Reflections on the Characteristics of Times and Nationality of Packaging Design (II)

Second, the relationship between borrowing and creativity


In the packaging design world today, the operability of the visual experience that has been formed in cultural strategies and technologies has led to the emergence of a large number of "borrowings" of graphics. From a business perspective, the requirements for commercial operations are to minimize 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 the visual heritage of the public visual memory and aesthetic standards. After being digested by the public, the formed public images and historical images can easily and emotionally resonate with the public. The cultural meaning can be easily interpreted by the public. Therefore, in the pursuit of faster and more successful commercial acquisition, any artist or designer who wants to profit from the consumption mechanism but also wants to maintain personal creative independence Looking at the borrowing of the visual experience of the masses and the creation is no more natural thing, artistic and commercial requirements are here to reach a consensus, the current cartoon culture, the unfamiliar description of daily scenes, the image of the traditional Chinese pattern, the famous oil painting and Classical literature, theatrical characters, and fairy tales and ballads have provided consumers with a familiar feeling of familiarity in their broad integration with design, and it is easy to appeal to consumers and achieve their purchasing goals.

Third, the face of "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 commodity that has a full range of formalities, it must have signs and trademarks that indicate its provenance, and the “stylization” of works plays a role in certain trademarks. Many personalities of “style” emphasized by visual arts practitioners are based on This kind of "visual squatting" has taken hold of the public's visual taste and visual habits from a commercial perspective. The urgency of the "visual peddling" psychology and the development of "style" are often vague and impetuous. The works themselves are not important. The important thing is to make "style" a topic, a strong visual message, a voice that can be hyped by commercial propaganda and propaganda, and then the "style" develops to the limit. The saying goes, even "style" also exits. This “direct sales” of visual merchandising will eventually lead to the complete commercialization of visual arts, which will result in the loss of its heterogeneity and original spirit.

The history of "stylized" has a long history. In fact, most successful visual arts 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 formed, such as Picasso, was also formed after years of various periods and absorbed the achievements of its predecessors and a large number of artistic practices. But after all, the masters of the founding of the founder were a minority. In most cases, the “style” is a 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.

Fourth, thinking about the characteristics of the era of packaging design and nationality


The characteristics of the era of packaging design and nationality are not in contradiction. "Modernization" does not mean "Westernization." "Nationality" does not mean "limitation."

Looking at the course of development of packaging design around the world is related to the cultural and economic background of each country. British packaging design pays more attention to the inheritance of the British consumer culture and culture tradition; Germany's packaging design is influenced by its rigorous philosophical thinking, full of traditional features of rational design; French packaging design presents a kind of financial design and artistic spirit. One of the characteristics; and Japan's packaging design in the face of rapid economic development, a large number of Japanese traditional visual factors, while embodying the sense of the times. In the area of ​​Oriental Culture, the development of packaging design in Japan has more places to learn from.

Japan's packaging design took more than 30 years to complete the development of the West nearly a century. The unique Japanese style is formed because they are more aware of the importance of promoting the cultural traditions of the nation while absorbing foreign cultures. They have found a suitable cultural development for the domestic packaging design between traditional and modern, Eastern and Western cultures. path of. Therefore, the design of Japan not only has strong characteristics of the times, but also contains profound Oriental cultural spirit.

In the early 1980s, Mr. Zhong Jingwen, a famous Chinese folklorist, once said: “The preservation, development, and advancement of national culture are related to the question of whether foreign culture can be effectively absorbed and digested. In the process of opening up, foreign things are not only To come in and rush in, like the tide, if our intrinsic things cannot be preserved and cannot develop on their own, culturally they may become a vassal of foreign culture. Any people without their own culture, whether it is How the material aspect develops, it will become the captive of foreign culture in the spiritual culture, and the result is undoubtedly tragic." Mr. Zhong Lao's remarks made more than ten years ago are still thought-provoking today! It is undeniable that there is a generation gap between traditional culture and modern design. How to eliminate generation gap?

The concept of packaging design changes with the changes of people's lives. The rapid development of commodity economy will inevitably impact people's design concepts. On the contrary, advancement of design will also lead the prosperity of commodity economy, such as apparel design, automobile modeling design and even construction. Designs, etc., all play a positive role in the development of society. This requires packaging designers to firmly grasp the pulse of the times, go deep into the life to find design inspiration, establish design ideas, and design ideals, rather than behind closed doors, thinking hard in the bucket room.

Paying attention to living, digesting and absorbing the essence of Chinese and foreign excellent cultures and developing self-generated competitiveness to resist Western countries’ cultural and economic aggression is an historical responsibility that our current designers cannot shirk.

The times are improving and the society is developing. The sense of responsibility and urgency in this era forced every designer to think about how to face traditional inheritance, borrowing from foreign cultures, and innovation in a vast space. In the 21st century, China's packaging design field is entering a new historical stage, requires more rational thinking, and has a stronger sense of national responsibility. This will encourage Chinese people to create and perfect a new national design system.

â–  Peng Jianxiang Source: "Decoration"