摘要：With spreading and deepening of intangible cultural heritage protection movement in this century, Chinese ink art is among the Masterpieces of the Oral and Intangible Heritage of Humanity. Institutions of higher education is an academic heritage, culture, communication, personnel training platform and carrier, we assume an important role in the protection of heritage and ink art. Modem design teaching is in order to better local cultural heritage, but also to change their design education, more and more traditional elements are used in the classroom student design works. This paper aims to cultural connotations of traditional Chinese ink painting itself carrying elements and aesthetic charm of the excavation, analysis and sorting, which will be teaching in their designs into modem art. The contemporary art and design are to make cultural connotation and aesthetic meaning, making a good combination of tradition and art.

摘要：By analyzing the courses of graphic design major, the author points out that it is necessary to put Chinese traditional culture into courses of graphic design, which can open up students＇ design ideas, optimize their design styles and awareness, as well as improve their moral cultivation. The paper elaborates the influences and realistic significance of Chinese traditional culture on graphic design from perspectives of national cultural development, design communication and teaching application. It emphasizes the specific impacts and penetration of the traditional culture in the teaching of graphic design, including teaching content, teaching concepts, and basic teaching practices, etc. With multi- level elaboration, multi-angle exposition and multi-instance citation, it shows the methods to involve Chinese traditional culture in graphic design

摘要：Currently, The current flat design has become a mainstream approach is widely used in web design, computer and mobile phone systems, interface design. In graphic design, graphic symbol design is increasingly being taken seriously and use minimalist design symbols often appear in print design plane, PPT presentations, public areas, identity-oriented system like. This paper discusses the design of graphical symbols flat in graphic design use need to make the audience cognitive ability, graphic symbols standardized principles, design principles angles for effective information design to achieve efficient information communication. Materialized mostly graphic image symbols, and mostly flat graphic indicator; flat screen symbol by the proposed development materialized symbol interface evolved. Materialized the graphical interface and the graphical interface is flat coexist and cannot replace each other. During the design, the designer should be based on the advantages and disadvantages of the two styles complement each other interfaces, common graphical interface design services.

摘要：With the advent of the informatian age, people are working to build a new knowledge network, knowledge of the past gradually pieced together again. The new knowledge network includes not only advanced science and technology, but also includes the historical and cultural value, emotion and sense of innovation. graphic design is a spiritual and material reality and artistic, aesthetic and practical disciplines integrated with each other. Always take the old approach to their creative confined in a narrow space, and this will inevitably lead to failure. graphic design must rely on the sense of innovation, combined with the image of abstract thinking; ideas can really create unique designs. Therefore, to enhance training in graphic design innovative design capabilities, innovation and the development of graphic design is an important issue. In this paper, graphic design requirements and the role of innovation capacity will be explared, and the method of application of proposed innovative thinking in graphic design process will be provided.

摘要：Nowadays, display design has become an art form. graphic design and environment design play an important role in display. graphic and space environment have a delicate relationship in display design, like two brothers, sometimes they are opposite and sometimes they are in cooperation. The exhibition industry makes an organic integration of different disciplines, and develops more extensive forms. It studies the importance of graphic design, which takes environment design as the carrier to effectively convey the profound connotation of display.

摘要：This paper explores the film title design in Turkish cinema with the aim of understanding the link between Turkish cinema and Turkish graphic design. It is carried through first with the interviews with producers, directors, title designers, and an extensive use of iconography and textual analysis has been made first between the title and the poster of the same film, and then the titles of the same period. The study focuses on the early period of Turkish cinema during a unique time of political, economical, and social change. In these years, the new Turkish Republic is born with very significant reforms such as the new alphabet. This has also been the time of the first fictional film, first sound film, and the first advertising agency and commercial poster in Turkish. The earliest title sequence that could be reached date back to 1932. From this year on, until the 1950s, which is named here as the early years of Turkish cinema, we see the kingdom of lettering where the typographic elements dominate the titles. During the kingdom of lettering, early Turkish film titles reflect the conditions of the time in terms of film production and the changing society. The paths of Turkish cinema and graphic design seem not to be fully crossed yet; nevertheless we witness the birth of a new visual form and a new nation in these titles

摘要：The aim of this paper is to analyze the album covers of English band Depeche Mode after 80＇s according to the principles of graphic design. Established in 1980, the musical style of the band was turned from synth-pop to new wave, from new wave to electronic, dance, and alternative-rock in decades, but their message stayed as it was： A non-hypocritical, humanist, and decent manner against what is wrong and in love sincerely. As a graphic design product, album covers are pre-print design solutions of two dimensional surfaces. graphic design, as a design field, has its own elements and principles. Visual elements and typography are the two components which should unite with the help of the six main principles which are： unity/harmony; balance; hierarchy; scale/proportion; dominance/emphasis; and similarity and contrast. All album covers of Depeche Mode after 80＇s were designed in a simple but dominant way in order to form a unique style. On every album cover, there are huge color, size, tone, and location contrasts which concluded in simple domination; domination of a non-hypocritical, humanist, and decent manner against what is wrong and in love sincerely.