不同文化背景的受众对于相同内容的解读方式往往存在差异，这种差异在文字交流与视觉传达过程中同样存在。“转译”这一概念最早源自语言学，后被各学科借用和引申来指代在不同对象间搭建信息传播中介以促进信息理解的环节：其中“转”意指对信息的转达或转换，“译”则强调依据对方的解读特点来选择表达对策，这与视觉传达设计的工作思路与职能在一定意义上是相似的。甚至对面向不同文化背景受众的视觉传达设计而言，用“转译”来命名似乎比“传达”更为贴切。在此基础上，本文在分析语言转译和视觉表现相近关系的过程中得出语言转译对于视觉传达而言确有思路和方法上的借鉴价值。受其启发，本文尝试将“转译思维”引入视觉传达设计。同时，广泛的人文社科研究逐步强化了文化因素对人类交流的重要性，受其影响，“文化转译”概念被逐渐析出，作为人文社科分支的设计学科也呈现出愈加明显的与文化相关的研究意识。在此背景之下，本文希望在立足视觉传达设计学科本体的基础上，借鉴其他学科的文化转译方法，为本学科面向不同文化背景受众更好地传达文化信息探索可行模式，同时也希望在宏观的文化研究中提供部分视觉传达设计视角下的研究思路。结合语言转译与视觉传达设计在文化转译中的目标、受众及内容性质，本文将研究视角聚焦于视觉传达设计在文化形象塑造、文化知识传播、文化传统传承等方面的文化转译方法。分别探究了在选择和表现本国文化符号的过程中，如何运用不同维度的文化公约数和联结点，来获得客体文化受众更充分的理解；在对外转译体系化文化内容时，如何以文化意识统筹、以视觉设计形式展现各设计构件，来向客体文化受众阐释隐于文化片段背后的文化脉络和体系；如何更合情理地用设计转译的方式沟通当代日常与传统生活语境，来促进本土受众对传统文化的理解和自觉。贯穿本文的四个思维支点分别为：一、文化的系统性与结构性思维，强调将文化符号放入整体的文化框架中展开释读与表现；二、对文化意义的阐释思维，即超越形式表层结构，在不同维度寻找可以撬动受众文化感知和文化理解的切口、对文化意义做能动性阐释，以促进文化适应和文化理解；三、对文化信息的注释思维，重视设计转译中的“注释”环节，以视觉设计的形式对需要额外阐明的文化内容加以注释；四、基于开放文化观的辩证思维，在文化转译的各环节中，有意识地将传统与现代视作一个有机整体，同时也将特定文化视作世界文化的有机组成部分。

Audiences with different cultural backgrounds often have different interpretations of the same content, and this difference also exists in the process of text communication and visual communication. The concept of "translation" originated from linguistics. The concept of "translation" originated from linguistics. Various disciplines later borrowed and extended it to mediate information dissemination between different objects to promote information understanding. The term "translation" refers to the conveyance or conversion of information, while "translation" emphasizes the selection of expression responses based on the interpretation characteristics of the other party, which is similar to the working idea and function of visual communication design in a certain sense. Even for the visual communication design for audiences with different cultural backgrounds, it seems more appropriate to use the name "translation" than "communication." On this basis, in the process of analyzing the similar relationship between language translation and visual representation, this paper concludes that language translation does have reference value in terms of ideas and methods for visual communication. Inspired by it, this article attempts to introduce "translational thinking" into visual communication design. At the same time, extensive humanities and social sciences research has gradually reinforced the importance of cultural factors to human communication. The concept of "cultural translation" has been progressively analyzed by it. The discipline of design, as a branch of humanities and social sciences, has also shown an increasing awareness of culture-related research. Against this background, this paper hopes to explore a feasible model to better convey cultural information to audiences with different cultural experiences based on visual communication design's ontology and learn from other disciplines' cultural translation methods. This paper also wishes to provide some of the research ideas from the perspective of visual communication design in macro-cultural research.Combined with the target, audience, and content nature of language translation and visual communication design in cultural translation, this paper focuses on the cultural translation methods of visual communication design in cultural image shaping, cultural knowledge dissemination, cultural tradition inheritance, etc. In the process of selecting and expressing the national cultural symbols, how to use the cultural common divisor and connection points of different dimensions to obtain a fuller understanding of the audience of the object culture is explored. In the process of translation of systematic cultural content, this paper explored how to use the cultural common divisor and connection points of different dimensions to obtain a fuller understanding of the object culture's audience; In the translation of systematic cultural content, how to coordinate with cultural consciousness and show design components in the form of visual design, to explain the cultural context and system hidden behind the cultural fragments to the object culture audience; How to communicate the contemporary daily and traditional life context in a more reasonable way by design translation, to promote the local audience's understanding and consciousness of traditional culture.The four thinking fulcrums that run through this article are: first, the systematic and structural thinking of culture, emphasizing the interpretation and expression of cultural symbols into the overall cultural framework; second, the interpretation thinking of cultural meaning, that is, beyond the surface of the form Structure, looking for incisions that can leverage the audience's cultural perception and cultural understanding in different dimensions, and actively interpreting cultural meanings to promote cultural adaptation and cultural awareness; 3. Annotation thinking of cultural information, attaching importance to "annotations" in design translation 4. Dialectical thinking is based on the open cultural view, consciously regarding tradition and modernity as an organic whole in each link of cultural translation. A specific culture is also seen as an integral part of world culture.