation way, because our consciousness can never get rid of the subconscious psychological influence brought by past experiences, impressions, feelings and memories. In the design process, the content theme is conscious, while the conception process is often carried out alternately between intentional and unintentional. Sketching at will, the idea seems unintentional, but it reveals the unconscious thinking track. We've all had this experience. When you decide to go to a place, your consciousness is strong, but in the process of going, this consciousness is indifferent or even gone. You will be attracted by the scenery on the road, stop to see what is happening in the street, and even think about many things that have nothing to do with this trip, but these will not affect your image at all. But also added a lot of fun and content to this trip, and finally arrived at the destination, "meaning" returned to your consciousness. This shows that many conscious things are actually done intentionally or unintentionally. I think this relationship is very similar to the relationship between "being" and "nothing" that Laozi said. Perhaps, intentionally or unintentionally, it is inseparable. If we use a formula to explain the process of design thinking, it is the "meaning" (content, awareness of the real world)-comprehensive association-creative form-association (audience)-which is conveyed. Obviously, this "formula" does not represent all the problems of graphic design, but only describes the process of graphic design itself and some small problems of psychological consciousness and thinking involved. Just as all small problems are inseparable from thinking big problems. The thinking of graphic design can not be separated from the overall thinking of other design elements, from the thinking of its psychological relationship with the audience, and of course from the functions and responsibilities entrusted to it by society. But in the end, the overall design relationship is still reflected by the local design elements themselves. I believe that if you have this ability of association, then a promising, creative and broad thinking space will be displayed in front of you, which can greatly expand the territory of design art. Human beings need to design, and design cannot be separated from association.