I visited the National Taiwan Museum of Fine Arts to see the 30th Annual Exhibition of New Year Prints. I immediately saw the big, bright and red exhibition. The special decoration of the museum ignited my curiosity because I used to see the museum with white walls hanging with different art pieces. Since it's the Year of the Goat in Chinese culture, I sensed the festive excitements. The ambience is vivid and not as dull as usual. Red walls add the festive spirit to the exhibition. I experienced the emotional effects of color that are used. The walls used to display the artworks are all red. It implies the bountiful blessings and fortunes in the celebration of the Lunar New Year. Despite the blissful feelings of surrounding, there are two pieces of paintings that caught my attentions. Both of them have their own unique characteristics. One is the silkscreen by LU Yen-Ching, Wealth, Prosperity and Auspices for the Year of the Goat, 2014, 47 x 32.5 cm and the other is the woodcut by Lee Chiung-Hua, The Year of Goat, a Year of Flamboyance, 2014, 54.5 x 39.5 cm. Both of art pieces have similar meanings of wishing 2015 to be a happy year and hoping for a flourishing year. Thick lines and lightening effects are used in both paintings. However, there are some differences with the festive symbols used to convey the messages. Also, value, shape, color and textures are applied in both pieces differently. Both of them are drawn on different materials. One is on the woodcut and the other one is on the silkscreen. Wealth, Prosperity and Auspices for the Year of the Goat, shows the focus on the peony flowers and scale is larger than any objects in the image. The colors of flowers are bright and it catches our attentions to make it the centered part. However, in The Year of Goat, a Year of Flamboyance, the white and large goat is the focus and the emphasis. As a viewer, the goat is placed in a well- balanced position as other subjects in the i