同当今的电影、电视、霓虹灯广告牌等动像宣传形式相比,广告宣传画仅限于平面的、静止的形式,加之宣传本身特有的时间性,人们对广告宣传画的兴趣有所减退。再则,广告宣传画是以”街头美术”开始而发展起来的,随着人们欣赏方式的改变,交通机构的变化,人们自身的生活节奏也加快了,站在那里欣赏广告宣传画的环境和闲暇已经不存在。从市容要求方面,日本已不允许在道路上设立张贴广告宣传画的广告板。广告宣传画大部分被限定在车内、车站通道内及商店内等场所。因此近几年来,广告宣传画逐渐在向两个极端发展。一个是在汽车行驶中就可以看到的,给人以瞬间的印像的特大广告宣传画。另一个正与之相反,幅小、刻画细致。尽管广告宣传画存在这许多不利因素,尽管广告宣传画被限定在这种形势之下,然而,它至今却仍不失其魅力,而且在设计征集展等方面仍占据主要地位,这是为什么呢?当然,这里有它一定的奥秘。 Compared with today’s motion picture promotion such as movie, television and neon billboards, the advertisement posters are limited to a flat and still form, and the publicity possesses the characteristic temporal nature that people’s interest in advertising posters has diminished. In addition, the advertisement posters are developed with the start of “street art”. As people appreciate the change of modes and the changes of the transportation agencies, the pace of life of their own people also accelerates, while standing there to enjoy the environment of advertisement posters and Leisure does not exist. From the point of view of city appearance, Japan has forbidden to set up a billboard on the road for posting advertising posters. Most of the posters are confined to the car, the station channel and shops and other places. Therefore, in recent years, advertising posters are gradually moving toward the two extremes. One is the car can be seen on the move, giving an instant impression of the big advertising posters. The other is the opposite, small, detailed description. Despite the many unfavorable factors posed by the posters, even though the posters are limited to this situation, they still retain their appeal to the public so far, and still occupy a major position in the design of solicitation exhibitions. Why is this so? Of course, there is some mystery here.