The principle of small hole imaging we all know the "principle of small hole imaging", we now compare the front part of the "hole" to the content of the customer, the "pinhole" of the latter part as the market demand, The "hole" is likened to our creative point for this project. We only have accurate positioning through this point, and targeted innovations can deliver customer information in the form of market demand. This point embodies the designer's judgment and creativity. This creativity is not based on imagination, it is precisely due to the careful grasp of the customer information. Just as each of the tasks we mentioned earlier is brand new, the situation offered by customers is almost completely different, so this kind of creativity is easy and lively.
For example: NEAL'SYARD cosmetics packaging In order to meet the modern needs of the market, designers do the opposite, changing the old-fashioned blue bottles that are rarely used for packaging in recent yearsâ€” With an exquisite matt logo and a modern label of novelty, the old-fashioned bottle is modernized. Li Ming's fast colors are designed to attract people's attention and increase sales. In addition, this color looks great on the bathroom shelf.
Another example: the self-wrapping design of Nunn Design Studio is based on the graphic of the logo as an entry point. Since the designer Peter W nuhn's name was pronounced the same as the word "noon," the graphic of the logo only draws a circle and a pointer-like vertical line pointing to the twelve o'clock position. The idea of â€‹â€‹designing such a puzzle-like sign came from a story told by his motherâ€”his mother was a college teacher. The student could remember her name because she could call her â€œtwelve o'clock.â€ lady. Nunn said he has transformed this memorable story into a modern visual image.
From the above examples, it is not difficult to see that both the bright and transparent old blue bottles of Nils Yada cosmetics and Mr. Nunnâ€™s â€œclockâ€ logo come from their different background information. Only such ideas can convey their information accurately and vividly with vivid and powerful visual language. Only such creative ideas can make the whole design process easy and enjoyable.
On the other hand, if we do not find or identify the "hole" at the two intersections, the situation is completely different. We try to connect the starting point with the point of inaccuracy. The result is not less than the range of the required information. The phenomenon that is reflected in the actual phenomenon is that the audience looks either unclear or exaggerated.
The creative process is the same, as are other aspects of packaging design. Designers all know that packaging design is not only creative, but also involves a series of issues such as materials, structure, production process, transportation and usage.
For example: ASHIMA produces more than 100 fishing lines and hooks. In order to keep the production workshop clean and tidy, and to make the products appear in the retailer's shelves and the consumer's toolbox, the designers chose a blister package of metal foil. The simple, bright logo is very eye-catching on metal-reflective packaging bags, and the bag of this material prevents the fish line from deteriorating due to prolonged exposure to ultraviolet light.
Another example: D-Schcinerl is a company specializing in the production of screws. They want to design a practical and practical directory, and also hope to share their advertising with other buyers of the screw. Advertisements are distinguished, and the latter are mostly masculine and lacking creativity. According to the actual situation, the designers fixed a catalogue with delicate screws and rubber bands on a printed cardboard. Both bound the catalog and displayed the product directly. At the same time, the neatly arranged circular dimples on the paperboard envisage screw holes, and their neat arrangement symbolizes precision.
As you can see, the information we have about customers contains a lot of information that creates value. As designers, we only need to patiently search for treasure. It is true that the treasure hunt is a very stimulating one. It is both happy and complicated. Well, in many design processes, how to deal with the relationship between specific skills and macro-level understanding clearly is very important.
The revelation of unity between man and nature and materialist dialectics As early as in ancient China's pre-Qin period, Lao Tzuâ€™s idea of â€‹â€‹inaction and harmony between man and nature can be said to be far-reaching; Buddhism Zen also says â€œSee the mountain is the mountain, see the mountain is me, see The three realm of mountains or mountains; the dialectical materialist philosophy of the West more clearly states that it is necessary to exercise and dialectically look at problems. What do these philosophical views reflect in the specific practice of packaging design?
In front of us, the idea of â€‹â€‹packaging design in various aspects should be based on various information about customers. However, regardless of the number of links and the complexity of the process, there is only one goal that the design must achieve. Regardless of material, structure, production process, transportation, and use, design must be centered around one center.
There are multiple links around the same center, and one of them is the main point of creativity. For example, the packaging of the fishing line mentioned above is based on material; the packaging of cosmetics is based on the material and color at the same time as the creative point; the design of the â€œclockâ€ logo of the design room and the design of the screw's product catalog is more of an advantage and becomes passive. Active masterpiece. All of these wonderful designs reflect the perfect unity of the part and the whole. At the same time, it also shows us a classic example of a natural, flowing, and integrated design concept.
In addition, this dialectical design philosophy should also be reflected in the use of design language. In the past, the era of drawing a "flat volume" using a narrow, graphical language has passed. Nowadays, with the advancement of technology, the change of concepts, and the expansion of horizons, a diversified design era has arrived. Designers pay more attention to the structural language and material texture of the packaging structure, and so on. The audience is not only satisfied with the vision in the age of accepting information rhyme. They value the association caused by product packaging.
This shows that we can clearly feel the pace of the times. The rapid development of social production has brought about not only the richness of the material and the improvement of the quality of life, but also urging us to update our concepts and to examine our packaging design in a broad perspective.