According to Chen Zifu's self-report, "In the early days of poster printing, manual color separation was used, that is to say, what I drew, the pattern maker had to draw it one by one, including the words on the poster, and then divide it into seven parts. Edition: yellow, red, black, blue, pink, light blue and grey for printing.”[2] That is to say, in order to accommodate the plate-making method, the manuscript is cut into two pieces for two people to work at the same time, and finally put together into one plate to speed up the plate-making time. To triple or quadruple the work time, cut the original into three or four pieces. [3] Therefore, at the beginning of production, the poster has the characteristics of "collage", which first comes from the material conditions of the plate-making process, which is a physical collage. These clearly visible cut marks on the original manuscript cannot be seen whatsapp list on the printed matter after plate making. e5adabe6829fe7a9bae9818ae58fb0e781a3e59c Photo Credit: Hand-painted poster image by Chen Zifu / Courtesy of National Film and Audiovisual Culture Center Monkey King's Tour of Taiwan (Dai Zai Cai Tour of Taiwan), 1962, 75 x 52 cm, cotton. Taiwanese/comedy. Director / Li Quanxi. According to the propaganda copy, it was the Spring Festival film that year. Chen Zifu: "Cartoons must be painted with a light background in order to bring out the theme or characters." In the process of repairing the poster, we found that the head part is often cut out separately, which is different from the situation in which other areas of the poster are cut in large blocks. Therefore, many posters lack star head portraits after grouping, and cannot be fully repaired. For example, "Hometown Liaison Ship" in 1966 and "The Snitch in Black" posters in 1967. The depiction of star faces is the most important element of a poster, so we have reason to believe that these star portraits independently cut from the original manuscript must be further detailed and revised.