In recent years, the visual form of the word "New Ugly" is often associated with the subversion of the conventional layout and exaggerated deformation of the font, making it a hot topic in the context of domestic graphic design. However, most of the comments on "New Ugly" are superficial analysis of style and tonality, and lack of academic comparison, resulting in the elimination of visual logic and value behind it in the misunderstanding of "New Ugly". In this paper, the aesthetics of daily life is taken as historical inducements, and the "New Ugly" design phenomenon problem is introduced into the design art history for analysis and research. By means of historical research and comparative analysis, the true meaning of "New Ugly" in the context of contemporary visual design is defined through the interpretation of "New Ugly" from a new perspective and the analysis of individual cases and comprehensive works in the history of design art, and the value of "New Ugly" in the context of contemporary graphic design is explored. As a design phenomenon, "New Ugly" is a subjective reflection on the daily aesthetic experience based on the external and objective social aesthetic psychology. At the moment when the homogenized design of commercialism unintentionally induces the public, a cultural legitimacy is constructed with the so-called "Ugly" as the difference, so that wild aesthetics can be examined from a more equal aesthetic standpoint. In this way, "New Ugly" not only broadens the context of contemporary visual design and reflects the reality that should exist in visual design in a more inclusive and diversified attitude, but also stimulates the transcendence and vitality of current visual design innovation to a certain extent, thus awakening the audience to rediscover the aesthetic experience of daily life