Conception is the soul of design. It is difficult to formulate formulas such as fixed conception and conceiving procedures in design creation. Most of the creation is from immature to mature. In this process, some or none of them are affirmative. It is a normal phenomenon to modify or add some. The core of the idea is to think about what and how to express two issues. To answer these two questions, we must address the following four points: performance focus, performance perspective, performance techniques, and forms of expression. As in combat, the emphasis is on attacking targets, the angle is the breakthrough, the tactics are tactics, and the forms are weapons. Any one of these links will not be dealt with properly.
First, the focus of performance Focus is the focus of performance content. Packaging design is performed within a limited picture, which is a spatial limitation. At the same time, the packaging is sold to the buyer for a short period of time, which is a limitation of time. This kind of space-time restrictions requires that packaging design cannot be blind and complete, and that everything should be equal to nothing.
The key to the determination of the goods, consumption, and sales of the three aspects of the relevant information to compare and select, the basic point of choice is to help improve sales. The relevant items that will be identified below are listed for reference.
The trademark image of the product, the meaning of the brand;
The product's functional utility, texture properties;
The origin of the product, local factors;
The selling background of the commodity, the target of consumption;
The difference between the product and the current product;
The status of similar packaging design for this product;
The product has a total of its related characteristics and so on.
These are the media information of design ideas. When designing as much as possible to understand the relevant information, to compare and select, and then determine the focus of performance. Therefore, designers are required to have a wealth of knowledge and cultural knowledge related to commodities, markets, and living. The more you accumulate, the wider the conception of the world, the more paths you have, and the more basic your choice of key points.
The selection of key points mainly includes three aspects: the trademark number, the product itself, and the consumption target. Some products with well-known trademarks or brands may use trademark brands as the focus of their performance: Some products with prominent features or new products may use the product itself as the focus; some products that are targeted to users are highly targeted. Packaging can focus on consumer performance. Among them, the performance-focused performance has the greatest performance, which is discussed later. In short, regardless of how they perform, they should focus on conveying clear content and information.
Second, the performance angle This is the deepening after the determination of the form of expression, that is, after finding the main attack target, there must be specific breakthroughs. If the focus is on trademarks and brands, what is the meaning of the image or the brand? If the performance of the product itself is the focus, is it a manifestation of the external image of the product or an inherent property of the product? Is it the performance of a total compositional component or its functional utility? Things have different angles of understanding, and they are more focused on one aspect of performance. This will benefit the expressiveness of performance.
Third, performance techniques are like performance performance and performance perspectives are like goals and breakthroughs, and performance techniques can be said to be a tactical issue. The focus and perspective of performance are mainly to resolve what is being performed. This is only half the problem solved. Good performance techniques and expressions are the vitality of design.
Regardless of how they behave, they must express some characteristics of content and performance. In a broad sense, everything must have its own particularity. Anything must have a certain connection with some other things. In this way, to represent a thing and to represent an object, there are two basic techniques: one is to directly express certain characteristics of the object, the other is to indirectly rely on certain characteristics of the object, and the other is to indirectly use The other things to show things. The former is called direct performance, while the latter is called indirect performance or called performance.
1. Direct performance Direct performance means that the focus of performance is on the content itself. Including the appearance of its appearance or use, usage and so on. The most common method is to use photographic images or open windows to express.
In addition to objective direct performance, there are the following direct performance methods that use supplementary methods.
Set off: This is one of the auxiliary methods that can give the subject more full performance. The image of the set can be concrete or abstract, and care should be taken not to distract from the master.
Contrast: This is a transformation form of set off, which can be called contrast, that is, set off from the opposite side to make the subject get stronger expression in contrast. The contrasting part can be abstract or abstract. In the direct performance, it is also possible to use the method of changing the image of the subject to make its main features more prominent, and induction and exaggeration are more commonly used methods.
Induction: Summarization is to simplify and clarify, and exaggeration is to highlight the changes. The common point of both is to make some changes to the subject image. Exaggeration not only has some trade-offs, but it has also been emphasized that, although the subject image is unreasonable, it is plausible. This method has many vivid examples in folk paper-cutting, clay toys, shadow play modeling, and foreign cartoon art. This kind of expression is full of romantic interest. The exaggeration of the packaging screen is generally attention to the characteristics of being cute, lively, and interesting, and it is not appropriate to use vilification.
Exaggeration: Induction is to simplify and clarify, and exaggeration is to highlight the changes. The common point of the two is to make some changes to the subject image. Exaggeration not only gives a choice but also emphasizes that although the subject image is unreasonable, it is reasonable and reasonable. This method has many vivid examples in folk paper-cutting, clay toys, shadow sculpture modeling, and foreign cartoon art. This kind of expression technique is full of romantic interest. The exaggeration of the packaging screen generally requires attention to the characteristics of being cute, vivid, and interesting, and it is not appropriate to use vilified forms.
Close-up: This is a big deal, with a partial expression of the overall treatment, so that the characteristics of the subject get more concentrated performance. The design must pay attention to the locality taken.
2, indirect performance Indirect performance is more intrinsic performance techniques. That is, the object itself in the representation does not appear on the screen, and the object is represented by other related things. This method has a wider range of performance, and is often used to represent certain attributes or brands, ideas, etc. of the content.
In terms of products, there are things that cannot be directly represented. Such as perfume, wine, detergent and so on. This requires the use of indirect representation. At the same time many or direct performance products. In order to obtain novel, unique, and varied performance effects, they often seek newness and change from indirect performance.
Indirect expression techniques are metaphors, associations, and symbols.
Metaphor: The metaphor is the use of something more than this thing. It is the method of some and the other. The metaphor component used must be the concrete thing and the concrete image that most people understand together. This requires the designer to have a richer knowledge of life. And cultural accomplishment.
Lenovo: The idea is to use a certain image to guide the viewer's understanding to focus in a certain direction. The association created by the viewer complements something that is not directly explained on the screen. This is also a way of expressing one's performance and another. When people watch a design wound, it is not simply visually accepted, but it always produces some mental activity. The consciousness of a certain mental activity depends on the performance of the design, which is the psychological basis of the application of the idea. The media image supported by the joint idea is more flexible than the metaphorical image. It can be abstract or abstract. A variety of specific, abstract images can lead people to a certain association. People can think of happiness from figurative flowers, think of frogs, think of Egypt from the pyramids, think of autumn from fallen leaves, and so on. It is also possible to think of the mountains and rivers from the abstract wood grain, from the horizontal line to the horizon of the sea, from the green to the prairie forest, to think of the passing time. Ice flowers on the window will make people have a variety of associations.
Symbolism: This is the transformation of the combination of metaphor and association. It is more abstract in the meaning of expression, and more expressive in the form of expression. The packaging and decorating design mainly reflects the common meaning of most people and is used to express the meaning of a brand and the abstract attributes of a certain product. Photographic law is contrary to metaphor and thought, and more rational and implicit. Such as the Great Wall and the Yellow River symbolize the Chinese nation, the pyramid symbolizes Egypt's ancient civilization, the Maple Leaf symbolizes Canada and so on. The media as a symbol should have a permanent that cannot be arbitrarily changed in the expression of meaning. In symbolic expression, the symbolic use of color is also important.
Decoration: In terms of indirect performance, some gift wraps often do not use metaphors, associations, or symbolism directly, but perform in a decorative manner. This “decorative†should pay attention to certain tropism, and use this nature to guide the concept. The feelings of the person.
Fourth, the forms and methods of expression form are the problems to be solved. The form is the external weapon, the specific language of the design expression, and the visual communication of the design. The considerations of expression include the following aspects:
How to design the main body chart and non-main body graphics;
Use photos or paintings;
Figurative or abstract;
Realistic or freehand;
Induction or exaggeration;
Whether to use a certain process form; how the size of the area and so on.
What is the overall tone of the color?
How to determine the hue, lightness and purity of each color block, how the different color blocks relate to each other, and how different color areas change. How to design the brand and product name;
How is the font size?
How to deal with the position arrangement of trademarks, subject texts and subject graphics;
What is the relationship between the shapes, colors, and characters of each part;
What kind of arrangement constitutes.
Is it necessary to assist in the decorative treatment;
In the use of gold, silver and texture, how to consider changes in texture and so on. These are all to be scrutinized in the whole process of form consideration.
Text formatting for packaging design
In addition to font design, packaging text is another important factor in forming a packaging image. Arrangement processing should not only pay attention to the relationship between words and words, but also pay attention to the relationship between the rows and the rows, groups and groups. The text layout on the package is based on overall considerations in different directions, positions, and sizes. As a result, it is possible to produce a richer variety of variations than the normal book and ad text arrangement.
In addition to the adjustment of thickness, kerning, and area adjustment, the line spacing and kerning must be clearly different. A more standard text layout is generally four-thirds higher than the height of the word.
The basic requirement for packaging text layout design is based on the content of the content, the primary and secondary of the text itself, starting from the overall, grasping the layout of the key. The so-called emphasis does not necessarily mean a certain part, but it can also be a trend or feature of the overall image.
As for the change of arrangement, it can be varied and there is no certain pattern, but it can be divided into the following common types referring to the second chapter: horizontal form, vertical form, round form, conformal form, ladder form, unevenness Form, form of grass row, form of concentration, form of correspondence, form of repetition, form of pictogram, form of axis, etc. Various forms can be used in combination with each other in addition to being used alone, and more layouts can be evolved in the actual layout.