Graphic designers are the people who have the deepest feelings about painting and graphic design. Designers not only need to have the basic modeling skills and aesthetic consciousness of painting, but also need to have a special understanding of the laws of formal beauty and have a difficult and quick creative idea. Due to professional factors, I have to think and discuss the similarities and differences between them. Some people think that design is not a problem as long as there is modeling skill in painting. Another person thinks: design is design, and you don't have to design if you have painting modeling skills. The former view is mostly teachers and students in art colleges, while the latter view is mostly professional graphic designers. This paper expounds several viewpoints on this topic one by one, hoping to play a role in attracting jade. 1. Modern painting is the expression of personality. The significance of painting lies in innovation, which can only be achieved through personality. Repeated painting has no vitality. If we review the development history of painting, we will find that every outstanding master has created extremely personalized graphic design works, whether in China or in the West. Every master has his own typical symbol in a unique sense. Painters, especially modernist painters, can completely ignore the sociality of their works when creating. In a sense, the vitality of any painter's works lies in extreme personalization, thus creating new formal beauty through the author's special understanding of the formal law of beauty. It can be said that any great painter has his own unique symbol of beauty behind him. In this sense, the painter has to exert the potential of his subjective will and express himself to the maximum. Therefore, Van Gogh undoubtedly has the most typical representative significance. A large number of works created by Van Gogh under extremely difficult living conditions have never been auctioned, just because his works are too personalized and advanced to be understood by people at that time. Designers, as beautifiers of commodities, have to be annihilated on many occasions before the meaning of their works can be realized. The personalized expression of modern painting is also reflected in various innovative ideas. Today's world is a world with highly developed information. How to embody the characteristics of this era is a subject that every avant-garde artist thinks and innovates. In today's complex and diverse western art forms, painting seems to be in a depressed state. In order to find unique originality, artists often use the combination of different kinds of art or the combination of art and science to achieve their artistic goals. In the exhibition hall, we can often see that part of a painting is expressed in the form of surrealism painting, while the other part is composed of the torso and pictures of a living person, which is difficult to distinguish between true and false, or it is played by computer to attract the attention of the audience. These so-called personalized works of art are common in exhibitions of modernist paintings, and their vitality lies in their unique personalized forms. Artists don't have to consider whether the audience can accept it, but how to have their own personality. In this respect, it is absolutely impossible for a designer. 2. Dependence is the essence of modern design in commodity economy, which reflects that the biggest difference between design and painting lies in dependence on commodities. As a commodity, design must have value and use value when it serves the market. If you want to win the trust and satisfaction of customers and finally realize the value of design, you must pass the test of market competition. The ultimate success of design lies in whether the product can be beautified and finally promoted. In reality, almost every designer tries to cater to and meet the design needs of customers when serving customers. On the one hand, the designer must guess the customer's psychology from the customer's point of view, so that his design scheme can pass. On the other hand, customers may know the market better than designers, and designers have to obey their requirements. In the process of design, designers rack their brains to explain their works, and may think they are very satisfied, but the final judgment depends on whether customers can recognize their designs. One thing is certain here: the works selected by customers are not necessarily good works, and the schemes that fail are not necessarily bad works. We often encounter such a situation. The designer has worked out a set of plans for a design, two of which are very satisfactory, and customers often choose the foil plan that the designer thinks. The final decision is made by the customers, and the designers should submit to their gods. This is the market. The dependence of design on commodities also reflects that the modern market is the baton of design, and the strength of the market will directly affect the rise and fall of the design industry. One situation is that when the market is in an economic crisis, there is a large backlog of goods and the purchasing power of consumers declines, businesses do not pay much attention to design. For example, 199 1 At the beginning of the Gulf War, the major industrialized countries in Europe had overproduction, the manufacturers' economy was seriously depressed and production was stagnant. When Dunbar design company in the Netherlands came to serve some manufacturers, the answer was: we don't need design for the time being in the economic downturn, and the existing design is wide enough. On the other hand, when the demand for a product in the seller's market exceeds the supply, the manufacturer simply disdains design. It can be said that it is unrealistic to talk about the improvement of design water under the social conditions of underdeveloped commodity economy. The bumpy course of China's design industry is enough to illustrate this basic point. 3. The pursuit of turbid beauty is the essence of painting art. The difference between painting and design is not only reflected in any personality and dependence, but also in the pursuit of formal beauty. The word chaos is opened in the dictionary, which is a vague picture before the formation of the universe. China people like implication, and think that implication is beauty. Chaos itself embodies an uncertain and intriguing factor, which is related to China's classical philosophy and religion. China's classical painting embodies the aesthetic thought of emptiness, spirit and rhyme, and the infinite artistic conception expressed by limited pen and ink is all looking for an uncertain chaotic beauty. Although these techniques can be seen occasionally in design, they are generally only used for reference to improve the artistry of design. It is not the ultimate means of expression and aesthetic thought pursued by graphic design. We can appreciate this view from the works of masters such as Kangping Sugula. Specifically, the series of books designed by Kangping Sugula for Dunhuang, on the surface, what he pursues is the realm of ethereal charm of Chinese painting, and more profoundly, it combines the graphic elements in Dunhuang with the basic structural principles of modern design. This ethereal and chaotic beauty is only a part of the design, not the whole, and I hope it can truly reflect the connotation of this series of books in the end. This fully shows the master's uniqueness and grasp of the relationship between painting and design. In western painting, although there are many schools and different target forms, the overall spirit is to pursue the beauty of chaos. Although the form of classical oil painting is meticulous and realistic, its artistic conception pursues abstinence and finds out the beauty of uncertainty and chaos. Modernism, on the other hand, pursues originality and changefulness, so it pursues surreal and absurd uncertainty. Miro's pursuit of the dream of underwater world under childlike interest embodies the chaotic beauty of uncertainty. Bayloc is holding a paint bucket on the canvas, and he seems to be closer to the vague scene before the formation of the universe. The pursuit of chaotic beauty in painting is not only reflected in genre, but also in the choice of material texture. What theme, effect and texture are needed is one of the factors in the pursuit of chaotic beauty in painting. Painting, especially modern painting, has reached an arbitrary position in choosing comprehensive materials in a work. The application of various materials aims to enhance the chaotic aesthetic effect of the picture through chaotic and uncertain material texture factors, and achieve the purpose of variety. 4. The beauty of order is the core of graphic design. Design is different from painting, and it is also reflected in the pursuit of the beauty of order. The further grasp of the entity in modern design is the law of form. Form is the concretization, concentration and precision of entity. It can be seen that Democritus explained the internal form of cosmic entities with atomic structure, while Pythagoras described the external form of cosmic entities with mathematics. They realized the geometric relationship of points, lines and planes from the layout of the stars in the sky, thus pushing numbers into the ontology of the universe (the word universe contained the meaning of harmony, quantity and order in ancient Greece). In terms of design, the influence of numbers on design is far from being said, only from the perspective of modern design theory, on the plane. For example, Swiss designer John? The application of digital logic graphic design invented by Chesuo in book design. Another example is the designer Raul? Rosello discovered the digital proportion of the inner pages of the Gothic Bible, that is, the famous nine-segment division method, and found out that one folio width dimension 1/9 is the inner side, two folio width dimensions 1/9 are the outer side, one folio width dimension 1/9 is the zenith, and two folio width dimensions 1/9 are. In 1946, Fang? De? Graf calculated the scale diagram of the edge according to Rollo Celio's nine-segment division method, and found that the nine-segment division method was replaced by a simple geometric calculation method, which was called snake melon division method. In the history of modern design, the most influential representative in the 20th century is Le? Cobcher uses the basic theory of architecture to make the golden section according to the proportion of human body, which is called modular design system. Modulus initially made an important contribution to architectural form, and later it was applied to graphic design. The basic principle of modular theory is to separate the navel, the top of the head and the fingertips of the straight arm of the sun god, and then? Cobcher turned it into 44 rectangles for space division. The core of modular system is to try to use the beauty of order produced by people's psychological reaction to a series of changes to design. In music? After Corbusier invented modulus, European designers used this design principle and further promoted it, and finally formed the theoretical system of grid design. Grid design system makes the application of several case studies and figures in graphic design reach an unprecedented height, which is characterized by attaching importance to the sense of proportion, order, continuity and clarity. In a word, it is the application of formal rules based on rational mathematics in graphic design. From the above examples, the aesthetic feeling of design is reflected in the orderly mathematical rhythm, which is essentially different from painting. 5. The independence of graphic design is reflected in the format and font form. Painting conveys information in the form of pictures. A good painting can condense huge information content and is a highly concentrated text carrier. On some occasions, it can replace or supplement the shortcomings of words. Nevertheless, because of the great difference between painting and writing, painting, as an independent work of art, does not contain writing description, while design, whether as a special independent art or serving a certain product, must have writing description. Only through the existence of writing form can its own value be embodied. Since painting art can appear without words, there is no layout problem. Modern graphic design, as typesetting, has two conceptual layouts: one is the combination of graphics and characters, and the other is the combination of pure characters, both of which can be called typesetting. However, no matter what form of layout design is inseparable from the existence of words, on the one hand, the layout needs to be composed of words, on the other hand, the differences in the forms of words themselves also enrich the diversity of layouts. From a global perspective, the morphological evolution of languages of all countries and nationalities comes from the connection between drawing notes and pictures. If this kind of figure is called painting, then the figure and painting are of the same ancestry in childhood, but from the process of modern design and the history of world civilization, we will find that the morphological characteristics of the figure are obviously completely abstract and independent of painting. In addition, during the development of modern design that the world has experienced for nearly a century, senior designers have summed up a series of formal rules of layout in practice, which constitute the basic theories of modern design, such as proportion, force field, center, direction, symmetry, balance, rhythm, contrast and division. And the application of golden section in design, German standard proportion, dynamic symmetry theory, straw mat modeling, cubist style. Font forms that affect the artistry of layout have gradually developed into a new design discipline. Since the beginning of this century, many developed countries in the west have set up font design companies and set up font design disciplines in universities. Japan and South Korea in Asia have no corresponding institutions. It can be seen that design is different from painting, and it is a specialized subject with the characteristics of the times. 6. The difference between painting and design is reflected in their respective ways of realization. Because there are huge functional differences between painting and design, at the same time, there are essential differences in the realization methods of craft production. Although painting is an art, technical elements occupy a considerable proportion in the production process. If painting is a thinking process of new ideas and new means under artistic re-creation, then the ultimate goal of completing and realizing this thinking is to add a series of means such as materials and techniques contained in painting technology. The painting mentioned in the last article is a single act of individual labor and highlighting individuality. At the same time, it also determines that a single independent painting with the same content must not be repeated, and what is presented to the audience must be hand-made real texture materials. For example, oil painting is to paint on cloth or other materials with oily pigments containing oil and oil as binder. The texture features of traditional Chinese painting are pen, ink, rice paper, silk and water-soluble pigments. As a design, its emergence, development and commercial behavior go hand in hand, and it appears with the fierce competition of commodity economy. Its purpose is to serve the whole market and has obvious commodity characteristics. In its realization, it must be a physical and chemical process of mental labor creation combined with machine mass production. In the development of the past century, design has always proved its value through machine printing. Never existed independently from the production of large machines. Even in various international design competitions, the technical level of machine making of design works is an important content of evaluation. Nowadays, although times have changed and technology has made great progress, the appearance of computers has undoubtedly brought great changes to the design industry. The production method of design works embodies the intelligence, industrialization and serialization of F machine, and shows the importance of the machine more and more. Therefore, as a designer, we should not only know how to design, but also know the printing function and binding technology of the machine. It is also necessary to know under what conditions, what effect the machine ink set will have on the works, and the brand, type and performance of the paper will affect the final quality of the design works. The painting is made by hand, which has nothing to do with the mass production of the machine, and there is no need to bother to consider the performance of the machine and the process. To sum up, painting is very different from modern graphic design. The relationship between painting and modern graphic design belongs to two different industries, which is the relationship between practicality and appreciation, the relationship between multi-level and multi-social rational thinking and emotional catharsis, and the relationship between industrialization level and the skills of millions of artists. Although this paper emphasizes the difference between them here, it does not deny that the relationship between them, such as the origin of early painting and design, the similarity of artistic laws, the basic characteristics of painting aesthetic consciousness, the interest of aesthetic consciousness, etc., is not artificially separable. Only by correctly grasping the complementarity of painting and design, grasping the moderate relationship of discretion and applying the basic theory of their commonness can we have an objective and profound scientific understanding of this issue.