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 attention, 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, and it is confirmed through the change in color between blackness when the darkness is chilled and when the ice is turned on. 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 symphony of the aesthetic psychology and value of neutralization on the occasion of the 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 the human being, 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, sentimental, and committed 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 the Chinese characters “Ancient” as the main body to construct a full map, interpreting an agitation, exquisiteness, innocence, liveliness, splendor, and profound temporal and spatial effects. Bone-like shape, with straight lines, guided by lines, and a clean, clear-headed, God has an immortal, replaced the "kou" shape of the "old" character with the flowing, circular, compound, axillary, and harmonious Huangqi. A modern orange pencil symbolizing Jiaotai, Tongtai, and Kaitai was used to decorate the "Ten" shape of the upper part of the "old" 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 changed the natural ontology of objective images into 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. It is dignified and flowing. It is empty and smashed. It does not follow the law and it leaves 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, the starry eyes are slightly blurred, and God is as refreshing as the moon. God is as beautiful as a flower, and she looks like a jade pot. There is no light and no night, and the poems are collected. The poetry is the heart, and the ink and the ink are incense. Mr. Tian Zhongyi, the vice president of the Japan Graphic Designers’ Association, sang the "Japanese Dance Drama" poster and made him sing in the art scene. His name was recorded in history. His main performance object was Japanese dancers, who profoundly captured the dancer'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 that represents the Japanese’s seriousness, refinement, and clarity. It is quiet and timeless. It is structurally rigorous and lively, with strong colors and harmonious coordination. 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, just right. In the ordinary, it gives birth to a unique understanding and rich super creative ideas, 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 undoubtedly do not deeply tell 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, can quickly and accurately affect the inner world of people, the rhythm of the spin, the body's 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 to drink, not to eat, and to be a thousand miles long”, adaptable, continuous, not only amphibious, but also amphibious, able to swim in water, and able to fly 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 exterior shape of the hotel is in line with the triangular construction of the hotel. It also highlights the distinctive 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. The sensuous feelings are complementary and mutually complementary. 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