Visual Perceptual Features and Packaging Design Performance

Abstract: Packaging design is an important part of the design arts discipline. It is a practical art. It is a design that conveys information with the art and is closely related to people's lives. The essence of design is creation. Everyone has innovative awareness and needs. There is potential for creativity. Ingenious ideas and wonderful ideas are the essence of packaging design. This article attempts to analyze the close relationship between visual physiology, visual flow, visual psychology and packaging design from the perspective of visual perception in order to better grasp the artistic expression rules and characteristics of packaging design.

Keywords: visual perception packaging design According to the results of psychological testing, about 85% of information entering the human brain comes from the eye, 10% from the ear, and the remaining 5% from other organs. It can be said that the acquisition of information is closely related to human vision. The eye is the receiver of information, or the primary processing plant for information. It processes and organizes physical objects into meaningful visual images and visual concepts. Vision is by no means simply equal to the visual organs and their functions. The complete understanding of the visual organs is that the visual organs acquire images of objective objects through their perception of light, and thus form psychological feelings. In other words, vision consists of four parts: eyes, objects, environmental conditions, and psychological feelings. Therefore, the senses produced by the eyes include both understanding and interpretation.

First, visual physiological characteristics Visual as a physiological phenomenon, mainly by the visual organs (ie, the eyes) play a major role. The human eye can not only distinguish light and dark light and darkness, but also recognize the moving vision of moving objects, as well as the color vision (color perception) and the shape recognition of the shape. At the same time, there are always some limitations in the response of human sensory organs to external things. A stimulus that is too small or too weak cannot be detected, and a too strong stimulus may lead to avoidance awareness. The former has a lower threshold, and the latter has an upper threshold, which is called the absolute threshold, which is the minimum stimuli that can be perceived; and the upper threshold is the maximum stimuli that can be perceived. All designs should generally exceed the absolute threshold to give the impression to the audience. In particular, packaging design, advertising design, etc., are usually used to attract the attention of the audience with strong stimuli close to the upper threshold.

In the field of visual arts, the process of seeing an object is an image decoding process in which our brain receives visual stimuli from the eyes and converts them into three-dimensional objects. This conclusion is based on the following three points:

First of all, the objective object that the eye sees is not the object itself, but light acts on the object and reflects the image formed on the visual nervous system.

Second, one of the externalized forms of the image is the visual symbol. Images are often externalized into a variety of sound or tangible symbols, such as speech, sound, movement, text, pictures, etc., to express the subjective feelings and the exchange of symbols between people. The visual symbol is one of various tangible symbols.

Third, because in the context of visual communication, that is, the interaction between the designer and the audience, visual symbols are both the basis for image formation and the externalization of the image. Therefore, in visual communication, objects, images, and tangible symbols are the manifestations of visual symbols in different periods of visual communication. They are not simply the reflection of objective things, but as the method and means of the subject's expression of intentions, and are the symbols of conveying information. The production, transfer and acquisition of "vision" are all based on visual symbols. In this sense of order, art can play a role in regulating the spirit.

2. Visual Symbols and Visual Communication In modern design, the symbols we refer to are mostly symbols created by human beings and have conceptual and symbolic significance. The process of encoding and decoding information is actually the process by which information senders symbolize information and the recipient interprets symbols. The meaning of visual communication design is here.

Visual Communication Design is a subject name influenced by Western culture and communication. In terms of time, the popularity of the visual communication design name was first proposed in the 1960s at the World Design Conference held in Tokyo, Japan. Its appearance and cognition are due to the rapid development of science and technology. . The various activities and performance contents contained in the original printed art design no longer meet the needs of society. The development of new imaging technologies and new information transmission media has led to the design of visual communication.

Packaging design is an important component of visual communication design. Its research content and design elements are also visual symbols. We need to express the information conveyed by the artistic visual symbols to achieve the purpose of information dissemination. The visual symbols we use are mainly design images and symbolic symbols presented in two-dimensional plane space, which are different from generalized visual symbols. Any visual design work, whether rich or beautiful, or simple and simple, we can all discover that color, graphics and text are its life. The reasonable use of the three, or coordination, or bold combination, or sway freely, can create a space for art.

People obtain product information through packaging. Designers are senders of information and consumers are receivers of information. It must be noted that the sender and receiver of the message should have some of the same information and knowledge background, that is: at least part of the symbols used in the information transmission exist in both the sender's symbol reserve system and the receiver's symbol reserve system. in. Only this sensation of the mind can be communicated. Otherwise, there must be a translator or commentator between the sender and the receiver to communicate as a middleman. Similarly, people of different cultural backgrounds also have differences in understanding of the same design image. Therefore, as a packaging designer to send information, it is necessary to select visual symbols and media according to the consumer's knowledge background and communication content. This is the basic principle of packaging design.

Third, grasping visual psychology is the key design art of packaging design There is no unique answer. Even the most perfect design proposal is just one of countless possible answers. In other words, all design options are only one possible solution. Or, in the face of the same specific problem, there are countless possible solutions or design solutions. In order to obtain the most perfect design scheme among countless possible design schemes, it is necessary to break through some conventions or traditional design methods and present design ideas in a visual way.

In the packaging design creation process, some designers describe their aesthetic intuitions such as the shape, color, and texture of the design objects faithfully. Some designers use the styling awareness to design objects. Arbitrary emphasis, thus transforming the intuitive form into the form of the idea, produces new visual effects. The successful packaging design is not necessarily a luxury for the heap of gold, but can accurately express the meaning of the business.

Perceptual experience and intellectual cultivation can help us to observe the object in front of us correctly, but it can also hinder us. It depends on the viewer's level of perceived experience and knowledge, and how they relate to the object of observation. Those who are familiar with the abstraction of the geometrical abstract painter Mondrian's painting author can see the connection between the two in the Mondrian style of fashion designed by the costume designer Yves Saint Laurent without understanding Mondrian. The viewer of the style may only think of it as a large grid pattern. In addition, the viewer's immediate mood and needs also play an important role.

The design is presented to people in a visual form. The stimulus it gives is visual stimulation. The visual stimuli of a design work can cause people's various sensations, including hearing, taste, smell, touch, and temperature sensation, speed sensation, and motion sensation. For example, streamlined shapes often give people a soft, sporty feel, while straight-line styles give people a firm, stable feel (soft, strong is tactile, sports, and stability are sports feelings).

Vision cannot simply be viewed as a passive copy of the physical object in front of the eye. Vision is also a proactive activity. Visual activity is a creative activity carried out by the human spirit. Artists create meaningful forms. For the plastic arts, only when their only purpose in organizing activities on color and shape is to convey a content, the form he creates can infect the appreciator.

The success of packaging design depends on the ability of visual communication. This capability includes the ability to model images, the ability to transmit images, and the ability to read images. Designers are different from artists, and from the distinguishing features of packaging design and pure art, fine art emphasizes the artist's personal experience and ignores the recipient's reaction. The packaging design emphasizes and respects the recipient's attitude as the starting point and end point of the design. Even before the design of the market survey and design of the effectiveness of the determination of packaging design as a concrete embodiment of two-way communication behavior. The common denominator of packaging design and pure art is the pursuit of beauty and the reproduction of the image of beauty. It is only that the ultimate goal is different.





Zhou Xu College of Art, Zhejiang University of Technology


Source: "Decoration"