rent ways. However, the traditional aesthetics influenced the ideology of contemporary designers inevitably and brought effect on their works. Most Chinese poster graphic languages still keep this character of pacific. Hong Kong designer Kan Tai-Keung designed four posters as a group to express the subject of Chinese words. These works possess vivid contrast of dynamic and pacific elements. The strokes in each poster are Chinese words, they mean water, wind, cloud and mountain respectively. These words are dynamic elements and the stationery ;are pacific elements. All of dynamic elements were controlled perfectly by pacific frames. Then the posters unfold a calm atmosphere with poetic theme.
Contrary to Chinese posters, many Western posters are more dynamic in their graphic languages. Designers arrange every component element of poster and make them exert each action to attract public attention, they are bold to use all kinds of picture component element in unique way. The diverse specialities of point, thread, surface and colour were realized and presented in their works. We can feel different characteristics of these elements from Western dynamic posters. In the poster of theatre designed by Jon Simonsen, The main body is a dancing girl. Her shape&nbs p;formed the frame of picture. All of the words were written by hand and arranged with her track of motion. The words and the figure balanced the unstable layout. This dynamic poster offers us a musical association. In another poster of Jazz Concert,(designed by Niklaus Troxler) two different colours threads complected together to express the rhythm of Jazz. The incompact words intensified the musical rhythm. The style of this poster is relaxed, active and romantic.

3.Implicit and explicit
Five thousand years Chinese civilization had made great effect on ideology of Chinese people. Chinese traditional aesthetics is harmonious, comprehensive and implicit. Sometimes it even can decide the way of seeing. Chinese graphic designers should accept that and create a appropriate graphic language to convey message. Chinese people(especially old people) are accustomed to express or accept an idea in an implicit way. In Chinese posters, many graphic languages possess implicit characteristic. Symbolization and metaphor are familiar techniques applied to posters. It is similar to other art sort in China. Author ever designed a political poster about against dividing China. The parted peanut filled the picture and implied the concept of compatriot. The text is a question: Why are we looked so alike?　It intensified the subject of One China. Another poster (designed by Andrew Pogson of Hong Kong)adopted a clip to express the subject of AIDS. The client is a consultative organization of defending AIDS. It convey relevant message by method of metaphor.
Contrary to Chinese poster graphic language, Western poster are more explicit in the style of expression. To attract public eye and arouse their interest, Western graphic designers attempted all kinds of method. Strengthening visual stimulation and conveying explicit message in a short time is the main trend of Western poster graphic language. Besides using vivid colours, strong dark and light contrast or innovative layout, they often express subjects by adopting intimacy of others, event of sex, accident or humor, problem of society or polity and so on. Furthermore, some&nbs p;designers used weird or impossible images as their graphic language. We can say Western graphic language relates to more aspects of the actual life, it is more realistic than Chinese graphic language. Therefore,　the　Western poster have more explicit characteristic　in　 their graphic languages. Mike Sands, Bob Pedder, and Philip Rhoades designed a social poster, designers adopted aim tool as the brand of car, and with words: Your car is a lethal weapon.
Audiences can understand its mean clearly: Drive Carefully!

Findings

In general, the characteristic of Chinese poster

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