The development of packaging design has been accompanied by the progress of human civilization and culture. In today's society, the application of new technologies and new materials has become an important feature of packaging design. Packaging design in the modern sense largely depends on the improvement of social productivity and the progress of science and technology. It can be said that the development of packaging design is synchronized with the development of material civilization. When we quietly entered the 21st century, the era of knowledge economy has sprouted on China's land. In the face of the rapid development of world science and technology and the current status of China's economic growth, more and more talented packaging designers are emerging. Packaging designers shoulder the historic mission of creating wealth for social development.
I. The Times Calling Outstanding Packaging Designers In today’s economically bubbly China, what qualities should packaging designers have to face such eras?
1. The relationship between the concept of packaging design and the times
As a new form, the "knowledge economy" has become a global hot spot. Recalling the era of industrialization, machinery and equipment and raw materials are important resources for economic development. In the era of knowledge economy, knowledge has become an important source of economic development, and the design concepts that accompany it should also be consistent with this era. Because of the efficient operation of commercial vision, the public's demand for visual information has been triggered. By occupying people's horizons, the commercial culture of packaging design occupies the commanding heights of the zeitgeist's spirit. In the process of effectively transforming public visual interest in packaging design, the practitioners of packaging design play an important role, and the professional skills of the packaging designer make They became the new favorite of the public in this commercial game full of profit speculation.
Everyone knows that the visual image can cover almost everything that people know. The use of packaging and decoration art and packaging technology plays a pivotal role in the circulation of commodities. In the era of knowledge economy, under the strong discourse of commercial culture, the practitioners of packaging design must design works that are in tune with the times in order to be acceptable to consumers to adapt to and meet the requirements of the era of knowledge economy.
2. Thinking about the East and West culture
From a cultural point of view, people, society, and nature constitute an organic system of the world. A people-centered living environment has been established. Design activities of any ethnic group are inseparable from specific social and cultural backgrounds, and they cannot be separated from the national spirit that was fostered in the social and cultural environment at that time. The nationality and cosmopolitan nature of packaging design art complement each other. Without the creation of various national design styles and national spirits, a global design culture cannot be formed.
At the same time, as China and the world’s culture have increased their exchanges, a large number of Western design concepts and works have entered our vision. Some short-sighted designers will be drowned out in the huge “west wind†noise of today’s Chinese design community. They just blindly respect the Western design schools and design masters and ignore the Chinese design style and design quality. It is impossible to study Chinese outstanding and traditional design works while absorbing the essence of Western design, and to learn and carry forward. This is harmful for us to cultivate contemporary packaging designers with a sense of national responsibility and Chinese temperament.
China is a typical eastern nation. The design art has a long history and it has become an important part of the Chinese nation's excellent culture. Oriental culture, represented by China, constitutes one of the backbones of the East and West cultures of the world. In the era of knowledge economy and information, in the global village, Eastern and Western cultures are like the left and right brains of a person. Just as the Earth is formed by the eastern and western hemispheres, it is an aspect of a complete thing.
The West is good at linear, individual, and mechanical thinking. It emphasizes the logic and judgment of analysis, deduction and reason, and emphasizes the rational analysis, arrangement and combination of inorganics. The contradiction between advocating contradictions is reflected in the view of nature, and emphasizes individuality, discontinuity, tangibility, and composition. It was developed on the basis of ancient Greek atomism, so their paintings use the perspective of geometrical focus, the painter's point of view is fixed, and the performance is instantaneous, static, and three-dimensional; they study Colors use the prism to decompose sunlight into red, orange, yellow, green, cyan, blue, and violet colors, and also analyze in depth the wavelengths and amplitudes of various spectra; they draw figures from anatomical corpses and paint birds and beasts to make specimens. , and call it "writing." When painting, one eye is often closed for observation, thinking that it can be seen in order to be complete.
The East is good at the round, overall, dialectical thinking. It emphasizes synthesis, induction and perceptual intuition and epiphany. It emphasizes organic dialectical unity and general connection of things. Advocates contradictory harmony. Reflected in the view of nature, stress the integrity, continuity, intangibility and metaphysics. I do not divide things, the unity of man and nature. It is the Taoist school of the pre-Qin period, developed from the natural view of Confucianism and Qi theory. Therefore, Chinese people express mountains and rivers, gardens use scatter perspectives, painters look at the scenes, view points move back and forth as needed, and show the effects of diachronic, dynamic, and four-dimensional effects. Chinese people’s color research focuses on human factors, according to China. The "Yin and Yang Five Elements" of philosophy defines Qing, Chi, Huang, Bai, and Black as five positive colors, and is associated with orientation, seasons, spirits, passions, taste, and vocal tracts. Chinese people never draw zombie things. Qi Baishi Shrimp should be observed in the water to see the dynamics. Gu Qizhong's painting "Han Xizai Night Banquet Picture" should go to the Korean government for his knowledge. Zhang Daqian's paintings and landscapes also traveled to famous mountains and rivers. It can be seen that the differences between the eastern and western cultures cannot be judged simply by the superior or inferior.
With the advancement of natural sciences and the development of humanities and culture, the philosophy and way of thinking of the “Chinese traditional view of nature†have some similarities with the signs shown by modern science in terms of world outlook, which has increasingly attracted modern western scientists and philosophers. And the artist’s interest, the two pillars of modern physics—the concepts and ways of thinking embodied in quantum mechanics and relativity—are all different from Western traditional concepts, and they are more consistent with China’s holistic, relative, and harmonious traditional way of thinking. . Wave-particle duality theory, unified field theory, integrated Chinese-western medicine, and big-bang cosmology have all proved that the natural and the thinking modes of the two tendencies in the east and the west can be combined at a higher level. The conception and expansion of the concept of sustainable development on a global scale has brought about more realistic possibilities for the complementarity and confluence of Eastern and Western cultures.
Chinese folk designs are very natural and vivid, and they are of great value for modern packaging design.
Therefore, by merging the essence of Eastern and Western cultures and deepening the valuable treasures in Chinese culture and arts, in-depth study and innovation of Chinese ancient and folk art and design can make Chinese culture better packaged. This medium spreads to the world. Instead of slamming Chinese art into the design simply and brutally. The current widespread use of computers has caused the copying and patchwork of ancient Chinese graphics to appear in designs. This is a breach of traditional Chinese culture. Culture inherits vitality is innovation, only in the absorption of the basis of the creation of new forms, combined with the times and ideas can be accepted by consumers. The core of package design in the era of knowledge economy lies in the attitude towards traditional culture of the nation. Succession and transcendence is the way to follow the trend.
Chinese folk art is rich and colorful, and it is packaging designers who must make great efforts to study it. This is also the cultural wealth of the world.
3. Inheritance and Transcendence
Inheritance refers to the need to have a deep understanding of the culture of the nation (including philosophy, literature, art, folklore, etc.). The so-called embodiment of nationality in design is not simply to draw one or two Beijing opera masks on the poster, and to change the packaging. Into the porcelain. To build a sloping roof on a high-rise building and make the style of the Palace of the Forbidden City directly into gorgeous culottes. These graphic illustrations and direct credits of national styles are too shallow to understand the inheritance of ethnic cultures. The inheritance of the national culture should be based on the truth of its spirit through its form. The “inheritance†requires us to pay more attention to, understand, and learn the traditional culture, and translate it into cultivation, and then naturally reveal itself in the works. In regard to the value orientation of traditional cultural issues, inheritance is the basis and transcendence is its direction. “Transcendence†is to affirm localization in design, but also to be worthy of the traditional barriers, learn more about the connotations of some exquisite designs from abroad, pay more attention to the international aesthetic fashion, and make more use of advanced technological means to rise from the form. Form a dialogue and exchange with the international community. The design work of Hong Kong's famous designer Zhang Qiang is full of new ideas while applying Chinese painting's pen and ink meaning. His works give a person a feeling that is very Chinese and international, and can only be created through the combination of inheritance and transcendence. Refreshing packaging design works come.
Some Taiwanese packaging designers have passed on to Chinese cultural characteristics and made them more modern.
I. The Times Calling Outstanding Packaging Designers In today’s economically bubbly China, what qualities should packaging designers have to face such eras?
1. The relationship between the concept of packaging design and the times
As a new form, the "knowledge economy" has become a global hot spot. Recalling the era of industrialization, machinery and equipment and raw materials are important resources for economic development. In the era of knowledge economy, knowledge has become an important source of economic development, and the design concepts that accompany it should also be consistent with this era. Because of the efficient operation of commercial vision, the public's demand for visual information has been triggered. By occupying people's horizons, the commercial culture of packaging design occupies the commanding heights of the zeitgeist's spirit. In the process of effectively transforming public visual interest in packaging design, the practitioners of packaging design play an important role, and the professional skills of the packaging designer make They became the new favorite of the public in this commercial game full of profit speculation.
Everyone knows that the visual image can cover almost everything that people know. The use of packaging and decoration art and packaging technology plays a pivotal role in the circulation of commodities. In the era of knowledge economy, under the strong discourse of commercial culture, the practitioners of packaging design must design works that are in tune with the times in order to be acceptable to consumers to adapt to and meet the requirements of the era of knowledge economy.
2. Thinking about the East and West culture
From a cultural point of view, people, society, and nature constitute an organic system of the world. A people-centered living environment has been established. Design activities of any ethnic group are inseparable from specific social and cultural backgrounds, and they cannot be separated from the national spirit that was fostered in the social and cultural environment at that time. The nationality and cosmopolitan nature of packaging design art complement each other. Without the creation of various national design styles and national spirits, a global design culture cannot be formed.
At the same time, as China and the world’s culture have increased their exchanges, a large number of Western design concepts and works have entered our vision. Some short-sighted designers will be drowned out in the huge “west wind†noise of today’s Chinese design community. They just blindly respect the Western design schools and design masters and ignore the Chinese design style and design quality. It is impossible to study Chinese outstanding and traditional design works while absorbing the essence of Western design, and to learn and carry forward. This is harmful for us to cultivate contemporary packaging designers with a sense of national responsibility and Chinese temperament.
China is a typical eastern nation. The design art has a long history and it has become an important part of the Chinese nation's excellent culture. Oriental culture, represented by China, constitutes one of the backbones of the East and West cultures of the world. In the era of knowledge economy and information, in the global village, Eastern and Western cultures are like the left and right brains of a person. Just as the Earth is formed by the eastern and western hemispheres, it is an aspect of a complete thing.
The West is good at linear, individual, and mechanical thinking. It emphasizes the logic and judgment of analysis, deduction and reason, and emphasizes the rational analysis, arrangement and combination of inorganics. The contradiction between advocating contradictions is reflected in the view of nature, and emphasizes individuality, discontinuity, tangibility, and composition. It was developed on the basis of ancient Greek atomism, so their paintings use the perspective of geometrical focus, the painter's point of view is fixed, and the performance is instantaneous, static, and three-dimensional; they study Colors use the prism to decompose sunlight into red, orange, yellow, green, cyan, blue, and violet colors, and also analyze in depth the wavelengths and amplitudes of various spectra; they draw figures from anatomical corpses and paint birds and beasts to make specimens. , and call it "writing." When painting, one eye is often closed for observation, thinking that it can be seen in order to be complete.
The East is good at the round, overall, dialectical thinking. It emphasizes synthesis, induction and perceptual intuition and epiphany. It emphasizes organic dialectical unity and general connection of things. Advocates contradictory harmony. Reflected in the view of nature, stress the integrity, continuity, intangibility and metaphysics. I do not divide things, the unity of man and nature. It is the Taoist school of the pre-Qin period, developed from the natural view of Confucianism and Qi theory. Therefore, Chinese people express mountains and rivers, gardens use scatter perspectives, painters look at the scenes, view points move back and forth as needed, and show the effects of diachronic, dynamic, and four-dimensional effects. Chinese people’s color research focuses on human factors, according to China. The "Yin and Yang Five Elements" of philosophy defines Qing, Chi, Huang, Bai, and Black as five positive colors, and is associated with orientation, seasons, spirits, passions, taste, and vocal tracts. Chinese people never draw zombie things. Qi Baishi Shrimp should be observed in the water to see the dynamics. Gu Qizhong's painting "Han Xizai Night Banquet Picture" should go to the Korean government for his knowledge. Zhang Daqian's paintings and landscapes also traveled to famous mountains and rivers. It can be seen that the differences between the eastern and western cultures cannot be judged simply by the superior or inferior.
With the advancement of natural sciences and the development of humanities and culture, the philosophy and way of thinking of the “Chinese traditional view of nature†have some similarities with the signs shown by modern science in terms of world outlook, which has increasingly attracted modern western scientists and philosophers. And the artist’s interest, the two pillars of modern physics—the concepts and ways of thinking embodied in quantum mechanics and relativity—are all different from Western traditional concepts, and they are more consistent with China’s holistic, relative, and harmonious traditional way of thinking. . Wave-particle duality theory, unified field theory, integrated Chinese-western medicine, and big-bang cosmology have all proved that the natural and the thinking modes of the two tendencies in the east and the west can be combined at a higher level. The conception and expansion of the concept of sustainable development on a global scale has brought about more realistic possibilities for the complementarity and confluence of Eastern and Western cultures.
Chinese folk designs are very natural and vivid, and they are of great value for modern packaging design.
Therefore, by merging the essence of Eastern and Western cultures and deepening the valuable treasures in Chinese culture and arts, in-depth study and innovation of Chinese ancient and folk art and design can make Chinese culture better packaged. This medium spreads to the world. Instead of slamming Chinese art into the design simply and brutally. The current widespread use of computers has caused the copying and patchwork of ancient Chinese graphics to appear in designs. This is a breach of traditional Chinese culture. Culture inherits vitality is innovation, only in the absorption of the basis of the creation of new forms, combined with the times and ideas can be accepted by consumers. The core of package design in the era of knowledge economy lies in the attitude towards traditional culture of the nation. Succession and transcendence is the way to follow the trend.
Chinese folk art is rich and colorful, and it is packaging designers who must make great efforts to study it. This is also the cultural wealth of the world.
3. Inheritance and Transcendence
Inheritance refers to the need to have a deep understanding of the culture of the nation (including philosophy, literature, art, folklore, etc.). The so-called embodiment of nationality in design is not simply to draw one or two Beijing opera masks on the poster, and to change the packaging. Into the porcelain. To build a sloping roof on a high-rise building and make the style of the Palace of the Forbidden City directly into gorgeous culottes. These graphic illustrations and direct credits of national styles are too shallow to understand the inheritance of ethnic cultures. The inheritance of the national culture should be based on the truth of its spirit through its form. The “inheritance†requires us to pay more attention to, understand, and learn the traditional culture, and translate it into cultivation, and then naturally reveal itself in the works. In regard to the value orientation of traditional cultural issues, inheritance is the basis and transcendence is its direction. “Transcendence†is to affirm localization in design, but also to be worthy of the traditional barriers, learn more about the connotations of some exquisite designs from abroad, pay more attention to the international aesthetic fashion, and make more use of advanced technological means to rise from the form. Form a dialogue and exchange with the international community. The design work of Hong Kong's famous designer Zhang Qiang is full of new ideas while applying Chinese painting's pen and ink meaning. His works give a person a feeling that is very Chinese and international, and can only be created through the combination of inheritance and transcendence. Refreshing packaging design works come.
Some Taiwanese packaging designers have passed on to Chinese cultural characteristics and made them more modern.