总之，传统图形与广告传播相互融合具有非常重要的理论和实践意义。但目前，学术界对于这一课题的关注程度还远远不够。虽然，当前关于中国传统节日文化的现代设计运用有很多，但仍没有从区域文化入手对传统节日文化做过深入的元素挖掘与运用。这是导致民族品牌在广告传播中存在画面元素应用雷同、缺乏独特性的重要原因。因此，笔者希望通过本文的探索，能使更多的研究人员关注这一领域，从而促进并激发更多的设计师对中国传统节日文化元素展开有效运用，挖掘更多的传统节日文化元素，并将之投入到大众传播之中。

ABSTRACT

Traditional culture and modern design, visual communication research is a focus on domestic scholars in recent years. The traditional festival culture as part of the traditional culture, it is the accumulation and reproduction of historical and cultural traditions, national culture, national character showcase. It is not only geographical or social group harmony and unity between the adhesive, or logo can be recognized by a country's national culture.

2012 Spring Festival is approaching, according to Deputy Minister of Culture article "promote the Festival Culture" project "to pay attention to the symbols and rituals of the traditional festival" requirement, the newspaper of Chinese culture and the Chinese Academy of Arts on this co-sponsoredthe "Symposium to explore the festival symbolic ceremony, carry forward the traditional festival culture". Symposium that the government and academia on the importance of the culture of traditional Chinese festivals. Especially in the countries in their efforts to enhance the soft power of the moment, concerned about traditional festivals and cultural development is one of the channels of cultural and business win-win. Foreign brands know how to use the big traditional Chinese culture to do to enter the Chinese market commercials. Of our national brand should cherish their traditional culture, explore their own culture, to support culture, expand the effective dissemination.

The traditional festival culture is one of the characteristics of Chinese culture. As early as in the pre-Qin period, "Lu" records, the Beginning Day of the twenty-four solar terms, Zhou Wang pro handsome Excellencies, Jiuqing Spring in the eastern suburbs; summer solstice, the requirements gentleman fasting, ended sensual, centering gas security of not dry, which appeared holiday bud. To the Western Han Dynasty, "Huai book records the full twenty-four solar terms, established the formation of traditional festivals system. Therefore, the thesis topics have certain practical and historical significance.

In 1973, the Soviet Union in the 20th century, the famous literary theorist, semiotician, the central figure of the Russian Structuralist Poetics Moscow Tartu school Lotman a cultural semiotics, the functional relationships between the research culture symbol system. The Lotman demonstrated the significance of the symbols ultimately from deep cultural structure, this structure consensus lasted; symbol has in the context of specific cultural structure, the relationship between signifier and signified; signifier and the through a combination of metaphor and metonymy, reasonable arrangement having the symbolic form of the difference. Based on this, starting from the point of view of cultural semiotics, depending on the culture of traditional Chinese festivals deep cultural structure, Chaoshan area for a specific cultural context, dig out the Chaoshan festive food - cake products This reflects the Chaoshan human first , respect for nature, love life emotional exchange gifts. The Chaoshan area belongs to the subtropical monsoon climate zone, facing the sea, agricultural and fishery harvests affected by the climate, to the wind, a large floods, the harvest will be poor. The face of the power of nature, people believe that harmony between man and nature, to take Germany to the days, festive customs and activities for the blessing of nature, and seek the safety of the harvest and life. The same time, the Chaoshan also hard-working, they'd make a living, wandering around the world. In order to seek a better quality of life, love life attitude is also manifested in the form of cake products. Therefore, every harvest, the Chaoshan people drink from the source, the offerings ancestors, prepare a variety of symbolic cake products, cherish the memory of the teachings of our ancestors in the festival and create a foundation of merit, expressing their longing for a better life wishes.

In summary, the the Chaoshan cake product reflects the the Chaoshan unique lifestyle, highlighting the distinctive regional characteristics and ethnic style in the Chaozhou-Shantou area has a unique symbolic meaning, become People conventional standards of conduct. Therefore, from the perspective of semiotics, the the Chaoshan cake product is meaningful symbols. Speaking from the perspective of Advertising and Communication: cake emotions and characteristics of the products with unique taste and visual experience of the "pristine beauty" deserves to be as traditional festivals and cultural elements used in national brand advertising communication. The innovation lies in this article by both macro and micro, the cultural context of the traditional Chinese festivals, made a detailed comparison and summary of this view of the situation, and then to see the small.

In short, the traditional graphics and advertising communication merging has a very important theoretical and practical significance. However, academic degree of concern for the subject is far from enough. , Use the modern design of the traditional Chinese festivals and culture there are many, but still did not start from the regional culture done in-depth elements of mining and the use of traditional festivals. This is a similar national brand advertising spread application of picture elements and lack of uniqueness of the important reasons. Therefore, I hope that through the exploration of this article, the researchers make more attention to this area, so as to promote and inspire more designers to expand the effective use of the cultural elements of traditional Chinese festivals, dig more traditional festivals and cultural elements, and into mass communication.