To search for packaging design without decoration, we must first grasp the attributes and visual laws of the text. This is the basic principle, the flexible use of the plasticity and variability of the text elements, combined with the word semantics, the text personality, text transmission and text space and time changes organically Blending is the true expression of the no-decor design. The significance of exploring design is to understand and solve problems. The simple and quick way is what we are pursuing. Text is the main tool for human progress. It records the entire process of the development of human society. People are constantly updating and creating words. It is accompanied by aesthetic and visual pleasure while communicating human and human emotions and communication. With the continuous exploration of the visual design capabilities of the text itself, the forms and techniques will be even more abundant. This ancient and vitality visual element will bloom in the packaging design more attractive colors.
Japan's traditional cultural factors in food packaging The most significant particularity of Japanese traditional culture in the world's cultural heritage has allowed its continuity to continue without interruption. Japanese contemporary scholar Taro Okamoto wrote the book “Japanese Traditions†and elaborated on the traditional meaning of the eyes of the Japanese from another perspective: “Tradition is the driving force behind the development and development of human life.†Japan’s modern design includes packaging design now filled with traditional culture. In the vocabulary, we can regard this vocabulary as the long-lived breath of life of the Japanese national culture. Japan's packaging technology has not lasted for more than 30 years but has achieved great success. It took over a hundred years in Western countries to complete the course of a hundred years. In addition to its ability to keep up with the trend of the times and keep innovating, the reason for this is that instead of abandoning the traditional culture of the nation in this wave of “westernization,†it has been promoted. It finds a way for the development of domestic packaging design between East and West. Japanese packaging designers are well integrated with traditional factors in food packaging design, providing a good reference for China's food packaging design.
Today, packaging design has become a cultural form. The traditional cultural factors of food packaging design in Japan are extremely prominent, and the visual impact is very powerful. If the vision falls on the commodity, consumers can appreciate the strong Japanese style. Of course, the formation of this unique Japanese style requires a profound understanding of the national culture, not superficial superficiality. This is not simply an ancient painting on a box. It can be done by mentioning two poems. Tracing the essence of the traditional culture through the surface, the traditional cultural factors in the works so designed can be naturally perceived rather than mechanically put together.
In Japanese food packaging design, various means are used to highlight traditional cultural factors and arouse the resonance of consumers such as the font design of food packaging. Font design is very important for food packaging design. Japanese designers have a deep understanding of the products and fonts. The fonts designed are in line with the attributes of goods and are favored by consumers. Japanese people love Chinese characters and create their own characters based on Chinese characters. Japan's food packaging designers carried forward this traditional cultural advantage. Through repeated exploration and practice, they formed a calligraphy art form with Japanese characteristics and designed many excellent works. Designers emphasized that while drawing on and absorbing Western advanced design concepts, they also paid attention to the exploration and promotion of traditional calligraphy art forms and strived to achieve international and national integration and coordination. There are many different kinds of calligraphy fonts and modern technology. Good application will make the created packaging works rich in expressive power and artistic appeal, which can fully reflect the regional cultural characteristics of the goods and receive good results. Otherwise, it will be counterproductive.
In Japan's food packaging design, we often feel the Chinese traditional culture, thanks in large part to the designer's typeface design. In the design process, designers fully consider the characteristics of the product itself, and pay attention to the coordination relationship with other design elements. The design of the font is elegant or sleek, or it is dignified and elegant or elegant and refreshing. The form is colorful and full of rhythm and rhythm. This makes the design work very visually appealing and can attract consumers' attention. Influenced by other schools of art, the traditional art of calligraphy is also continuously innovating in Japan. The innovation of the calligraphy art has also continuously impacted the packaging design, injecting new vitality into it. These newly formed calligraphic fonts embody the aesthetics of modern people. They are both artistic and modern. They are an extension of traditional culture and are a variant of calligraphy art with a modern atmosphere. Japan's packaging designer will of course seize one of the modern calligraphy arts and carry it forward to design a good packaging design. Not only that, the designer created and designed calligraphy fonts as graphic elements. It can not only represent the brand name and product name of the product, but also show consumers the cultural connotation of the product. Calligraphy font is both the name and the graphic, with rhythmic beauty and dynamic, full of personality and taste, forming the unique charm of Japanese packaging. The handwritten typeface contains profound humanistic features and is quite culturally connotative. Japanese food packaging designers often use handwritten fonts instead of the standard fonts on computers. They pursued the artistic effect of handwriting and ink splashes, and the rapid and beautiful beauty of the fonts in the fast moving brushstrokes reached a picturesque artistic conception. Handwritten fonts are spiritual and have a fundamental difference from the computer fonts. As people increasingly emphasize the humanistic sentiment, hand-written fonts rich in spirituality and individuality will be more popular, and the rigid, stereotyped, lacking of vividness and diversity of fonts that are uniformly typeset by computers will be affected. Coldly.
In the arrangement of words, Japanese designers' works also reflect the influence of traditional culture from time to time. For example, some flavored snacks, local packaging designers will make the most of the cultural heritage of Japan. Japanese kana and Chinese characters are arranged. Japanese kana and English arrangements create many new combinations and are perfect. The designer first arranges the body text in the best view area, and the secondary descriptive text arranges in a smaller place or space. In this way, the consumer's eyesight can be read along a natural, reasonable and smooth process rhythm to achieve a pleasing visual effect.
Not only the text design, but also the Japanese food packaging in the shape, color, illustrations, materials and other creative aspects to fully explore the traditional culture, the Japanese folk art and design for in-depth study and research and innovation, continue to integrate traditional cultural factors, design a lot of excellent Works and made Japanese culture spread through the world of packaging. Packaging design has thus entered a higher level of art.
Japanese wooden architecture is an important style of traditional architecture, which is often a source of inspiration for designers. Ise soy sauce carton packaging is the application of traditional wood architecture in the field of packaging design. The designers linked the functionality and rationality of the packaging structure with the shape of the modular construction of Japanese traditional architecture, combined simple and neat red, black, and white colors with the common colors of traditional architecture, and even simplified the modern design. The straight style combines with the highly pure and refined language of traditional architecture. Japanese consumers who are familiar with traditional architecture certainly understand the meaning of the illustrations. Ise-God Palace’s relocating team is drawn out vigorously. It is “virtual and virtual†and “virtual and practicalâ€. The Ise brand has a steady presence. The long history of changing and changing characteristics is also fully explained. So Iso soy sauce carton pack is no longer simply a layer of traditional powder, a modern packaging into the wonderful ideas through
Long history. The use of materials in Japanese packaging design is also quite Japanese. Traditionally, Japanese traditional culture habits regard materials derived from nature as “the first natureâ€, and regard the selection and redesign of natural materials as “second natureâ€, and modern Japan, which focuses on the protection of traditional folk arts and crafts, Process paper means that bark, pulp, paper, and hemp rope means that the selection, processing, and processing of the materials are made of hemp, soft, tanned, and cut. These materials are attached to nature and extracted and extracted. natural. When designing Tamba rice bags, Japanese Hyogo chose to use traditional natural materials – folk craft paper and twine laces, and use natural outer packaging materials to symbolize the natural qualities of the products. Folk craft paper and hemp string are not necessary for rice packaging. Today's modern efficiency in production and distribution is emphasized. The use of the above natural materials also adds some indispensable material strength tests, paper bag forming process assembly lines, etc. The work process is more troublesome than the use of some artificial materials. However, the owner of Dan Bomi knows how to use the traditional culture that everyone in the country is proud of to impress people. When consumers with a common cultural background touched Dan Bomi even with a primitive rough paper bag twine, what emerged in their hearts was a feeling of returning to the natural and unrestrained beauty of nature. Love House and Ukrainian, Dan Bomi advocating "natural" brand publicity so that the use of traditional culture support has come true.
Looking at food packaging in Japan, you will find that Japanese food packaging designers abound in classic designs that incorporate cultural traditions into packaging. For example, the packaging of whisky glass bottles launched by Suntory's comprehensive beverage manufacturers in Japan has a stable color and a matt, dull-glass bottle body, with a dark, round color and a straight, glossy appearance that is common to modern designs. The anti-traditional implied meaning of "old" wine is simple and old. But how to use the fact that this wine has been popular with consumers for a long time has appealed to product packaging promotion? This affects the greater significance of the product packaging and advertising field. The advertising of products can take advantage of its own relatively extensive creation. The characteristics of degrees of freedom, with the support of product packaging, complement each other. Suntory's idea is "the combination of advertising and packaging." Therefore, the relevant advertising campaign has great visual impact. The advertisements will be well-received by the Japanese people's favorite sumo wrestler Ogira Nakao. The shape of the back is perfectly matched with the Suntory Whiskey bottle. On the one hand, it creates an atmosphere of goodwill, wit, and humor with the apparently non-true meaning of the surface. On the one hand, it leads people to understand in depth the true interest that the ontology and the metaphor are also loved by people. The valiant samurai Xiaojin focused on the toast, even if he was drunk. The dark, round wine bottle packaging borrowed from advertising sites to become gold, and the modern design concept also has a profound meaning through traditional intervention.
The design activities of any ethnic group are inseparable from specific social and cultural backgrounds, and cannot be separated from the national spirit that was fostered by the social and cultural environment of the 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. In this worldwide wave, the national characteristics of Japan's packaging design have not been reduced by the influence of international style, but have been developed and promoted with a new look in the new situation. Therefore, Japanese designers can design good works that have both national characteristics and world-facing. Japanese culture has also become a world through packaging and has infected many consumers. This is also an outstanding contribution to the spirit of packaging design.
In contrast, China, while enhancing communication with world culture, China's packaging designers should learn from the successful experience of Japanese packaging design, not blindly advocating and imitating the style of Western design schools and design masters, to form a Chinese design style and create China's design quality has become a contemporary packaging designer with a sense of national responsibility and Chinese temperament.
Source: Wolf Vision