The graphic image of the packaging in the packaging is essentially two-fold: 1. Packaging packagings in the packaging design 2. Packagings in the packaging design. I. Concept 1 of the packaging, and the classification of the packaging and packagings, in general, can be called packagings. The modern packaging design is no longer a concept in the ordinary sense, it is an integral part of society. A good container can make people feel happy and beautiful, and it can decorate people's lives, influence people's perceptions and promote social progress. 1. The rigid packaging packaging packagings with rigid packagings, 2 in the form required by the rigid packaging packagings, 1 of which are classified as glass metal and plastic sheet metal in packagings shall be designed to meet functional requirements and to meet the requirements of the material process. It's the same as the rest of the world
2. Distinction and targeting of a geographical nature, targeting of different cultural groups at different levels, and conformity with the laws of the united states. 3) there is no ugly, vulgar, socially unfavourable container formation. 4) meet environmental requirements. Packagings and life are the only source of human life, life is the sole source of container design, culture and technology contribute to the rich development of packagings, the relationship between packaging design and anthropo-engineering, packaging design and environmental factors, and packaging design and human craftsman actions against packagings are summarized in the following four categories: master action-opening, movement, shake, support action-touching, generally not less than 2. 5 centimetres in diameter for packagings, which need to be conducted with a high degree of grip, and the size of the packaging is longer than the width of the handband, the basic requirements of the packaging design, the five basic factors for packaging design, the three basic components of packaging construction, and the design of packaging packagings
3, point 1, five basic elements of packaging design a, functional factor b, material of economic factors c, aesthetic model d, production technical factor e, creative factor 2 and the functional function of packaging packaging design is the starting point for packaging design, which includes protective functions, storage functions, convenience functions, sales functions, etc. The material base is the basic means of achieving functional effectiveness, with materials and processes selected according to function and cost in the design, as well as the continuous development of new materials and research into new processes to meet the needs of society. Modelling includes styles, tastes, colours, decorations, etc., which are determined by material and process conditions. 3. Design element a for packaging construction, space for packaging the space for packaging is limited and is determined by the size and distance of the object. In addition to its own capacity space, the packaging has combined space and environmental space. So it's okay
4. The combination space in which the packagings are organized and the overall effects displayed shall also be taken into account in the form of the device. B. Changes in packagings and shapes the line shape and proportion of packagings is an essential factor in determining their beauty, whereas changes in packagings are necessary to enhance the individuality of their design. (1) linear. Packagings are always made of squares and circles and are reflected in a line that combines a straight line with a curve. Organised in a curve with a straight line, making the packaging a contrasting and coordinated whole. (2) proportion is the size relationship between the parts of the packaging, including the top-down, the left-hand, the main and the by-product, the whole and the local. Appropriate arrangements for the proportion of the components of the packaging (e. G. Mouth, neck, shoulder, bottom of the bottle) directly reflect the shape of the packaging. The ratio is based on volume capacity, functional utility, visual effects. (3) modular cutting of basic form
5. Ripples, which produce changes in the shapes, may vary in size, number and radians. In the process of cutting, however, the principle of good form is fully applied, both in terms of contrasting effects and in the pursuit of unity of the whole, so that containers do not appear piecemeal. Discrepancies on container configuration or according to the need for portable extraction or solely for visual uniqueness. The part of the vacancy can be in the center of the container and on the side of the body. The shape of the vacancy element is simple and generally appropriate for a vacancy, avoiding neglecting the issue of volume for purely visual purposes. If functionally required vacancies should be taken into account to take into account reasonable human measures. The partial condensation changes on the packaging can produce special visual effects in a certain light. The condensation shall be coordinated with the entire container. It can be done with the same type of thread on the container, or
6. The passing of rules or irregular muscles causes changes in the overall or local surface of the packaging, resulting in a different sense of quality and a comparison of the light shadow to enhance the stereo feel of the surface. This is a large variation in relation to the conventional uniform rule. Changes in shape may be made by bending, tilting, twisting or other disequilibrium on the basis of basic shapes. Such containers generally have high processing costs and are therefore used mostly for high-end packaging of commodities. This is a modeling technique that achieves a stronger sense of taste and a lively artistic effect through the writing or image simulation of an object to enhance its own presentation. But it has to be simple, general and easy to process. Decoration is decorative in conjunction with the subject, and this variation can strengthen the design personality by comparing it to the material and form of the packaging itself, making it more stylish. The embedding process can take root
7. Packagings are made with straps, hangers, embedding, etc. However, care should be taken that accessories serve only as scalables and do not become too cumbersome to be so loud as to affect the integrity of the main packaging. The feasibility of production processing must be taken into account in any of the above-mentioned variations, as complex formations can make modelling difficult, while formations that are too volatile or too abrupt may make modelling difficult and result in increased waste rates, which may increase relative costs. It is also important to note the special requirements of materials for plastics. The material plays a significant role in the packaging's configuration, because any form we design must be represented by the material selected. (1) for the convenience of modelling and formation processes, the general pattern change cannot be too complex to be full, smooth, and thus have an ancient, luminous national character
8. (2) a glass perfume bottle, because it is made of steel moulds, has greater scope in the linear shape, scale and variation of the packaging. The glass bottles, because of the characteristics of the material, appear to be expensive and rich when loaded into the inner body with a crystall sense of transparency. (3) the metal canisters can only be a straight-up and straight-down cylinder due to technical limitations, with the top zipper replacing the traditional bottlecaps, with advantages such as ease of transport, space savings, imposability, etc. (4) plastic packagings are more flexible in their form than other materials because of their plastic properties. In addition, plastic colour is also widely coloured because of its good colour properties. (5) paperbox v, artistic law 1 for container design, change and harmonization 2, contrast and concord 3, duplicate and respond 4, total and local 5, rhythm and rhythm 6, vibrity and stability 7, scale and scale 8, perceive and misview 6
Step 1, design procedure 2, calculation of capacity, process and effect chart 4, gypsy modelling method, and design procedure for packagings, in roughly eight steps: conduct targeted surveys and data collection in relation to plastics and information; summarize the analysis of the information surveyed; launch the text of the design; select the material process; design image and design description; calculation of capacity; preparation of process and product impact maps; and modelling of the packagings. Capacity is calculated on the basis of a formula: volume x weight = weight, so when the substance in question is water (water weight 1), weight = capacity. The capacity unit is ml. 3 process and effect maps a, presentation methods: three views and effects maps, three views: draws a three-view model based on the principles of the projection: a positive view, a down view, a side view. Place positive view on the main part of the drawing; top of the top of the top view; side view
10. Arrange on the side of the positive view. The purpose of the effect diagram is to present the design intent in a complete and clear manner. It focuses on the expression of different material qualities and the effects of their use in their design. The method of drawing is hand painting and spraying or a combination of both. The effect diagram shall show, to the extent possible, the material, qualitative and sensory effects of the finished product. The bottom colour is simple and clear to be good, not to be confused or loud. B, line type 1) rough lines: visible contour lines used to paint profiles, including profiles for profiles, width: 0. 4-1. 4 mm2) thin lines: lines for drawing clear transformation lines, size lines, size lines, lines from which lines and profiles are drawn ... Width: 14 or more fine lines for rough lines: lines that are invisible in shape, lines that are side-covered but require parts to be prepared ... Width: 12 or more detail lines for thick lines: central lines or axes for drawing shapes, width: 14 or more fine lines for thick lines.
11, 5) wave line: the line of the partial section of the profile used to draw the shape ... Width: 12 or more of the rough line, c, c, d, size, line, as required. The interface between the end of the dimensions line and the dimension line is shown by an arrow table showing the dimensions. The length line is to exceed the length line by approximately 23 mm at the arrow head and the size line is to be marked at a distance greater than 5 mm. Size numbers are written off at the middle of the size line and the method of marking the size requires uniformity. The size number in the vertical direction should be written down. The actual size of the model indicated on the drawings is specified in mm length. So the drawing does not need to rename the unit. Circle model, diameter symbol for diameter numbers, and radius symbol r for radius numbers. The letter " m " represents the proportion in the figure, the first number after " m " represents the size of the graphic and the second number represents the size of the actual configuration. For example: 1. 2. This indicates that the size of the pattern is one half of the object. The chinese characters and numbers in the drawings require thoroughness and clarity. 1 pencil: hb, 2h, 4h each. Paint one ink pen, medium and fine. A straight pen. 1 set of drawing pens or needle pens. Circle: one triangle each capable of changing the tip of a pencil and a duck pen: one for a large and small set of curves or snakes. One drop rule. In addition, drawing paper, leather, etc. Will be prepared. F. Modelling operations design a packaging model, map and write a design description in conjunction with the survey report for the first week of operation. Requirements: 1, mapping includes: three views, profiles, dimensions and impact maps; 2, design specifications require more than 300 words。
