Chen Zifu once said, "I've drawn tens of thousands of heads if I count the heads." It can be seen that he thinks about composition in a way of assembling parts, which helps him Mobility to work on the details of additions. With this understanding of its production logic, we can better understand Chen Zifu's poster painting style. Like the young people of that era, Chen Zifu also watched Japanese period dramas in theaters. When he was in middle school, he borrowed Japanese film magazines from his classmates' house, and paid special attention to Japanese paintings. In the early postwar period, although Japanese films were banned, they could still be viewed through illegal screening channels.
Among all the foreign films, the most popular are Japanese films. In addition to the long-standing habit, there were more than 8 million viewers in Taiwan at that time, and more than half of them were proficient in Japanese, and they were still attached to the influence of the Japanese colonial period , so there are far more people watching Japanese films than American films.  In particular, the genre of literary films is more deeply influenced by Japanese films and is very popular with audiences . This whatsapp list phenomenon is also reflected in Chen Zifu’s film posters, where the use of Japanese cultural codes, including clothing, architecture, and cherry blossoms, is often seen. Chen Zifu's career as a poster artist began after the end of World War II. He pointed out in his self-report: "At that time (by: early post-war period) there were four film companies in Taiwan: Cathay Pacific, CLP, Greater China and Datong, which were responsible for the distribution of national films. , and there were very few new films at that time, mostly old ones from Shanghai.
When the film is sold in Taiwan, it usually comes with a poster. These movie posters are printed in Shanghai. The paper is very thick and the quantity is very small. They will be damaged after being shown a few times with the film. Sometimes I can't see it, so I take the poster home to fix it, or even repaint it. ” From this passage, what we notice is not "fixing", but "repainting". Repainting does not mean to innovate and create new posters, but to imitate and replicate the original paintings based on the colors and brushwork of the original posters. Chen Zifu's poster creation starts with direct copying of the original work, and changes in some details; it can be said that the reference to the original imported poster constitutes an important learning content for Chen Zifu. After going through the stage of copying and learning, Chen Zifu's painting skills have been honed. In the first stage of the prosperity of Taiwanese films from 1955 to 1959, he was already a painter on his own.