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 all be the source of the charm of today's designs. The expressions of rich local characteristics and artistic characteristics in ethnic cultures, such as calligraphy, painting, paper cutting, embroidery, knitting, poetry, dance, and other art forms, can be applied to the packaging and decoration and even the 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 make 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 cultures 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 affects the shaping of its own brand image, but also brings 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 our position in international packaging increasingly fragile. The aesthetic desire of “globalization†has become the biggest obstacle to packaging “globalizationâ€!
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 “drunk wine†packaging box and the riverside map of Qingming River on the “Song River 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 has distinctive features. 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 simply assimilated in the tide of international cultural exchange, 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.