Packaging design should highlight national cultural elements

Packaging is not just a container for wrapping and containing items. It is also a manifestation of culture and a material carrier for specific cultures.

All kinds of modern packaging are constructed under the influence of numerous and varied cultures, reflect a certain cultural connotation and are always under the constraints and nourishment of various cultural behaviors. The precise cultural orientation is where the “soul” of packaging lies, and is an important condition for the formation of high value-added packaging products. Packaging with unique cultural heritage will help to more artistically display the temptation of commodities. With high-end cultural grades of product packaging, it will also have more intense and lasting appeal and even deterrence. "The more ethnic the world is, the more it is in the world." The distinctly distinctive national culture, either elegant or simple, or mixed with vulgarity, may be the source of the charm of today's designs. The expressions of local culture and artistic characteristics in ethnic cultures, such as calligraphy, painting, paper cutting, embroidery, knitting, poetry, and dance, are skillfully applied to packaging and decoration and even to packaging structure design. A strong sense of national identity. This sense of nationality, whether it is for the national consumer or for other national consumers, is very likely to be an important source of its sense of identity for packaging and goods - the former because of resonance and the latter because Curious and agreeable.

Every nation has its own aesthetic concept, aesthetic taste, and aesthetic conventions that are different from other peoples. These "local" characteristics are often the basis of design innovation. Designers are disregarding national culture and regional characteristics, and are eager to meet the public's taste. The pursuit of so-called "pop colors" and blind imitation follow suit makes it difficult to identify the starting point for innovative design, and it is difficult to establish a foothold in the highly competitive design market. At present, on the road to the construction of packaging power in China, the marginalization of ethnic culture in packaging design has become an important bottleneck restricting the development of packaging. On the one hand, it is common for packaging to ignore regional culture and dilute the personality of goods. On the other hand, Chinese packaging goes further and further on the road of abandoning local characteristics and advocating Westernization. Do not you see, a lot of homemade and exclusively for the domestic coffee packaging and decoration are also blindly pursue Westernization, full of foreign symbols, and we are familiar with the Chinese characters but can only huddled in the inconspicuous corner, it seems that only the foreign symbol can display this kind of " The identity of the imported product not only affected the shaping of its own brand image, but also caused inconvenience to consumers. In recent years, such local packaging has become more and more inexorable, and its original intention may be to better integrate with the international community. However, it does not know that such an approach has made us more vulnerable to international packaging. The aesthetic desire of “globalization” has become the biggest obstacle to packaging “globalization”!

To interpret a design work, in addition to examining its functions, what is more important is the interpretation of its cultural speculation and meaning. The reason why many excellent packaging designs can become classics is often the right use of the essence of traditional culture. It truly integrates the connotations of national culture. It not only reflects the era of packaging design, but also reflects the different regions and ethnic groups. The history, cultural features and aesthetic orientation. In fact, only by drawing on the different customs and cultural expressions of different ethnic groups and excavating the elements of local characteristics from materials, structures, forms, patterns, and characters, and giving them the connotation of the times, can we design packaging products that attract world attention. Huang Yongyu's "drunk wine" packaging is the use of the cultural elements of Xiangxi farmyard hemp collection to become the classic wine packaging; Anhua black tea bamboo basket packaging and Mongolia, Xinjiang, Qing, Tibetan and other place ghee packaging, also All of them use the most local packaging materials and original ecological packaging to become a near-famous classic packaging. In addition, the Xinghua Village on the “alcoholic” packaging box and the riverside map of Qingming River on the “Songhe Grain and Liquid” packaging box are the highlights of cultural rendering. In today's technology-oriented materialization era, we must grasp the culture of packaging design and rationally integrate the essence of excellent traditional culture, especially regional culture, with modern design elements. Creation is not only in line with the aesthetic tastes of today’s people, but also distinctive. Ethnic and regional characteristics, and packaging works that combine practicality, interest, and culture are especially important. Only in this way, our packaging design will not be assimilated simply in the tide of international cultural exchanges, and then the charm of packaging will disappear in the same technology replication. Only when nationalization and localization have been achieved, internationalization of packaging has become possible because of its rich and varied connotations.

Each country has its own national style because of its unique geographical environment, climatic conditions, customs, and traditional culture. The culture of any ethnic group is an important part of world culture. The infiltration of ethnic cultures is tantamount to a "reinforcement" for the increasingly secular and shallow modern packaging design, and is an important magic weapon to promote the real "globalization" of packaging. Of course, emphasizing nationalization and localization does not mean blindly rejecting all Western designs. In fact, it borrows from Western advanced design concepts, closely follows product features, and uses technological means to interpret traditional cultural content in novel forms. Through the re-creation of cultural elements of the nation, a brand-new packaging image will be constructed to allow consumers to enjoy the genuine ethnic customs in the aesthetic feast of the aesthetics and the human atmosphere of the pro-parents. This will be the highest level of product packaging. In addition, the use of packaging design for national culture is not limited to the culture of the nation, especially for the packaging design of export goods, not only should pay attention to the Chinese nation's unique culture, with its relative novelty to win the foreign consumers. We must also be good at understanding the culture of ethnic groups outside the region, especially the folk customs and taboos in the ethnic culture outside of the country (for example, the French are afraid of peacock and cranes are opposite to Chinese worship). The well-known Esso Oil has invested hundreds of millions of dollars in huge amounts of money to organize its dozens of experts and send thousands of people almost globally in order to realize its brand image. Investigate the language habits, characters, customs, and taboos of many ethnic groups. At the same time, we thoroughly explore Esso’s brand and image recognition. It took several years to finalize the brand name and image recognition of its packaging design and achieved great success. . It can be seen that knowing oneself and knowing oneself and fighting each other is not a battle. This traditional method of warfare is also applicable to the battle of packaging in the new era.

Hypochlorous acid (HOCl or HClO) is a weak acid that forms when chlorine dissolves in water, and itself partially dissociates, forming hypochlorite, ClO−. HClO and ClO− are oxidizers, and the primary disinfection agents of chlorine solutions.[2] HClO cannot be isolated from these solutions due to rapid equilibration with its precursor. Sodium hypochlorite (NaClO) and calcium hypochlorite (Ca(ClO)2), are bleaches, deodorants, and disinfectants.

Hypochlorous acid was discovered in 1834 by the French chemist Antoine Jérôme Balard (1802–1876) by adding, to a flask of chlorine gas, a dilute suspension of mercury oxide in water.He also named the acid and its compounds.

In organic synthesis, HClO converts alkenes to chlorohydrins.
In biology, hypochlorous acid is generated in activated neutrophils by myeloperoxidase-mediated peroxidation of chloride ions, and contributes to the destruction of bacteria.
In the cosmetics industry it is used on the skin.[citation needed] It is also used in baby products.[citation needed]
In food service and water distribution, specialized equipment to generate weak solutions of HClO from water and salt is sometimes used to generate adequate quantities of safe (unstable) disinfectant to treat food preparation surfaces and water supplies.
In water treatment, hypochlorous acid is the active sanitizer in hypochlorite-based products (e.g. used in swimming pools).
Similarly, in ships and yachts, marine sanitation devices use electricity to convert seawater into hypochlorous acid to disinfect macerated faecal waste before discharge into the sea.

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