Products can not be separated from the packaging design of goods, and goods must be a certain form of entity, as the entity's packaging image is bound to be inseparable from the expression of space. The packaging space not only reflects the shape of the packaging, but also reflects the quality of the packaging design. Since ancient times, people have begun to explore and study the understanding of space. These contain spatial views of the Chinese nation's culture and philosophy. From today's point of view, there is enlightening and guiding significance for the study of space expression consciousness in packaging design.
Virtual and Realistic Space Views
"Book of Changes" Preface Cloud: "Easy to have Tai Chi, is the second instrument; Tai Chi, Tao also; two instruments, yin and yang also"; "Say Shu" has "the way to establish heaven and earth Yin Yin Yang"; Dao said: life Two, two and three, all three things. One is Tai Chi, and the other is yin and yang. Everything has yin and yang, everything is a tai chi, a thing is a yin and yang. Obviously, in the eyes of the ancients, anything or phenomenon is coexistence and reality, actuality and reality, and actuality and mutual rooting.
According to the space of virtual reality, the object of packaging design is firstly the unity of opposites of reality and reality. This unity of opposites lies in the coexistence and mutual transformation of the real space and the virtual space of the packaging. So how are the real and virtual spaces of the packaging defined? The space where the package appears in visible form is the real space. The change of real space often leads to the change of the entity form, which can be called the "form space" in packaging design. Virtual space can be divided into external virtual space and internal virtual space in packaging design. The external virtual space refers to the abstract and negative space formed relative to the package entity. The virtual reality contrast between it and the real space forms the external shape of the package; the internal virtual space refers to the enclosed space of the actual space of the package. The abstract, negative space, because of the functions of accommodation, support, and buffering of virtual space, can be referred to as "functional space" in packaging design.
In past packaging design, people often think from the fixed position of real space, neglecting the rational use of abstract and negative virtual space. The ancients have long realized that virtual space is the real space for real functions. For example, the brown palm that has been passed down so far, and the glutinous rice wrapped in a string with a lobe leaf, is not only unique in shape, but also well embodies the accommodation function of the virtual space. "Mr. Zong Baihua said in his book "Space Consciousness in Chinese Poetry, Paintings," that unlike the scientific perspective of Western geometry, the Chinese people prefer to live in an imaginary and lively universe. space. "This point of view we can get from the Chinese traditional "octagonal box" shape to get the answer, octagonal box packaging form in the eight sides of the form outside a large number of external virtual space, very interesting, while its internal angular virtual space also has Buffer and protect the function of the item.
The emphasis on the study of virtual space in packaging design not only enables the packaging to exhibit a unique external form, but more importantly it can give it a perfect packaging function. In the packaging design of the condiment shown in Fig. 1, the bottle cap model has abandoned the usual planar form and adopted an imaginary treatment of the virtual and real complementary space. This not only makes the condiment shape more beautiful in form but also in other similar products. Stand out, and due to the presence of such a virtual space, the dynamic use of the cap is not twisted and capped as the condiment is not as easy to contaminate the consumer's hand. Figure 2 is the use of corrugated paper cups covered coffee, due to the existence of the virtual space formed by the structure of corrugated paper, so that the paper cup has a thermal insulation to avoid the hot function.
Therefore, when we realize the space of virtual reality that the packaging possesses, we realize the importance of the virtual space in the packaging, break the single thinking mode of the physical space, give full play to the imagination and creativity, and we can find a breakthrough to solve the problem. This will improve the versatility of the packaging design.
Tianyuan place of space view
Tianyuan is a kind of understanding of the shape of heaven and earth in ancient China. This kind of understanding has a long history and deep roots. During the two millennia from the Qin and Han Dynasties to the Ming and Qing Dynasties, all the emperors used this knowledge to build squares and squares for the places where they worshiped heaven and earth. The Temple of Heaven and the altar in Beijing are the spatial patterns of the heavens and the earth. This is due to the intuitive experience of the ancient people having distinctly different movement characteristics for objects of different shapes in real life: circular objects have the characteristics of easy rotation, and square objects have the characteristics of stability and movement. Therefore, “Zhuangzi Tiandao†There is a cloud: "It's also moving, it's also quiet." It can be said that Tianyuan is a unique and intuitive cosmic schema of Chinese people. However, the concept of square and round is different from the squares and circles that Chinese people understand in Chinese culture. In traditional Chinese culture, there are not only the “inner circle†(representing a gentle appearance, inner insistence) that represents the personality orientation of the Chinese people, but also the view of life of traditional Chinese scholars who are “between heaven and manâ€. . The square and the circle are not just simple geometric meanings, it contains the philosophical spirit and unique spatial consciousness of Oriental culture.
In modern design activities, square and round spatial semantics are still used frequently. The design of the National Stadium “Bird's Nest†and the National Aquatics Center “Water Cube†of the Beijing Olympic Stadium is a round space pattern. We will also notice that many items packed with traditional cultural details and festive colors are used in square and round spaces, as shown in Fig. 3 and Fig. 4 for cakes and moon cakes. In fact, this preference of the other party's round space is the unique aesthetic habit and spiritual desire formed by the Chinese nation in the sedimentation of its historical culture for thousands of years.
We know that the eggs that represent the beginning of life are round, and the sun that lives on everything is round, so the circle represents perfection, harmony, and all goodness. In the Tang Dynasty, Zhang Zhihe said in "The Empty Songs": "Nothing is too natural, the original of nature. Without creation, the end of nature. Concealed suddenly, its shape is paralyzed." And the square is in the five elements of the soil. Shape, this shape, calm ground, has a smooth and progressive spiritual power. Buddhism also believes that the "□" shape has a cohesive and reinforcing role. It is precisely because of the intuitive and perceptual knowledge of the other party and the circle that Fang and Yuan occupy an extremely important position in the traditional plastic art of our country. Zhou Ping in the article “Design of Chinese Utensil Designs†attributed the language of the three changes in the history of Chinese modeling to the following: the first time it was round, the language was mud; the second time it was square, the language was metal; the third time it was both round and round The language is porcelain, and pottery pots, bronze tripods, and Song Mei bottles are representative examples of the three changes. From this we can see that in the long-term precipitation and practice of cultural history, people have given the inner spirit symbol and external aesthetic criteria of the circle and the circle: the completeness and concord of the circle; the tranquility and calmness of the square. This shows that square and round space still play an important role in the packaging design, especially in the traditional packaging modeling, structural morphology expression. In particular, after the packaging is detached from the surface of the decoration, only the space pattern of the circle and the square will exude traditional flavor, so as to be filled with the natural beauty of "Heaven and Mankind" and the tranquil oriental Zen taste.
Never to be seen again, the spatial view of heaven and earth
"Zhou Yi Tai Xiang Chuan" said: "everything, heaven and earth also." "Pipe" said: "Zhou together, that is, Zhou Heyu. The rotation of the uranium and Yu, then the universe has Yu, Yu In the Middle Ages, "these are the ancients' discussion of space and time, that is, the ancients believed that there was time in space and space in time, which was not related to the time and space in Western Newton's absolute space-time view. This is a combination of time and space. Space concept. The concept of time and space in Chinese language and culture is different from the "before" and "after" in the table time and table space in English. The "before" and "after" in Chinese mean both spatial and temporal relationships. . Therefore, the ancients did not understand the space from the static but from the dynamics to obtain spatial awareness.
Then, how can the dynamics and timeliness of packaging space be understood? We can find the answers from three legends. Figure 5 is a food packaging box. The ingenious aspect of this design is that it presents two different spatial patterns in the process of transporting goods and their own transportation. When used, a space is contained by folding and the flattening spreads out into a plane during the transportation process before use. Compared with other four-side closed food packaging boxes, the space for storing and transporting the packaging box is saved, and not only the cost is reduced. , And easy to use. Figure 6 is a cigarette package with an aluminum foil ashtray designed by the Japanese designer Da Guanzhuo. People talk about this package from the perspective of humanity and environmental protection. From a creative point of view, the original intention of the designer or the original idea came from the fact that he was not satisfied with the design of a cigarette packaging space with accommodation and protection functions. Instead, he saw the inconvenience of the user in the process of using it. s work. Figure 7 is a bottle designed by the American Ai Jimi company. Considering that it is not treated as garbage after use, the protruding bottle mouth of each bottle can be embedded in another depression. After the bottle is used, it passes through the adhesive. A variety of uses, such as children's toys, furniture, storage racks and so on. From the above examples, it can be seen that the success of packaging design lies in the fact that time is taken into account when conceiving the packaging space form, emphasizing the unity of time and space.
The early packaging design activities met the most basic functions of beautification and protection. Their works were mostly designed to design a space form for displaying goods in the store and to achieve the purpose of selling and protecting the goods. Now many designers have realized the limitations of early packaging, and consider the spatial form of packaging in such a dynamic time period. It can be seen that modern packaging design requires that we must have a systematic thinking process that considers a continuous flow in the dynamic process of storing, transporting-commodity display, merchandise use, and recycling after use. Four-dimensional space. In accordance with the requirements of green packaging and humanized design, we design packaging works that can satisfy people's physiological and psychological feelings and have aesthetic space.
Chinese traditional culture goes back to ancient times and has the pursuit of "great wisdom" and "knowledge." After a new interpretation of ancient wisdom, it can open up new ways of thinking for modern people. The interaction between traditional space and modern packaging space will help us to understand and study the packaging space to a certain extent, and further improve the packaging. Practical, aesthetic, and economical functions, and truly realize green packaging and humanized design.
Source: PACK.CN