Inheritance and Innovation to Create a Chinese Packaging Design System

To inherit and surpass the "knowledge economy" as a new form has become a global hot spot. Recalling the era of industrialization, machinery, 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 that it embodies should also be consistent with this era. Because of the efficient operation of commercial vision, the public's demand for visual information has been triggered. In the process of packaging design to the public's visual taste, the packaging design practitioners have played an important role. The professional skills of packaging statisticians have made them become the new darling of the public in this commercial game full of profit speculation.
Everyone knows that visual images can cover almost everything that people know. The use of packaging and decoration arts and packaging technology plays a decisive role in the circulation of commodities. In the era of knowledge economy, the practitioners of packaging design must design works that are in tune with the times in order to be acceptable to consumers to adapt to and meet the requirements of the era of knowledge economy. From a cultural point of view, people, society, and nature constitute an organic system of the world. A people-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 drowned out in the huge "west wind" noise of today's Chinese design community. They just blindly respect the Western design school and design masters, but they ignore China's design style and design quality. We can't absorb the essence of Western design while studying China's outstanding and traditional design works and learn from it. This is not good for us to cultivate a contemporary packaging designer with a sense of national responsibility and Chinese temperament.
With the progress of natural sciences and the development of humanities and culture, the philosophy and way of thinking of the “Chinese traditional view of nature” have a certain similarity with the signs displayed by modern science in terms of world outlook, which has increasingly attracted modern western scientists and philosophers. As well as the artist's interest, the natural and the way of thinking of the two 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, by merging the essence of Eastern and Western cultures and deepening the valuable treasures in Chinese culture and arts, in-depth study and innovation of Chinese ancient and folk art and design can make Chinese culture better packaged. This medium spreads to the world. The heritage of culture is its vitality is innovation, only in the absorption of the basis of the creation of new forms, combined with the concept of the times in order to be accepted by consumers. 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 means to follow the trend.
Inheritance requires a deep understanding of the culture of the nation (including philosophy, literature, art, folk customs, etc.). The so-called embodiment of nationality in design is not simply to draw one or two Peking opera masks on the poster and replace the packaging with porcelain. A high-rise building with a sloping roof and the style of the Palace of the Forbidden City’s Taihe Temple can be directly made into gorgeous culottes. These graphic illustrations and direct references to national styles are too shallow to understand the inheritance of ethnic cultures. The inheritance of the national culture should be based on grasping the truth of its spirit through its forms. The “inheritance” requires us to pay more attention to understanding and learning the traditional culture and convert it into cultivation, and then naturally flow in the works. In the value orientation of traditional cultural issues, inheritance is the basis; transcendence is its direction. “Transcendence” is to affirm localization in the design, but also to be worthy of the traditional barriers, learn more about the connotations of some exquisite designs from 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 relationship between "stylized" and innovation Many visual arts practitioners have found that in the era of the proliferation of visual information, "stylized" works can well identify the memory for the public, which is in line with the "effective recognition of commercial vision operations. "With advertising effect requirements. Just like commodities, it must have logos and trademarks that show provenance, and the “stylization” of works plays a role of a trademark. The personal “style” emphasized by many visual arts practitioners is a kind of “based on this reason.” Visual sneak peeks, which captures the public's visual taste and visual habits from a business perspective. This kind of urgent "visual cunning" psychology, the development of "style" is often vague and impetuous, this work itself is not important, it is important to make "style" a topic, a strong visual information A voice that can be hyped up by commercial hype. Then the "style" developed to a limit, the author himself asked the scene to say, even the "style" also exit. 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”. However, this style is not a preset goal, but is a visual experience and cultural infiltration site for many years. Formed, such as Picasso's Cubism, is also naturally formed after years of various periods and absorbing the achievements of the older generation and a large number of artistic practices. But after all, the great masters who set up the mountains are just a few. In most cases, “style” is the rediscovery of existing elements and the development of techniques, and there are new ways to use them. For example, designers barely use ink-and-wash language to overcome the breakthroughs in the field.
The personal “style” formed by the artist and the designer is understandable. However, once out of the public's curiosity, the “style” created by the artist is only a kind of visual pollution, especially those who are eye-catching and historical metaphors. The "style" borrowed from cultural symbols is a kind of irresponsible behavior that uses "culture" as a "background" and loses the basic artistic conscience.
Creating the Packaging Design System with Chinese Characteristics The era features and nationality of packaging design are not in contradiction. “Modernization” does not mean “Westernization”. "Nationality" does not mean "limitation."
The development of packaging design is related to the cultural and economic background of each country. The packaging design in the United Kingdom pays more attention to the inheritance of the British consumer culture culture. Germany's packaging design is influenced by its rigorous philosophical way of thinking and is full of the traditional features of rational design. The French packaging design presents a unique blend of design and artistic spirit. The Japanese packaging design faced the rapid development of the economy, bringing together a large number of traditional Japanese visual factors and embodying the sense of the times. A group of excellent packaging designers emerged. From the perspective of the development of packaging design in Japan, there are more places worth learning from in the Eastern culture.
Japan's packaging design took more than 30 years to complete the development path in the West for almost a century and formed a unique Japanese style. This is because they are absorbing foreign culture and are more conscious of the importance of promoting their own cultural traditions. With modern, Eastern and Western find a way for the development of domestic packaging design. Therefore, the design of Japan not only has strong characteristics of the times, but also contains profound Oriental cultural spirit.
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. At present, the current domestic design situation, many designers only pursue the design form of grandstanding, I do not know what to do, even many designers to achieve fame and fortune, keen to participate in major events, take a certain award, and lose their lives The true meaning of understanding. Without life, there is no design art. This truth will always have meaning.
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 sense of urgency in this era forced every designer to think about facing traditional inheritance and borrowing from foreign cultures and facing innovation in a vast space. Into the 21st century, China's packaging design field, in the new historical stage of stepping people, needs more rational thinking, a stronger sense of national responsibility, will urge Chinese to create and perfect a new national design system.

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