The famous cultural anthropologist Malinowski said: "In human social life, the needs of all living organisms have been transformed into cultural needs." Modern packaging design is based on culture and life-based. A modern-oriented institution. Therefore, both in theory and in practice, we should treat packaging design as a form of culture.
In modern society, the study of design theory is not only an in-depth analysis of a discipline, but it should be an integrated view of multiple disciplines. The packaging design activity as a cultural phenomenon to observe, it is not only a simple material function of the satisfaction and spiritual needs can be covered in one word, which is the connotation of modern designers must be explored.
Culture is the sum of material wealth and spiritual wealth created in the course of human history practice. So can the packaging design culture include all people’s behaviors and the things created by satisfying these behavioral patterns, and they are formed based on these aspects. Psychological concept. In general, there are many composite elements of design and cultural elements that can be divided into three levels. First, the material layer of packaging design, which is the surface layer of design culture, mainly refers to the material carrier that contains the elements of design culture. It has material, basic, and variability characteristics and judgement and corrective design organization system. Countries with relatively advanced packaging design culture in the world have their own relatively complete organizational systems. In countries where the packaging design culture is relatively backward, the organizational systems are largely incomplete. They are scattered in Other systems such as political, economic, cultural, and legal systems, and do not have sound independent systems and status. If there is no such level, the individual who designs will naturally fall into the vertical and the group will become disorderly. Third, the conceptual layer of packaging design. It is a state of cultural psychology, so it can also be regarded as the conscious layer of design culture. It is at the core and dominant position and is the basis and basis for all activities of the design system elements. The impact of the development of science and technology, productivity enhancement, and cultural advancement on the packaging design culture is mainly manifested in the aspects of production and life concepts, values, thinking concepts, aesthetic concepts, moral and ethical concepts, and national psychological concepts. . It is the most stable part of the design culture structure, and it is also the soul of design culture. It exists in people's hearts. If there is development and change, it will eventually be directly or indirectly expressed in the organizational system, and thus stipulate its own development. And laws, absorption, transformation or repulsion of heterogeneous cultural elements, and the development of design culture.
The three aspects of packaging design culture are related to each other and form a system that constitutes an organic whole of the packaging design culture. The material layer of the packaging design culture is the most active factor. It is active and frequent, and the changes in the packaging design culture are always reflected first in its body. For example, China’s reform and opening up, learning advanced science, culture and technology from abroad, and product infiltration are playing a leading role in this cultural shock. In the market, product packaging is updated and emerged in an endless stream. The organizational system layer is the most authoritative factor, which stipulates that the overall nature of the packaging design culture is an important link for maintaining the inter-group relationship of design, and it is also a guarantee for the scientific and effective implementation of packaging design. This level consists of a set of internal The system of guidelines is formed so that it becomes the yardstick for packaging designers to engage in design activities. In addition, the inner layer of psychological awareness is correspondingly more conservative and stable, which is the core of design culture. Different design concepts will bring different behavioral patterns and social outcomes, recognizing new requirements imposed on us by the new environment, and mastering new ideas, concepts, and methods that are consistent with such new requirements. This is the new design concept. height. The three parties are interdependent, integrate with each other, and infiltrate each other, and are reflected in each of the specific packaging design activities and works.
Packaging cultural elements spread in space and time, exist in a certain space, that is, the inevitableness of the same set of social groups, resulting in the nationality of the packaging design culture, because the culture exists in a certain period of time, that is, the inevitable social historical changes associated with the same set. It has created the era, nationality, and time of the packaging design culture, which constitutes the social attributes and essential attributes of packaging design culture.
The national nature of packaging design culture involves the occurrence of culture. It is precisely because the world’s culture does not come from the same source. Of course, there is a national problem. Every nation in the world is constrained by different natural conditions and social conditions. They all form different languages, habits, morality, thinking, values ​​and aesthetic ideas from other nations, and thus will inevitably form distinctive ethnic cultures. The nationality of packaging design culture is mainly reflected in the conceptual level of the packaging design culture structure, which reflects the psychological commonality of the entire nation. The different cultures caused by different nationalities and different environments are directly and indirectly expressed in their own design activities and products such as the scientific, logical and rigorous and rational style of German design, and the new elements, dexterity, and thinness of Japan. Exquisite and full of human touch, as well as Italian design elegance and romantic sentiment, these are all born in the atmosphere of their different ethnic cultures. Another example is the smoothness, completeness, morality, completeness and symmetry of Chinese packaging. It is also the reflection of the introverted psychological characteristics and relatively conservative social awareness of the Chinese people.
Because the design organization system is born out of the concept of design consciousness, it is the materialization of design consciousness, and is derived from the national design consciousness. Therefore, the activities and practical results under the guidance of the people's design concept have put on different national colors. On the national brand imprint.
Of course, the nationality of the packaging design culture is not only a stable and conservative side. It is in the opposite unity with the times, along with changes in social life and social concepts, and it is constantly updated in its own unity of opposites. , to develop its own characteristics. Therefore, we must not be embarrassed by the self-centered consciousness and embark on the road of national standardization. Otherwise, we will certainly be bound by our projectile land. I remember this sentence: A person can use social standards, not personal standards, and this person will mature. When a nation uses the standard of the world instead of measuring it with the standards of the nation, the nation matures.
The packaging design culture is both ethnic and contemporary.
After the formation of a national community, it has formed a long and turbulent historical development process. At different stages of this historical process, the national culture will show a series of characteristics of the times. As long as we recognize the acceptance and development of packaging design culture, there is a time of packaging design culture. This is because the packaging design culture is first a process of historical development. It is the superposition and acceptance of the design culture in each era of the nation. It is based on the material society of the era and is the accumulation of traditional design culture and its continuous abandonment. Unity of opposites, the unity of opposites between historicity and reality.
Packaging design culture has its time, mainly reflected in the organizational structure of the packaging design culture and the material outer layer. However, design is closely related to the times and focuses on concepts. With the globalization of economy and the rapid development of science and technology, fundamental changes have taken place in the subjective forms of society, especially the widespread and high-speed dissemination of information, the increasingly fierce liberalization of ideas, and the diversification of social structures, values, and aesthetic concepts. There are frequent contacts between people, and the demands of society and people are constantly increasing. The crisis of energy, environment, and ecology brought about by the alienation of industrial civilization, whether we can adapt to it and use it to make packaging design the The product of the times. This has become an important task for the designer.
The era characteristics of packaging design culture naturally make our design activities and products impossible to measure with an absolute standard. Different eras have their own criteria. Today's or yesterday's standards cannot be regarded as absolute and unique standards. The judgement of historical design culture must recognize that it is historical. The era of culture determines that all historical understandings are historical. The packaging design culture of each era has its own absolute content, has its own concept system, and has its own historical development. Branding, so it is also corresponding to the limitations of the times, without these understandings, we can not have a comprehensive grasp of the era of packaging design culture.
The nationality and the times of packaging design culture are both content and form. These two basic attributes are generally the most active factors in the three dimensions of packaging design culture structure. The most easily accepted by people, popular. The psychological level has strong nationality, is relatively stable and conservative, and therefore changes slowly. When two heterogeneous packaging design cultures are exposed under equal or unequal conditions, the first to be discovered is the outer layer of the material. However, learning can be used for a long period of time. It is possible to gradually recognize the middle level, that is, the level of the theoretical organization system, and finally, to appreciate the core level of each of them, that is, the level of psychological concepts. The development of Japan's post-war packaging industry, and the introduction of material technology equipment from the reform and opening up of China's packaging industry, to the introduction of various advanced organizational management systems, and the penetration of modern packaging design concepts all illustrate this point.
The formation and development of nationality are mostly based on fashion. The national nature of packaging design culture means the choice of the times. In inheriting the value orientation of traditional cultural issues, inheritance is the basis and transcendence should be the trend. Designers must clearly understand the surrounding world and its development trends, and at the same time see the close relationship between design and various disciplines, so as to consciously update and expand our knowledge, break away from the paradox of traditional ideas, and promote the renewed development of packaging design culture.
Each ethnic group’s packaging design culture forms a design culture system. Each ethnic group's packaging design culture of a certain era also forms its own cultural system. Different packaging design culture systems contain some common cultural factors. There are a number of different cultural factors. The former shows the universality of the packaging and packaging culture, while the latter shows the particularity of the packaging design culture. And each nation’s packaging and culture has its own human part. The human nature of packaging design resides in the nationality, and the universality lies in the particularity. This is a dialectical unity of packaging design and culture.
Therefore, I think that many aspects of packaging design in China, such as thinking methods, value judgment methods, social organization methods, design methods, and design forms, will continue to be absorbed and updated in order to establish a sound environment as the times progress. A new packaging design culture system that is both national and time-based is the requirement of the times, the historical necessity, and the key to the development of China's packaging design level in the world's advanced forest. (Art and Design Department of Anhui Institute of Mechanical and Electrical Arts)
In modern society, the study of design theory is not only an in-depth analysis of a discipline, but it should be an integrated view of multiple disciplines. The packaging design activity as a cultural phenomenon to observe, it is not only a simple material function of the satisfaction and spiritual needs can be covered in one word, which is the connotation of modern designers must be explored.
Culture is the sum of material wealth and spiritual wealth created in the course of human history practice. So can the packaging design culture include all people’s behaviors and the things created by satisfying these behavioral patterns, and they are formed based on these aspects. Psychological concept. In general, there are many composite elements of design and cultural elements that can be divided into three levels. First, the material layer of packaging design, which is the surface layer of design culture, mainly refers to the material carrier that contains the elements of design culture. It has material, basic, and variability characteristics and judgement and corrective design organization system. Countries with relatively advanced packaging design culture in the world have their own relatively complete organizational systems. In countries where the packaging design culture is relatively backward, the organizational systems are largely incomplete. They are scattered in Other systems such as political, economic, cultural, and legal systems, and do not have sound independent systems and status. If there is no such level, the individual who designs will naturally fall into the vertical and the group will become disorderly. Third, the conceptual layer of packaging design. It is a state of cultural psychology, so it can also be regarded as the conscious layer of design culture. It is at the core and dominant position and is the basis and basis for all activities of the design system elements. The impact of the development of science and technology, productivity enhancement, and cultural advancement on the packaging design culture is mainly manifested in the aspects of production and life concepts, values, thinking concepts, aesthetic concepts, moral and ethical concepts, and national psychological concepts. . It is the most stable part of the design culture structure, and it is also the soul of design culture. It exists in people's hearts. If there is development and change, it will eventually be directly or indirectly expressed in the organizational system, and thus stipulate its own development. And laws, absorption, transformation or repulsion of heterogeneous cultural elements, and the development of design culture.
The three aspects of packaging design culture are related to each other and form a system that constitutes an organic whole of the packaging design culture. The material layer of the packaging design culture is the most active factor. It is active and frequent, and the changes in the packaging design culture are always reflected first in its body. For example, China’s reform and opening up, learning advanced science, culture and technology from abroad, and product infiltration are playing a leading role in this cultural shock. In the market, product packaging is updated and emerged in an endless stream. The organizational system layer is the most authoritative factor, which stipulates that the overall nature of the packaging design culture is an important link for maintaining the inter-group relationship of design, and it is also a guarantee for the scientific and effective implementation of packaging design. This level consists of a set of internal The system of guidelines is formed so that it becomes the yardstick for packaging designers to engage in design activities. In addition, the inner layer of psychological awareness is correspondingly more conservative and stable, which is the core of design culture. Different design concepts will bring different behavioral patterns and social outcomes, recognizing new requirements imposed on us by the new environment, and mastering new ideas, concepts, and methods that are consistent with such new requirements. This is the new design concept. height. The three parties are interdependent, integrate with each other, and infiltrate each other, and are reflected in each of the specific packaging design activities and works.
Packaging cultural elements spread in space and time, exist in a certain space, that is, the inevitableness of the same set of social groups, resulting in the nationality of the packaging design culture, because the culture exists in a certain period of time, that is, the inevitable social historical changes associated with the same set. It has created the era, nationality, and time of the packaging design culture, which constitutes the social attributes and essential attributes of packaging design culture.
The national nature of packaging design culture involves the occurrence of culture. It is precisely because the world’s culture does not come from the same source. Of course, there is a national problem. Every nation in the world is constrained by different natural conditions and social conditions. They all form different languages, habits, morality, thinking, values ​​and aesthetic ideas from other nations, and thus will inevitably form distinctive ethnic cultures. The nationality of packaging design culture is mainly reflected in the conceptual level of the packaging design culture structure, which reflects the psychological commonality of the entire nation. The different cultures caused by different nationalities and different environments are directly and indirectly expressed in their own design activities and products such as the scientific, logical and rigorous and rational style of German design, and the new elements, dexterity, and thinness of Japan. Exquisite and full of human touch, as well as Italian design elegance and romantic sentiment, these are all born in the atmosphere of their different ethnic cultures. Another example is the smoothness, completeness, morality, completeness and symmetry of Chinese packaging. It is also the reflection of the introverted psychological characteristics and relatively conservative social awareness of the Chinese people.
Because the design organization system is born out of the concept of design consciousness, it is the materialization of design consciousness, and is derived from the national design consciousness. Therefore, the activities and practical results under the guidance of the people's design concept have put on different national colors. On the national brand imprint.
Of course, the nationality of the packaging design culture is not only a stable and conservative side. It is in the opposite unity with the times, along with changes in social life and social concepts, and it is constantly updated in its own unity of opposites. , to develop its own characteristics. Therefore, we must not be embarrassed by the self-centered consciousness and embark on the road of national standardization. Otherwise, we will certainly be bound by our projectile land. I remember this sentence: A person can use social standards, not personal standards, and this person will mature. When a nation uses the standard of the world instead of measuring it with the standards of the nation, the nation matures.
The packaging design culture is both ethnic and contemporary.
After the formation of a national community, it has formed a long and turbulent historical development process. At different stages of this historical process, the national culture will show a series of characteristics of the times. As long as we recognize the acceptance and development of packaging design culture, there is a time of packaging design culture. This is because the packaging design culture is first a process of historical development. It is the superposition and acceptance of the design culture in each era of the nation. It is based on the material society of the era and is the accumulation of traditional design culture and its continuous abandonment. Unity of opposites, the unity of opposites between historicity and reality.
Packaging design culture has its time, mainly reflected in the organizational structure of the packaging design culture and the material outer layer. However, design is closely related to the times and focuses on concepts. With the globalization of economy and the rapid development of science and technology, fundamental changes have taken place in the subjective forms of society, especially the widespread and high-speed dissemination of information, the increasingly fierce liberalization of ideas, and the diversification of social structures, values, and aesthetic concepts. There are frequent contacts between people, and the demands of society and people are constantly increasing. The crisis of energy, environment, and ecology brought about by the alienation of industrial civilization, whether we can adapt to it and use it to make packaging design the The product of the times. This has become an important task for the designer.
The era characteristics of packaging design culture naturally make our design activities and products impossible to measure with an absolute standard. Different eras have their own criteria. Today's or yesterday's standards cannot be regarded as absolute and unique standards. The judgement of historical design culture must recognize that it is historical. The era of culture determines that all historical understandings are historical. The packaging design culture of each era has its own absolute content, has its own concept system, and has its own historical development. Branding, so it is also corresponding to the limitations of the times, without these understandings, we can not have a comprehensive grasp of the era of packaging design culture.
The nationality and the times of packaging design culture are both content and form. These two basic attributes are generally the most active factors in the three dimensions of packaging design culture structure. The most easily accepted by people, popular. The psychological level has strong nationality, is relatively stable and conservative, and therefore changes slowly. When two heterogeneous packaging design cultures are exposed under equal or unequal conditions, the first to be discovered is the outer layer of the material. However, learning can be used for a long period of time. It is possible to gradually recognize the middle level, that is, the level of the theoretical organization system, and finally, to appreciate the core level of each of them, that is, the level of psychological concepts. The development of Japan's post-war packaging industry, and the introduction of material technology equipment from the reform and opening up of China's packaging industry, to the introduction of various advanced organizational management systems, and the penetration of modern packaging design concepts all illustrate this point.
The formation and development of nationality are mostly based on fashion. The national nature of packaging design culture means the choice of the times. In inheriting the value orientation of traditional cultural issues, inheritance is the basis and transcendence should be the trend. Designers must clearly understand the surrounding world and its development trends, and at the same time see the close relationship between design and various disciplines, so as to consciously update and expand our knowledge, break away from the paradox of traditional ideas, and promote the renewed development of packaging design culture.
Each ethnic group’s packaging design culture forms a design culture system. Each ethnic group's packaging design culture of a certain era also forms its own cultural system. Different packaging design culture systems contain some common cultural factors. There are a number of different cultural factors. The former shows the universality of the packaging and packaging culture, while the latter shows the particularity of the packaging design culture. And each nation’s packaging and culture has its own human part. The human nature of packaging design resides in the nationality, and the universality lies in the particularity. This is a dialectical unity of packaging design and culture.
Therefore, I think that many aspects of packaging design in China, such as thinking methods, value judgment methods, social organization methods, design methods, and design forms, will continue to be absorbed and updated in order to establish a sound environment as the times progress. A new packaging design culture system that is both national and time-based is the requirement of the times, the historical necessity, and the key to the development of China's packaging design level in the world's advanced forest. (Art and Design Department of Anhui Institute of Mechanical and Electrical Arts)
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