The famous cultural anthropologist Malinowski said: "In human social life, the needs of all living organisms have been transformed into cultural needs." Modern packaging design is based on culture and life-based. Modern-oriented design disciplines. Therefore, both in theory and in practice, we should treat packaging design as a form of culture.
The packaging design cultural structure level culture is the sum of the material wealth and spiritual wealth created in the human history practice process. So can the packaging design culture include all people’s behaviors and the things created by satisfying these behavioral patterns, and based on these The psychological concept formed by the aspect? In general, these complex components of many design cultural elements can be divided into three levels.
First, the physical layer of packaging design, which is the surface layer of design culture, mainly refers to the material carrier that contains the elements of design culture. It has the characteristics of materiality, foundation, and degeneration. Such as various packaging design departments and packaging design products, places for exchange of goods and consumers in the use of packaging products, such as consumer behavior.
Second, the packaging design organization system layer, which is the middle layer of design culture, is also the materialization of design culture inner layer. It has strong characteristics of the times and continuity. It mainly includes the coordination of the relationship among the various elements of the design system, the standardization of design behavior and the judgment and correction of the organizational system of design. Countries with relatively advanced packaging design culture in the world have their own relatively complete organizational systems. In countries where packaging design culture is relatively backward, the organizational systems are largely incomplete. They are scattered in other organizational systems such as policies, economics, culture, and law, and do not have sound and independent systems and status. If there is no such level, the design individual will be in disorder.
Third, the conceptual layer of packaging design. It is a state of cultural psychology. It is at the core and dominant position. It is the basis and basis for all activities of the design system elements. The impact of the development of science and technology, productivity enhancement, and cultural advancement on the culture of packaging design is mainly manifested in the aspects of production and life concepts, values, thinking concepts, aesthetic concepts, moral and ethical concepts, and national psychological concepts. . It is the most stable part of designing the cultural structure and the soul of design culture. It exists in people's hearts. If there are developments and changes, it will eventually be expressed directly or indirectly at the organizational system level, and thus stipulate its own development and laws, absorb, develop or repel the elements of heterogeneous culture, and design culture. development trend.
The three aspects of the packaging design culture structure are related to each other and form a system that constitutes an organic whole of the packaging design culture. The material layer of packaging design culture is the most active factor. It is active and frequent, and exchanges are convenient. At the same time, the development of the packaging design culture is always reflected in itself. Such as China’s reform and opening up, learning advanced science, culture and technology from abroad, the infiltration of decorations is playing a leading role in this cultural shock. In the market, product packaging is updated and emerged in an endless stream. The organizational system is the most authoritative factor. It stipulates that the overall nature of the packaging design culture is an important link for maintaining the inter-group relationship of design, and it is also a guarantee for the scientific and effective implementation of packaging design. This level consists of a set of intrinsic criteria systems, which is the yardstick for packaging designers to engage in design activities. In addition, the inner layer of psychological awareness is correspondingly more conservative and stable, which is the core of design culture. Different design concepts will bring different behavioral styles and social outcomes, recognizing new requirements imposed on us by the new environment, and mastering new ideas, concepts, and new methods that meet such new requirements. This is the new design concept. height. The three parties are interdependent, integrated with each other, and infiltrated with each other, and are reflected in each specific packaging design activity and design work.
The nationality of the packaging design culture and the cultural elements of the era packaging culture spread in time and space. In a certain space existed, that is, the certainty associated with the same social person, the nationality of the packaging design culture was born; because the culture existed for a certain period of time, that is, the inevitable social historical change, the era of packaging design culture was born. Sex. Nationality and modernity constitute the social attributes and essential attributes of packaging design culture.
The nationality of packaging design culture involves the occurrence of culture. Just because the culture of the world does not come from the same source, of course there is a national problem. The nationality of packaging design culture is mainly reflected in the conceptual level of the packaging design culture structure, which reflects the psychological commonality of the entire nation. Different nationalities and different environments create different cultural concepts and are directly and indirectly expressed in their own design activities and products. Such as the German design of science, logic and rigorous, rational style, Japan's novel, dexterous, thin and exquisite and full of human features, as well as Italian design elegance and romantic sentiment, these are all born in their different ethnic cultures In the atmosphere of ideas. The smoothness, completeness, symbolism, and completeness and symmetry of Chinese packaging design are also the reflection of the introverted psychological characteristics and relatively conservative social consciousness of the Chinese people.
Because the design organization system is born out of the concept of design consciousness, it is the materialization of design consciousness, and is derived from the national design consciousness. Therefore, the activities and practical results under the guidance of the people's design concept have put on different national colors. National brand imprint.
Of course, the nationality of packaging design culture is not only a side of stability and conservation. It is in the unity of opposites with the times, with the development of social life and social concepts, and it is constantly updated in the unity of its own opposites. , to develop its own characteristics. Therefore, we must not be embarrassed by the self-centered consciousness and embark on the path of national standardization; otherwise, we will surely stop at our own projectile land.
The packaging design culture is both ethnic and contemporary.
After the formation of a national community, it has formed a long and turbulent historical development process. At different stages of this historical process, the national culture will show a series of characteristics of the times. As long as we recognize the acceptance and development of packaging design culture, there is a time of packaging design culture. This is because the packaging design culture is first a process of historical development. It is the superposition and acceptance of the design culture in each era of the nation. It is based on the material society of the era and is the accumulation of traditional design culture and its continuous abandonment. Unity of opposites, the unity of opposites between historicity and reality.
Packaging design culture has its time, mainly reflected in the organizational structure of the packaging design culture and the material outer layer. However, design is closely related to the times and focuses on concepts. With the globalization of economy and the rapid development of science and technology, the subjective forms of society have undergone fundamental changes. In particular, the widespread and high-speed dissemination of information, the escalation of the concept of openness became fiercer, the diversity of social structures and values, and aesthetic concepts, the frequent exchanges between people, the increasing demands of society and people, and the dissimilation of industrial culture. The energy, environmental and ecological crisis that comes with it. In the face of all this, we can adapt to it and use it to make packaging design a product of the times. This has become an important task for designers today.
The epochal characteristics of packaging design culture naturally make our design activities and products impossible to measure with an absolute standard. Different eras have their own standards. They can't regard today's or yesterday's standards as absolute, unique standards. The judgement of historical design culture must recognize that it is historical, and the packaging design culture of each era has its own Absolute content, has its own concept system, has its own historical development status, has the mark of this era, so it has the corresponding limitations of the times. Without these understandings, we cannot have a comprehensive grasp of the era of packaging design culture.
The nationality and the era of packaging design culture are both content and form. These two basic attributes, at the three levels of the cultural structure of packaging design, generally speaking, the material aspect is more rich in the times, and therefore it is the most active factor, and it is most easily accepted and popular by people. The psychological level has strong nationality, is relatively stable and conservative, and therefore changes slowly. When two heterogeneous packaging design cultures come into contact under equal or unequal conditions, the first thing that is discovered by each other is the outer layer of the material. After learning it for a long time, we can gradually recognize the middle level, that is, the institutional level of the theoretical organization. In the end, we can appreciate the core level of each individual, that is, the level of psychological concepts. The development of Japan's post-war packaging industry, and the introduction of material technology equipment from the reform and opening up of China's packaging industry, to the introduction of various advanced organization and management systems, and the penetration of modern packaging design concepts all illustrate this point.
The formation and development of nationality are mostly based on fashion. The national nature of packaging design culture means the choice of the times. In inheriting the value orientation of traditional cultural issues, inheritance is the basis and transcendence should be the trend. Designers must clearly understand the surrounding world and its development trends, and at the same time see the close relationship between design and various disciplines, so as to consciously update and expand our knowledge, get rid of the paradox of traditional ideas, and promote the renewal and development of packaging design culture.
Each ethnic group's packaging design culture forms a design culture system, and each ethnic group's packaging design culture of a certain era also forms its own cultural system. Different packaging design culture systems contain some common cultural factors and also include some different cultural factors. The former shows the universality of packaging design culture, while the latter shows the particularity of packaging design culture. And each nation’s packaging design culture has its own human part. The human nature of packaging design resides in the nationality, and the universality lies in the particularity. This is a dialectical unity of packaging design and culture.
China's packaging design, in terms of thinking modes, value judgment methods, social organization methods, design methods, and design forms, will continue to be absorbed and updated in many aspects as the times progress, in order to establish and improve an existing nation. The new packaging design culture system of sex and time. This is the requirement of the times, and the necessity of history is the key to China's packaging design level being among the most advanced in the world.
The packaging design cultural structure level culture is the sum of the material wealth and spiritual wealth created in the human history practice process. So can the packaging design culture include all people’s behaviors and the things created by satisfying these behavioral patterns, and based on these The psychological concept formed by the aspect? In general, these complex components of many design cultural elements can be divided into three levels.
First, the physical layer of packaging design, which is the surface layer of design culture, mainly refers to the material carrier that contains the elements of design culture. It has the characteristics of materiality, foundation, and degeneration. Such as various packaging design departments and packaging design products, places for exchange of goods and consumers in the use of packaging products, such as consumer behavior.
Second, the packaging design organization system layer, which is the middle layer of design culture, is also the materialization of design culture inner layer. It has strong characteristics of the times and continuity. It mainly includes the coordination of the relationship among the various elements of the design system, the standardization of design behavior and the judgment and correction of the organizational system of design. Countries with relatively advanced packaging design culture in the world have their own relatively complete organizational systems. In countries where packaging design culture is relatively backward, the organizational systems are largely incomplete. They are scattered in other organizational systems such as policies, economics, culture, and law, and do not have sound and independent systems and status. If there is no such level, the design individual will be in disorder.
Third, the conceptual layer of packaging design. It is a state of cultural psychology. It is at the core and dominant position. It is the basis and basis for all activities of the design system elements. The impact of the development of science and technology, productivity enhancement, and cultural advancement on the culture of packaging design is mainly manifested in the aspects of production and life concepts, values, thinking concepts, aesthetic concepts, moral and ethical concepts, and national psychological concepts. . It is the most stable part of designing the cultural structure and the soul of design culture. It exists in people's hearts. If there are developments and changes, it will eventually be expressed directly or indirectly at the organizational system level, and thus stipulate its own development and laws, absorb, develop or repel the elements of heterogeneous culture, and design culture. development trend.
The three aspects of the packaging design culture structure are related to each other and form a system that constitutes an organic whole of the packaging design culture. The material layer of packaging design culture is the most active factor. It is active and frequent, and exchanges are convenient. At the same time, the development of the packaging design culture is always reflected in itself. Such as China’s reform and opening up, learning advanced science, culture and technology from abroad, the infiltration of decorations is playing a leading role in this cultural shock. In the market, product packaging is updated and emerged in an endless stream. The organizational system is the most authoritative factor. It stipulates that the overall nature of the packaging design culture is an important link for maintaining the inter-group relationship of design, and it is also a guarantee for the scientific and effective implementation of packaging design. This level consists of a set of intrinsic criteria systems, which is the yardstick for packaging designers to engage in design activities. In addition, the inner layer of psychological awareness is correspondingly more conservative and stable, which is the core of design culture. Different design concepts will bring different behavioral styles and social outcomes, recognizing new requirements imposed on us by the new environment, and mastering new ideas, concepts, and new methods that meet such new requirements. This is the new design concept. height. The three parties are interdependent, integrated with each other, and infiltrated with each other, and are reflected in each specific packaging design activity and design work.
The nationality of the packaging design culture and the cultural elements of the era packaging culture spread in time and space. In a certain space existed, that is, the certainty associated with the same social person, the nationality of the packaging design culture was born; because the culture existed for a certain period of time, that is, the inevitable social historical change, the era of packaging design culture was born. Sex. Nationality and modernity constitute the social attributes and essential attributes of packaging design culture.
The nationality of packaging design culture involves the occurrence of culture. Just because the culture of the world does not come from the same source, of course there is a national problem. The nationality of packaging design culture is mainly reflected in the conceptual level of the packaging design culture structure, which reflects the psychological commonality of the entire nation. Different nationalities and different environments create different cultural concepts and are directly and indirectly expressed in their own design activities and products. Such as the German design of science, logic and rigorous, rational style, Japan's novel, dexterous, thin and exquisite and full of human features, as well as Italian design elegance and romantic sentiment, these are all born in their different ethnic cultures In the atmosphere of ideas. The smoothness, completeness, symbolism, and completeness and symmetry of Chinese packaging design are also the reflection of the introverted psychological characteristics and relatively conservative social consciousness of the Chinese people.
Because the design organization system is born out of the concept of design consciousness, it is the materialization of design consciousness, and is derived from the national design consciousness. Therefore, the activities and practical results under the guidance of the people's design concept have put on different national colors. National brand imprint.
Of course, the nationality of packaging design culture is not only a side of stability and conservation. It is in the unity of opposites with the times, with the development of social life and social concepts, and it is constantly updated in the unity of its own opposites. , to develop its own characteristics. Therefore, we must not be embarrassed by the self-centered consciousness and embark on the path of national standardization; otherwise, we will surely stop at our own projectile land.
The packaging design culture is both ethnic and contemporary.
After the formation of a national community, it has formed a long and turbulent historical development process. At different stages of this historical process, the national culture will show a series of characteristics of the times. As long as we recognize the acceptance and development of packaging design culture, there is a time of packaging design culture. This is because the packaging design culture is first a process of historical development. It is the superposition and acceptance of the design culture in each era of the nation. It is based on the material society of the era and is the accumulation of traditional design culture and its continuous abandonment. Unity of opposites, the unity of opposites between historicity and reality.
Packaging design culture has its time, mainly reflected in the organizational structure of the packaging design culture and the material outer layer. However, design is closely related to the times and focuses on concepts. With the globalization of economy and the rapid development of science and technology, the subjective forms of society have undergone fundamental changes. In particular, the widespread and high-speed dissemination of information, the escalation of the concept of openness became fiercer, the diversity of social structures and values, and aesthetic concepts, the frequent exchanges between people, the increasing demands of society and people, and the dissimilation of industrial culture. The energy, environmental and ecological crisis that comes with it. In the face of all this, we can adapt to it and use it to make packaging design a product of the times. This has become an important task for designers today.
The epochal characteristics of packaging design culture naturally make our design activities and products impossible to measure with an absolute standard. Different eras have their own standards. They can't regard today's or yesterday's standards as absolute, unique standards. The judgement of historical design culture must recognize that it is historical, and the packaging design culture of each era has its own Absolute content, has its own concept system, has its own historical development status, has the mark of this era, so it has the corresponding limitations of the times. Without these understandings, we cannot have a comprehensive grasp of the era of packaging design culture.
The nationality and the era of packaging design culture are both content and form. These two basic attributes, at the three levels of the cultural structure of packaging design, generally speaking, the material aspect is more rich in the times, and therefore it is the most active factor, and it is most easily accepted and popular by people. The psychological level has strong nationality, is relatively stable and conservative, and therefore changes slowly. When two heterogeneous packaging design cultures come into contact under equal or unequal conditions, the first thing that is discovered by each other is the outer layer of the material. After learning it for a long time, we can gradually recognize the middle level, that is, the institutional level of the theoretical organization. In the end, we can appreciate the core level of each individual, that is, the level of psychological concepts. The development of Japan's post-war packaging industry, and the introduction of material technology equipment from the reform and opening up of China's packaging industry, to the introduction of various advanced organization and management systems, and the penetration of modern packaging design concepts all illustrate this point.
The formation and development of nationality are mostly based on fashion. The national nature of packaging design culture means the choice of the times. In inheriting the value orientation of traditional cultural issues, inheritance is the basis and transcendence should be the trend. Designers must clearly understand the surrounding world and its development trends, and at the same time see the close relationship between design and various disciplines, so as to consciously update and expand our knowledge, get rid of the paradox of traditional ideas, and promote the renewal and development of packaging design culture.
Each ethnic group's packaging design culture forms a design culture system, and each ethnic group's packaging design culture of a certain era also forms its own cultural system. Different packaging design culture systems contain some common cultural factors and also include some different cultural factors. The former shows the universality of packaging design culture, while the latter shows the particularity of packaging design culture. And each nation’s packaging design culture has its own human part. The human nature of packaging design resides in the nationality, and the universality lies in the particularity. This is a dialectical unity of packaging design and culture.
China's packaging design, in terms of thinking modes, value judgment methods, social organization methods, design methods, and design forms, will continue to be absorbed and updated in many aspects as the times progress, in order to establish and improve an existing nation. The new packaging design culture system of sex and time. This is the requirement of the times, and the necessity of history is the key to China's packaging design level being among the most advanced in the world.
The origin of Fishing Umbrella:
As the Book of Songs said "what, then what Li Suo" fish are wearing hats, wearing hygrophila, to shelter. Over the past ten years, with the development of Chinese economy, improvement of people's living standard, more and more fishing enthusiasts all over the country, the use of equipment and the more diverse and upscale. Some discerning Umbrella factory began to sun umbrella is improved to adapt to the use of fishing environment. These manufacturers are mainly concentrated in Zhejiang, the earlier development of manufacturing fishing umbrella such as ball, Yongfa, boyde shield, long day. After more than 10 years of accumulation, developed dozens of types fishing umbrella, including umbrella cap, Tent umbrella. In foreign countries, the UK is belonging to the earlier manufacturing and use fishing umbrella, is mainly combined with Beach Umbrella and tent. British people like that inserted in the sand beach umbrella, fishing umbrella to Sub cartridge to plug fixed, and for the convenience of fishing to throw, umbrella mounted on a variety of elbow, in order to prevent wind, with the wind plug, ventilation and so on, and Aluminum Alloy and fiber materials to reduce the weight of the umbrella, which are now the market popular fishing umbrella.
Category:
At present, fishing umbrella does not have a unified official standard, according to the provisions of the main manufacturers in the industry, from the umbrella surface diameter of roughly 1.8 meters, 2 meters, 2.2 meters to several dimensions (considering bending); distinguished from the cloth, polyester, rubber cloth; from the umbrella, and Ma sand bar, galvanized steel rod, aluminum rod; style, some with an opening, convenient from pole. Some have double umbrella ventilation function, other beautiful. It can be said that the pursuit of fishing umbrella is not only at the function, a sleek design, advanced fishing umbrella, the fishing is appreciating variety and culture and enjoy fishing.
Further development:
Portable, durable, anti ultraviolet radiation and wind and rain, beautiful shape, is the future trend of development, the current fishing umbrella in waterproof still need to be improved. To solve and improve the quality of the products rely on new materials and new technology. As a younger generation fishing umbrella umbrella in the family, there are a lot of space for development.
Fishing Umbrella
Straight Fishing Umbrella,Outdoor Fishing Umbrella,Durable Fishing Umbrella,Windproof Fishing Umbrella
Ningbo Vesta Leisure Products Co., Ltd. , http://www.vesta-leisure.com