3 Approaches to Affinity of Packaging Design Culture
3.1 Texture Affinity of Packaging Materials
Packaging materials are the collection and application of the comprehensive development of science and technology in related disciplines (such as chemistry, materials science, biology, etc.). The affinity of packaging materials is closely related to the texture and performance of the material itself, as well as the cultural concepts and technological status of the times. Packaging designers' grasp of material properties and the rational use of materials are key to reflecting the affinity of materials and the sense of packaging. For the study of the performance of packaging materials, in addition to its functional properties such as strength, tensile strength, compression resistance, and flexibility, the focus of attention as a packaging designer should be the surface visual and perceptual effects formed by the texture and texture of the material.
The texture is a kind of texture effect. It refers to the nature of various visual features on the surface of an object. It is the reflection of the appearance of the object through senses such as touch and vision. It reflects the nature of the object. In packaging design, texture is a combination of visual and tactile sense. It has no fixed form, but it has infinite extension and connotation. The reasonable use of material texture or texture will bring a broad spectrum of affinity to packaging design. The exhibition space is soft, hard, smooth, rough, etc. The material texture can be used directly to feel, through the human touch, a perceptual knowledge and cultural experience.
In contrast, each packaging material has its own different characteristics and its advantages or disadvantages. The texture of the material on the surface of the material allows people to have different visual effects. It can also bring people different psychological reflections. It integrates these characteristics of the texture into the packaging design, and brings thick, dull, unadorned materials with thick and dull materials. The feeling of using a fine glossy material to give people a light, easy, soft feeling and so on. Packaging relies on materials to be materialized, and materials are the material basis for packaging design. The artistic appeal of packaging design conveys to people's sensory systems through the natural attributes of light, color, shape, and other materials, enabling people to produce different visual sensations, thereby enabling people to produce rich aesthetic experience and spiritual resonance; on the other hand, the new The application and development of materials and information technology have improved the effectiveness of products and the development of new product features. Therefore, the emphasis on the performance and application of material texture can maximize the formation of the packaging texture and cultural affinity."
3.2 Image Affinity of Packaging Containers
The packaging container is actually the structure and the molding process of the packaging, which is represented by a specific artistic shape and visual image. While fulfilling the protection of commodities, it bears the special role of displaying the individual characteristics of the product through a concrete image. Pots, bowls, pots, pots, cans, etc. in ancient Chinese painted pottery series, basins, bowls, pots, bottles, etc. in pottery series, pottery series, pottery series, pottery series in the bronze series, and porcelain series, are all used from the loaded items. Convenient packaging containers that require preconditions. These pottery, bronze wares and porcelain are not only packaging containers for articles, but also artistic images that are adapted to cultural aesthetic requirements. Because of these long-lasting packaging containers, it reflects a strong cultural affinity, so it can be immortal and become a typical symbol of Chinese historical civilization.
The core of the packaging container's shape is to solve the two issues on the basis of what is clearly represented by the packaged object. “What is the soul of the packaging container design? Its essence is the creativity of the packaging container. It is closely related to the positioning of the packaging design, that is, to determine the focus and entry point of the container design; and how to express is the expression of the packaging container. The concept of form and art, thinking and painstaking management are important foundations for the solution of expressions and forms. For example, it is possible to think philosophically about the atmosphere of the natural world as the packaging of the earth, the packaging of the placenta is the packaging of the fetal life, and the eggshell is the birth of new life. The packaging and orange peel are the common packaging phenomenon of orange packaging, and the idea of ​​bionic design of packaging is proposed.The concept of bionic design firstly applies the rational side to the new container shape by observing and imitating the natural life phenomenon. The second is through the use of reference to the form of natural objects to obtain the inspiration for modeling, from the perceptual knowledge and rational combination of enlightenment, to explore the inspiration and vitality that the natural form may give to container modeling.
It can also learn from the historical, ethnic, and folk packaging traditions that some of the successful forms of packaging, such as the local packaging in the original packaging or simple design and processing, have natural, simple, suitable, and convenient features. This original packaging concept and characteristics have been inherited and inherited for a long time. Even in modern times, it is still widely used by the people. For example, wrapping medlars with cilantro, wrapping oysters with shells, and holding candy in coconut shells are common for people; bamboo baskets, bamboo baskets, baskets, baskets, baskets, etc. are widely used as packaging containers. Can be used to package or carry any items that are commonly found in daily life; in folk, the “wraps†used to wrap items in fabrics are also a simple form of packaging. This original form of packaging is a habit or tradition that is both adapted to the goods of the folk way. The need of exchange forms is also an adaptation to the principle of natural harmony; both the rational use of natural resources and the cost savings in repeated use. Of course, the study of these traditional packaging is to obtain inspiration and enlightenment, but to adapt The development of the era must study and explore the production practice of "cultural affinity" of packaging modeling under the conditions of contemporary industrial production.
3.3 Visual Affinity of Package Decoration
Packing and decorating is the carrier of package modeling. Through the visual elements such as graphics, images, and texts, the visual sequence of the information of the packaged goods is established to provide consumers with reading, recognizing, and remembering of the goods through visual thinking. Gestalt Psychology believes that the process of visual thinking is the mutual transformation process of the object's structural force field, the brain's biological power field, and the subject's psychological field. This transformation process is the "tension" that the visual design itself has and acts on the physiological phenomena of the human visual cortex. In the visual cognitive activities of people, the objective stimuli and human subjective psychological factors are formed under the interaction. Attention and emotion, association and memory. To obtain consumer attention, understanding, comprehension, and approval of the product until the purchase action is taken, the “affinity†effect of packaging and decorating will play a decisive role.
In the packaging and decorating design, the semantics of the graphics are accomplished by the combination of packaging materials, packaging structures, and packaging colors. Among them, graphic creativity or image processing plays an important role. It is a thematic element that expresses certain ideas and concepts, cultural connotations, and features of symbols or metaphors. Of course, the trademarks, specifications, models, and other symbols of goods are also the auxiliary means to realize the functions of packaging information transmission. Designers must pay attention to the principles of the accuracy of information transmission, the conciseness of visual language, the novelty of the overall form, and the sincerity of serving the consumer in the design of graphics and images, so as to create distinctive, tasteful, and powerful There are intrinsic visual affinities for packaging designs.
“Words are the colorless pictures and silent music formed by the lines. Like other art forms, they express a kind of thoughts and feelings, a kind of life flow, and a wealth of affinity. The text is a supplement to the graphic design in the packaging and decoration design. The organic component is an independent part that accurately conveys product information.Whether it is the main text or the relevant explanatory text, it must first be concise, concise, conspicuous, prominent, and distinctive. Second, the text should be studied in terms of font, direction, and position. A variety of changes should focus on the good effects of visual acceptance and psychological comfort.
Orchestration design emphasizes “the overall feeling, that is, the overall recognition and acceptance of visual mass. It is a practical process of optimal screening of various combinations of various design elements based on packaging planning. In the design where many elements such as images, texts and texts are displayed to consumers at the same time, according to different types and different natures of packaging, various elements shall be rationally laid out in a certain order so as to form an organic visual whole. In the limited plane space, the visual effect of the infinite imagination space is created.Of course, the orderly arrangement of the layout also depends on the lively and harmoniously coordinated color relations.The designer must be creative according to different packaging objects and packaging types. There is a choice of personalized color series, which is the only way to form a harmonious visual affinity for package design.
4 Conclusion
Packaging itself is a special medium from product to consumption. Within its limited life cycle, it must pay attention to playing its own specific role with cultural affinity. Packaging does not require eternity, but it must demonstrate effectiveness and vitality. The cultural affinities of package modeling come from sticking to the human-oriented humanized design concept and the emotional design principle of packaging. As a packaging designer, we must adhere to the creative spirit of the times and adhere to the design methods of moving and affecting people.
Source: Packaging Engineering Author/Wang Jiamin Wang Fangyuan Xiong Daqing Xi'an University of Technology