The spatial effect of color in packaging

The form of modern packaging design is not pure art processing. Compared with general pure art, the unity and change of its constituent elements are interlinked. However, as a packaging design for practical art, it also has its own specific adaptability and diversity of performance means. In the design, generally should pay attention to the following points:
Attention to the combination of form and function and material

The three-dimensional shape of the packaging design and the flat processing of each display surface must be combined with functions and materials. The form should first be adapted to the requirements of content protection and usability, while also paying attention to the combination of changes in form and the physical and chemical properties of the materials chosen. It should be prevented from consciously falling into the game of blind forms in the design and formally form. Instead of using forms properly, it will weaken the power of form and even have the opposite effect.

Pay attention to the communication of product information. The packaging can be said to be advertisements for contents. In the design, we must pay attention to the communication function of the package, and we must clearly and accurately convey the content and characteristics of the product. If the packaging of a handkerchief is mistaken for the packaging of socks, then the form of decoration will be beautiful and new, and it will fail.
Formal processing of course has the difference between beauty and beauty, and it is difficult to imagine that a form without aesthetic beauty would be attractive. However, the performance of this kind of beauty should first come from the performance and development of the beauty of commodities. Cosmetics and hardware products have their own beauty; orange juice is beautiful, ink also has its beauty; a scientific beauty of electronic calculators and a decorative beauty of a novel woman. These can all become beautiful resources for packaging. The beauty of form, structure, and material of various commodities can be expressed and played in the beauty of packaging. This is an important basis for the beauty of packaging.

Pay attention to the uniqueness of different aesthetic perceptions of consumer objects. The form of packaging must not depart from the general understanding of the consumer. Beauty and non-beauty refer to the subjective factors of people in terms of their feelings. People of different ages, different genders, different cultures, different occupations, different nationalities, different countries, and the same region often have different aesthetic appreciation and aesthetic tastes. The packaging of children's toys and the packaging of the elderly, the packaging of men's products and the packaging of women's products must be very different. Due to differences in occupation, culture, etc., some people like bright colors, and some Like plain tones. The same is purple, some people feel luxurious, some people feel mysterious. It can be seen that the general packaging form cannot be applied to all people in the society, and the design must be dealt with based on the common understanding of specific consumption.

Pay attention to the timeliness of aesthetic changes The so-called temporality refers to the wide meaning of the times, the annualization, the season, and the specific period of time. People's aesthetic tastes often change with time, and designers cannot be sensitive to them.
The change of time brought about by aesthetic changes often has certain opposite characteristics. The popular aesthetic standards in one stage go to the opposite in the next stage. This is not uncommon. This is important from the perspective of the aesthetic changes in the development of the times. In the past, we paid attention to a balanced and harmonious style. Today, I feel more forceful and dynamic. I am strong and full of change. In modern design, it has become a trend to break the rules and format of the tablet, and to emphasize the originality and freshness of the aesthetic sense. In the past, the tedious style of "Dragon Carving" and "Rococo" have been replaced by the simple, bright style of modern design. In particular, some highly time-consuming commodities, such as winter products, holiday items, commemorative items, cosmetics, etc., put forward more specific time requirements for packaging, and they must not be treated in a specific manner.

Pay attention to the different aesthetic customs in different local places of aesthetic change. Japanese people do not love lotus flowers, but there are all kinds of lotus images in Chinese folk art. China’s folk custom regards owls as ominous things, and in some European countries it regards it as a symbol of wisdom; China often uses yellow as a rich symbol. Color, while the Islamic region uses yellow as the color of death; blue is often used in Egypt to describe the color of the devil; the red tricolor is a poisonous sign in the Czech Republic; the green tricolor is a mark in Turkey, etc. All are different local customs. China has a vast territory. East, South, West, North, China, cities and rural areas, coastal areas and inland areas, ethnic minorities and Han areas, etc., all have different perceptions of formal beauty. Therefore, the packaging design is well adapted to the choice and acceptance of consumers in different places, and it is necessary to conduct corresponding investigation and research.
In particular, some products themselves have strong local characteristics, and their packaging design should pay attention to the performance of such local characteristics. For example: Longjing in Suzhou and Hangzhou, Huadeng in Shaoxing, ceramics in Jingdezhen, Gongxi cakes in Beijing, Chinese herbal medicine, chopsticks, and four treasures in China. In the form of packaging design, local style and ethnic characteristics should be fully reflected.

Pay attention to the comparison of the packaging of similar products to the similar packaging design of similar products, which is an important part of packaging design. The design should clearly emphasize different points based on the above-mentioned points, ingenuity, and strive to design novel packaging with unique personality.
From the perspective of the world packaging trends, the 30s and 40s tend to be uniform and cumbersome decorative effects, and in the 1950s and 1960s, they tend to be simple and simple styles. From the 1970s to the 1990s, new trends of development emerged, and the form of decoration was more focused on change, emphasizing loud advertising performance on a simple, crisp basis.
It goes without saying that packaging design, as a means of marketing products, must pay attention to the competitiveness of design and seek new changes. As for the traditional style of packaging for certain products, it is not subject to abrupt changes. It is also trying to maintain its certain sales stability. Once this stability is shaken, it must be updated in a timely manner. Therefore, the form of packaging should be treated with significant differences compared to similar designs. Pagination: [1] 2

Pay attention to the diversity of formal means When we watch a piece of packaging design, we do not simply accept it visually, but we must accompany the visual communication to produce a certain psychological response. This kind of psychology is called "lively", "noble", " Refined and so on. The first depends on the objective condition of the object being viewed. This condition is not only the graphic and color, it also includes the three-dimensional shape, texture, structure style, processing technology, etc. These various factors together constitute a visual infection of a packaging design. force. If one of them fails, it will weaken the appeal. Therefore, in order to achieve the diversity of decorating beauty, form beauty, structural beauty, material beauty, and craft beauty, designers are required to have various forms of processing methods, have certain knowledge about materials and techniques, and strive to learn new ones immediately. information.

Resolution and size

The two issues of resolution and size are almost more confusing than anything else related to scanning and input. What is the role of resolution in digital images? What kind of input resolution should I use when scanning original drawings? How high resolution is enough to ensure high quality output and what kind of resolution is not too high? When is it best to resize the image and what method is best to resize the image? What is the resolution? and many more.

What is resolution?

If various terms in the field of digital imaging are regarded as actors, then in terms of versatility, "resolution" can win an Oscar. Regardless of the "dressing" and "character" of resolution, one of its most basic facts is that it is always used to describe the amount or density of digital information, so any discussion about resolution is inseparable from pixel and net. The relationship between grid characteristics, and the pixel and grid are the basic components of a raster device for a scanning device or an output device to reproduce. Now let's discuss the properties of pixels by placing the resolution in the digital imaging environment.

Pixel Attributes The original grayscale or color photo has a continuous hue, that is, a smooth transition between adjacent colors or shadows, but the computer does not understand any continuous thing, the information is divided into independent processing Units, pixels (graphical elements) are the smallest units that can be used to measure image data. The complexity of reproducing all digital images is to use these separate, discrete small elements to simulate continuous tones. Each pixel in a raster image has four basic characteristics: size, hue, color depth, and position. These four attributes all help define the resolution from different perspectives.

Pixel Size All pixels in the same image are the same size. Initially, the size of the pixel is determined by the resolution used when the image is scanned, i.e., when the image is captured digitally. For example, a resolution of 600 ppi scanning means that each pixel is only six hundredths of an inch. The higher the input resolution, the smaller the pixels, which means that each metric unit has more information and potential details, and the hue looks more continuous; the lower the resolution, the larger the pixel. The smaller the detail of each metric unit, it looks somewhat rough. The combination of pixel size and number in an image determines the total amount of information it contains. At any time during the production process, the pixel size can be changed by simply changing the resolution. If your output is used for printing, then changing the resolution automatically changes the size of the print.

A color or tone or filmless camera assigns a color or grayscale value to each pixel in the image. When the pixel is small and the color or tone of the adjacent pixel changes little, it will create a continuous Tonal illusion. Images scanned using a device with a low noise figure and wide dynamic range exhibit a very natural continuous tone because they include a particularly wide tonal range from light to dark. Tip: The detail in the image is a function of the pixel size and tonal range, the pixel size is directly related to the resolution, and the tonal range is determined by the dynamic range of the scanning device.

A single pixel of color depth can only give it a value, and it is the bit depth or color depth of the digitizer that determines how many potential colors or shades can be used for assignment. Although each additional bit can increase the smoothness of the transition between adjacent colors and shades, it requires more file storage space.

Pixel Position A raster image is simply a grid of many individual pixels. Each pixel has a definable horizontal and vertical position within the grid. In most major image editing programs, the coordinate position of any pixel can be obtained by moving a tool called Eyedropper on the graph. The physical size of the grid is determined by the total number of pixels and the resolution, which in turn determines the relative position of each pixel.

Source: Color Science