With the improvement of people's living standards, while pursuing material satisfaction, they are also eager to pursue spiritual satisfaction. That is, they need a culturally pleasing packaging that can encourage consumers to have an emotional resonance. The purpose of commodity packaging design is to attract consumers, let consumers understand the products, and reflect the nature of the company, the spirit, quality and business philosophy of the company through the quality of the product. In a sense, the image of the commodity also represents the image of the enterprise. In the fierce competition in the commodity market, if a company and its products want to win, it will need to package information to the consumer, in the same category, Consumers have a unique and unique impression. Therefore, we should think about the social utility of design and focus on the cultural nature of design. Culture refers to the material and spiritual production capacity, material wealth, and spiritual wealth acquired by humans in the course of social practice. The development of form forms a national tradition. However, the culture that this packaging design should represent does not refer to the traditional culture of the country alone, but is a complex that coexists with the nature of the times. In this regard, we need to explore the value of our own culture, research our own culture, and develop our own culture. We must creatively incorporate it into the product design of enterprises, enrich the cultural implications of products, and increase the value of products. This requires extra effort and exploration. Because, future business competition will be a cultural competition.
Our traditional culture is extensive and profound. How to use the traditional packaging elements for modern packaging in a creative way is a powerful tool for becoming a commodity competition. Creating wealth for enterprises has become a problem worthy of research and exploration.
(I) The status of packaging
Among the many factors of commodity competition in the international market, product quality, price, and packaging are the three main factors. An expert who studies market sales once said: â€œIn the path of visiting the market, the role of packaging in the overall image of the product As much as advertising." From this we can see the role of packaging in commodity competition. However, at the same time as packaging technology and arts continue to develop, there have been many problems, mainly in the following three situations:
1) Rough packaging
Packaging is a combination of shape, color and material. The material used as a carrier of packaging plays a role that cannot be ignored in the development of the entire packaging. The product content itself, whether it is solid or liquid, must be packaged to make it three-dimensional. This three-dimensional shape changes with the packaging methods and packaging materials and passes through the human senses. A kind of psychological feeling passed to people, edifying people's sentiments. It is a unique human endowment and wisdom. It comes from the strong needs of the human mind. However, many manufacturers do not pay attention to these. The rough shape of the packaging and improper color matching have resulted in poor quality material packaging, which has caused consumers to misunderstand and distrust the product itself, thereby causing its products to lose in the market competition.
Packaging visual communication design should be innovative and unique, with powerful visual impact. The famous British designer Mr. Gade said: "Successful packaging design is to convey information to consumers in 7 seconds, and to attract customers in 4 meters." Imagine that people are staying in an assortment of shopping malls. At the moment, the brand, name, trademark, etc. of the product could not be quickly and clearly identified. The design was unsuccessful. Only works that are innovative, unique, and highly visually sensible can retain the attention of consumers and quickly transfer the information of the goods to consumers. What is the design idea of â€‹â€‹a product? It is the designer who grasps the special attributes of the merchandise, captures the best perspective of expressiveness, incorporates deep cultural philosophies, and adapts people's emotional exchanges to adapt to the consumer's pursuit of product taste. This kind of creativity originates from the attributes of goods, reflects the cultural connotation of the goods, and is full of human touch. Designers should not only pay attention to the creativity of the design, but also pay attention to the expression of creativity, that is, the innovation of expression techniques. Only such design works are unconventional and ingenuity. Only in this way can it be distinguished from other commodities and be unique, with powerful visual impact, to achieve the final promotion effect. It is precisely because of this artistic thought that many of our designers believe that bringing together new and unique designs with strong visual impact is a very successful design work, but the object will be reversed, and too much essence will be combined together. Garbage, when we do design, we must have primary and secondary points, and we must not face masks. Otherwise, it becomes over-design, but it can not reach the desired effect, giving consumers a dazzling feeling, and may end up with your product. Too fancy, lack of theme, and alternative products, so we must do the design when appropriate, impartial, just right.
3) Plagiarism in foreign designs
Due to various reasons, the formal design of our country started late, so it was a bit behind some Western countries in the same period. Therefore, in our country there was a work that borrowed from foreign designers and was used in China without modification or revision. The product, which is therefore our country lost its creativity in packaging design, and its vitality. The national customs, historical culture, and peopleâ€™s habits of different countries are different. It is not suitable for China to have excellent foreign design work. Therefore, blind plagiarism, without considering thinking that foreign works are better than ours, is a taboo for designers.
The above three situations are the main problems in the packaging design industry in China. How to solve these problems? How to make China's packaging design a higher level is an important task for our contemporary designers. Therefore, the analysis and combination of our country's traditional packaging and modern packaging are carried out in the hope that we can find a clever combination of the two.
(b) Traditional packaging elements
Packaging design in the choice of packaging materials should be based on natural materials, such as paper, bamboo, wood, mud, plant stems and leaves and other natural materials, according to local conditions, only the amount of design and production of packaging materials. Traditional natural packaging materials are packaged in three forms: original state, simple processing, and elaborate decoration. This not only embodies the three major orientations of oriental traditional aesthetic concepts: no decoration - taking nature as natural beauty, decoration without taking natural - for the beauty of harmony, natural beauty borrowed from the art of beauty and famous the world.
1) Misuse of traditional art
Traditional art, as a kind of social and cultural activity, is creative on the one hand, and rational on the other, similar to the activities of an organized science. It is precisely because of this trait that it is subject to market and technology constraints, experienced changes in the schools, cultural changes, and earth-shaking changes. In the same way, traditional materials are also refined on the basis of the original and refined.
Like traditional materials, traditional art is subtle and not rigidly adhered to pure forms. Implicit energy reaches a realm, artistic conception. The esthetician Wang Guowei once said: â€œIf you say temperament and say charm, it is better to say the realm. There is also the realm of the realm. Temperament, charm, and not. There are realms and the two go along with it.â€ The subtlety can enhance the appeal of art and design. Longer than the enlightening imagination, it has a touching sustainability and rich content, and has its special role and positive significance.
Of course, one of the reasons why we differ from Western packaging design is that East and West have different views on tradition. Some designers in the West have completely shake off the shackles of tradition, designing for the future, constantly breaking through existing ones, and creating new ones in the past. In this way, design can continue to climb the peak. However, some of us have a design point of view that it is very important to see whether or not there is a traditional context and whether or not there is a national style. This view is actually a "tradition" to tie one's own hands and feet. Each creation must be confined within the "traditional" circle and dare not go further.
Let's take red wine packaging as an example. In the West, the red wine packaging is implemented in neoclassicism. The bottle and packaging are retrospectives. This is considered to be a traditional way of keeping up with Chinese characteristics. Not only did the designers agree, but they also agreed with the company. Although there were still many changes and developments during the period, they never changed and remained unchanged. This is the shackle of â€œtraditionâ€.
Designers have this "traditional" imprisonment, when considering the program, it is difficult to let go of ideas to find the road to innovation. But it is difficult to make a difference between being both traditional and modern. So one way is to fish and bear's paw one pot: Another way is the modern "vegetable", take the traditional symbol as the material, sprinkle a little everywhere, in order to get the effect of both fish and bear's paw. Under the shackles of this kind of thinking, creative works are naturally hard to come by. The progress of packaging design cannot be discussed.
2) Analysis of the use of traditional materials
The choice of materials should pay attention to the adaptability of packaging design, especially the adaptability of specific ethnic style habits in certain regions. The east, south, west, north, Han, ethnic minority areas, cities and villages in China are vast and often have different aesthetic habits. In the design, the bamboo materials in the south should not be used rigidly in the packaging of northern fruit products. Sichuan pickles should be made into cans. If you use Henan Mai Mai rod packaging jewelry, give us the feeling is not only the wrong form of packaging design, but also have unreasonable factors in the selection of materials. In addition, many products have strong local characteristics. For example, Fujian has a tea packaged in bamboo shoots, tea in Zhejiang, Guangdong coconut sugar, Wuxi oil gluten, Shaoxing Huadiao jars, and so on. Clever, unique shape, is the element that should be promoted and excavated in gift packaging design.
In the packaging materials, emphasis is placed on the application of contrasting materials and natural materials, and give full play to the natural thick texture and simple atmosphere. In addition,
A large number of new modern decorative printing papers can be borrowed to build a new image of packaging, and the artistic language is more abundant. Such as: recycled paper as a gift series of packaging design, with the same color of the fruit match, shape, color, material, organic unity, nationalization reflects the characteristics of the era, giving people an elegant, friendly, antique The affinity of the person achieves the cultural characteristics of the person who responds to the matter.
Traditional packaging forms of various nationalities in our country are diverse, and cultural progress directly affects the development of packaging, especially the packaging of gifts. Traditionally, various types of boxes and boxes made of Phoebe and eucalyptus are used for storing pens, inks, books, paintings, enamels and other articles. It is precisely a kind of exquisite gift packaging. The people of all ethnic groups have adopted reasonable materials in their packaging, have produced cleverly crafted, uniquely shaped, distinctively decorated styles, and have strong local traditional styles, which make foreigners feel novel. When humans follow the pace of the times, they are increasingly attached to traditional culture. China is a country with a long history. For many years, it has deposited many essences of ancient, modern, modern and folk art. People have inextricably bound it. Such as "Biluochun" gift tea packaging, the Chinese tea culture melodious, elegant, musky, stretch emotions, reflected most vividly, luxurious, elegant pattern as a packaging material, simple, lively but national shape, that is, tea gifts The characteristics of humanities and culture in packaging have also brought together "emotional" exchanges in world culture. The dignified text and the intense and rich color contrast give the â€œteaâ€ culture quality attributes.
(iii) Modern packaging elements
With the rapid development of the national economy, material wealth is greatly enriched, prompting people to have higher requirements in terms of aesthetic awareness, consumer outlook, and values. Packaging design can not be confined to the conventional design methods and obsolete consciousness. Modern packaging design should pay more attention to the development and innovation of materials. With the continuous progress of industry and science and technology, the variety of materials has become rich and varied, providing designers with a variety of material foundations. It not only integrates the abstract, exaggerated and distorted artistic concepts of modern art into packaging materials. It also allows packaging designers to have a higher freedom of choice in their creation. The design of packaging materials has become the most attractive and most inspiring art in modern design; it has become the most important design method for modern designers to expand their design ideas and keep up with the pulse of the times. Modern packaging design is not only the composition of visual elements, but also the combination of text and color. It also refers to satisfying the structural science of visual elements and the aesthetic effect.