Reflections on the Characteristics of Times and Nationality of Packaging Design

Abstract At the same time of absorbing foreign culture, it is more strongly aware of the importance of carrying forward the cultural tradition of the nation and finding a path suited to the development of the domestic packaging design culture between tradition and modernity, between the East and the West. Inheritance of the culture is vital to innovation. It is only by creating a new form on the basis of absorbing and drawing lessons that can be accepted by consumers in conjunction with the concept of the times. The core of package design in the era of knowledge-based economy is the attitude towards the traditional culture of the nation. Succession and transcendence are the ways to follow the trend.

Key words era characteristics and nationality; inheritance and transcendence; stylization; borrowing and creation

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 in sync with the development of material civilization. When we quietly entered the 21st century, the era of knowledge economy has sprouted in China, faced with the rapid development of science and technology in the world today and the current situation of China's economic growth. More and more talented packaging designers emerged, and packaging designers shouldered the historic mission of creating wealth for social development.

One: The Times Summon Outstanding Packaging Designers

In today's economically-popular China, what qualities should packaging designers have to face such an era?

1. The relationship between the concept of packaging design and the times

As a new form, the "knowledge economy" has become a global hotspot. In the era of industrialization, machinery and equipment and raw materials are important resources for economic development. In the age of knowledge economy, knowledge has become an important source of economic development. The design concept embodied should also be consistent with this era. Because of the high efficiency of commercial visual operations, 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 the public visual taste of 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 visual images can cover almost everything people know. The use of packaging and decoration arts and packaging technology plays a pivotal role in the circulation of goods. In the age of knowledge economy, under the strong discourse of business culture, packaging design practitioners must design works that are compatible 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 Eastern and Western Cultures

From a cultural point of view, people, society, and nature constitute an organic system of the world. A human-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 by 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 overwhelmed by the huge "West Wind" noise in China's design world. They are just admiring the Western design schools and design masters. Faced with China's design style, design boutiques ignored. 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, whole, 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 links them with bearings, seasons, spirits, lusts, tastes, 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 landscapes also traveled all over the mountains and rivers, "Searching for the best peaks and drafting," and "Enjoying creativity in the outside world." 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 interests of the artist, the two pillars of modern physics - the concepts and thinking modes included in quantum mechanics and relativity, are all different from the Western traditional concepts, and are more consistent with the Chinese traditional way of thinking that emphasizes holistic, relative, and harmonious. . Wave-particle duality theory, unified field theory, integrated Chinese-western medicine, and big-bang cosmology have all proved that the natural outlook and the way of thinking in the eastern and western tendencies 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.

Therefore, to integrate the essence of Eastern and Western cultures, and to explore the valuable treasures of Chinese culture and art in a deeper way. In-depth study, research and innovation of Chinese ancient and folk art and design can make Chinese culture better. The use of packaging as a medium to spread to the world. And refused to put Chinese art into the design simply and brutally. The current widespread use of computers has caused the duplication of ancient Chinese graphics and patchwork to appear in designs. This is a breach of traditional Chinese culture. The inheritance of culture is vital to innovation. Only when new models are created on the basis of absorption, can it be accepted by consumers in conjunction with times and ideas. The core of package design in the era of knowledge-based economy is the attitude towards the traditional culture of the nation. Succession and transcendence are the ways to follow the trend.

3. Inheritance and Transcendence

Inheritance; requires 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 replace the packaging with 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 interpretations of national styles and direct credits are unavoidably too superficial in understanding the inheritance of ethnic culture. 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? Learn the traditional culture and convert it into cultivation, and then naturally reveal in the works. In regard to the value orientation of traditional cultural issues, inheritance is the basis and transcendence is its direction. "Transcendence" is the affirmation of localization in design, but also worthy of the traditional barriers, learn from the connotations of some exquisite designs 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 applies the Chinese painting's pen and ink meaning, but at the same time it is rich in designing new compositional methods. The feelings given to the works are very Chinese and international, and only under the combination of inheritance and transcendence. In order to create a refreshing packaging design work.

II: Borrowing and Creating Relationships

In the packaging design world today, the operability of the visual experience already formed in the cultural strategy and technology has led to the emergence of a large number of graphic “borrows.” From a business perspective, the requirements for commercial operations are that with minimal investment (including risks The commitment to seek maximum profits, the borrowing of mature cultures, and the imitation of visual experiences that have become quite acceptable, are in line with the requirements of commercial visual operations.

Over the past few centuries, it has been precipitated as a rich visual heritage of public visual memory and aesthetic standards. After a long period of selection and public-level digestion, the resulting public images and historical images can easily generate emotional emotions with the public. Resonance, and the cultural implications inherent in it can easily be interpreted by the public. Therefore, in the pursuit of faster and more commercial success, either one wants to benefit from the consumption mechanism, but also wants to maintain personal creative independence. Artists and designers have turned their sights on the borrowing of the visual experience of the masses and the creation is no longer a natural thing. Artistic and commercial requirements have reached consensus here, the current cartoon culture, the unfamiliar description of everyday scenes, and Chinese traditional patterns. The image in the famous oil painting and the characters of classical literature and drama, as well as the broad combination of folk tales and designs in the fairy tales and the public, make consumers have a familiar feeling of familiarity, and it is easy to appeal to consumers to achieve the purpose of purchase.

Three: Faced with "stylized" thinking

Many visual arts practitioners have found that in the era of the proliferation of visual information, "stylish" works can well identify the memory for the public, which is in line with the requirements of "effective recognition" and advertising effects in commercial vision operations. Like any item with a full range of formalities, it must have signs and trademarks that indicate its provenance, and the “stylization” of works plays a trademark role. Many personalities of “style” emphasized by visual arts practitioners are based on This kind of "visual squatting", which has grasped the public's visual tastes and visual habits from a commercial point of view, this kind of urgent "visual selling" psychology, the "style" developed is often vague and impetuous. The works themselves are not important. The important thing is to make "style" a topic, a strong visual message, a sound that can be hyped by commercials and propaganda, and then the "style" has reached its limit. The saying goes, even "style" also exits. This "direct sales" of visual merchandising will eventually lead to the complete commercialization of visual arts, and will cause the loss of its heterogeneity and originality.

The history of "stylized" has a long history. In fact, most of the successful visual art masters have formed their own unique "style", but this style is not a pre-set goal, but it is years of visual experience and cultural invasion. The cubism that was formed, such as Picasso, was also formed after various periods of many years and absorbed the achievements of its predecessors and a large number of artistic practices. But after all, the masters who founded the ancestors of the mountain were a minority. In most cases, the "style" was The rediscovery of existing elements and the development of techniques have led to new ways of application. For example, designers reluctantly use ink-and-ink language to break through the plane.

Personal "style" formed by artists and designers