Conceptual language in packaging creative design

3 Creative Theme Concept

Creative concept has become the most typical essential characteristic of design. It is the design of an inner ideological tendency and directional development. It uses the most appropriate form and skill to make materialized realization of visual graphics, and imprints the image of the objective world. From the heart of the world, it will induce and attract people's sights, quickly, quickly and accurately grasp the key points, hit the target, and finally increase the attention value of the screen, and complete the combination of design and creativity. The honesty and ambiguous traditional Chinese character design is a materialized form of the most crystallization of Chinese cultural thoughts. It appears to be plain and natural. It is confirmed through the change in color between the blackness of the darkness and the whiteness of the ice. Internal cultural conservation, sexual conduct and social customs. The exaggeration and reconciliation of the “ink and rain, 蝉露秋枝” ink painting exquisitely reveals the viruality of reality and the rhythm of time, the rhythm of space and the ambience of space. It symbolizes the aesthetic psychology and value of neutralization at the time of swing. The orientation is based on imaginary reality, imaginary and truthful, imaginary and truthful, and imaginary and practical. It actively recognizes nature, approaches nature, materializes nature, and creates a tacit understanding between the objective object and human beings, transcends appearance, and brings people across time and space. A sensational, imaginative and imaginary world of transmutation, "rewarding flowers and walking on the moon, leaning on the path of walking through the fields," admires the traditional, sacred, interesting, affectionate, and thoughtful traditions. “Everything is right, and the beginning of the spring” is influenced by traditional imagery. Bathing Mr. Chen Youjian’s works is thought-provoking and can be prepared. His “ancient for the present” poster design uses Chinese characters “Ancient” as the main body to construct a full picture, interpreting an agitation, exquisiteness, innocence, liveliness, splendor and deep space-time effect. Bone-like shape, with straight lines, guided by lines, and a clean, clear-headed, God has a spirit to replace the “mouth” shape of the “old” character with flowing, cyclical, compound, axillary, and smooth jaundice. A modern orange pencil symbolizing Jiaotai, Tongtai, and Kaitai was used to adorn the "Ten" shaped upper part of the "Ancient" character. With simple and elegant beauty, elegant style, transmigration, magnificent masterpiece sketches against the ancient characters, the movement of potential energy, the fusion of ancient and modern, wonderful annotation of the characteristics of Chinese culture and emotional pursuit , Delicate evidence of the transformation of space and time and the inheritance of the channel. The introduction and application of Western design concepts have made the entire schema richer in national characteristics, and the composition of the two points and one type has made the natural ontology of objective images become a rhythmic visual language. With a small outlook, the traditional aesthetic consciousness of broadness, simplicity, and subtlety is displayed in a large-scale meteorological, large-scale, and large-scale poster form. Dignified and flowing, empty and smashing, without hesitation, left a "Fan sounds around the beam" of the play space.

Beauty is stateful, energetic, funny, affectionate, and motivated. Lips and sandalwood are blessed on the day, and the starry eyes are slightly blurred. God is as refreshing as the moon. God is as beautiful as a flower, and looks like a jade pot, and the rhythm is as if it is floating, such as Qingyan and Qingyan. There is no light and no night, and the poems are scattered. The poetry is the heart, and the ink and the ink are incense. Mr. Tanaka Taguchi, the vice president of the Japan Graphic Designers’ Association, sang the "Japanese Dance Drama" poster and made him cry out of the art scene. His name was recorded in an annals of history, and he took the Japanese dancing girl as the main object of expression. He deeply grasped the dancing girl's interest and the dancer's state. The dancer's feelings and the goddess of the dancers are abstracted as simple geometric shapes (squares, triangles, circles) to express the extremely rich emotions of the dancers. The entire screen is divided and arranged by 12 equally divided squares, supplemented by Diagonal slashes form a rigorous triangle, representing the seriousness, delicacy and cleanliness of the Japanese people. It is composed of sturdy and unsophisticated elements. The structure is rigorous and lively. The colors are strong and yet harmonious. The overall design creativity and the nationality The cultural connotations combine to fully express the theme and content of the image, without adding a single sum, without reducing the amount of money. It is just right to give birth to a unique understanding and abundant creative ideas in the ordinary, with strong, general, and name. The visual language of Yan, emphasizing the heritage of national culture, broadens the aesthetic mood of design. The extravagance of image, color, composition, and the infusion of rhyme, interest, and graceful posture are undoubtedly not profoundly telling the national cultural spirit and the value orientation of nature within the United States. Culture. Dance is a sacred way, it is an emptiness and a round turn, can quickly and accurately affect the inner world of the person, the rhythm of the spin, the posture of the advance and retreat, pitching, delay, and transitions all reflect the universal pursuit of life.

Creativity, as an objective phenomenon commonly found in design art, embodies the ideological concept of human intelligence and the emotional appeal of symbolic romance. The logo of the Beijing Zhaolong Hotel designed by Mr. Chen Hanmin, who strives to introduce Chinese national traditional compositions, colors, characters, cultural landscapes, and artistic conceptions of literature, can be described as a model for the creation of Chinese characters. Long is synonymous with China and is a rational expression of Chinese culture. “Being regarded as 昼, 瞑 as night, blew as winter, call as summer, interest as wind, not drinking and not eating, and being thousands of miles in length”, adaptable and progressive, not only amphibious, but also amphibious, able to swim in water and flying in the air, When the change is large, it fills the universe, and when the hour of change disappears, “Kowloon is in heaven” and “Nine Dragons have regrets” represents an impermanent and unpredictable culture. The author is based on the cultural roots of “Dragon” and adopts it. The right part of the traditional Chinese character “Dragon” is arranged in a visualized manner. The leader tends to be concrete, the dragon body is highly abstracted, and the four legs are omitted, and in combination with the Chinese traditional pattern of the fretwork, the interpretation of a continuous pattern The style characteristics of the rules and regulations, the characteristics of the hotel's internal culture, adhere to customer-oriented, and strive to create a standardized business services. In addition to the triangular shape of the hotel, the structure of the exterior of the hotel is in line with the triangular building of the hotel. It also highlights the distinct personality characteristics. The standardized, uniform and systematic square-round treatment makes people feel relaxed and elegant.

4 Conclusion

The eternal life of the communion of the Tao, the eternal change of the Tao, the creativity and design are the same as the yin and yang in the oriental philosophy of the philosophers. They are separated into each other, separated and looking forward to each other. In the process of integration, energy supplements of the opposite factors are obtained, flowing, circulating, merging, absorbing, inducing, and breeding. After the unity of differentiation, a harmonious and prosperous life is born, and the historical concept is continuously accumulated. The continuous advancement of science and technology and the constant enrichment of life style require that creativity and design must be based on the fine “ethics” culture of the nation, diversify the marginal disciplines and benign genes of heterogeneous civilizations, and have a distinct nationality. Sexuality, powerful induction force, single centralized appeal, accurate target object, unique perspective, sincere emotion, abundant capacity, profound connotation, shape the soul of the world, ultimately realize the localization and globalization of design. Knowledge, mutual tolerance, mutual recourse and complementarity.

(Text / Liu Yi Liaoning Institute of Technology)
Packaging Engineering