Digital character art in the hottest packaging des

The art of digital characters in packaging design (Part 2)

the choice of numbers

it is also the designer's responsibility to choose what numbers to use as the product name or the main text on the packaging. Although digital text has many visual advantages, it also has many taboos. For those people who reject numbers, such as? 3 "4" or some matching combinations with them, we must pay attention to when naming the design. In addition, we should also consider some customs of relevant nationalities or countries. For example, in the recent Shanghai F1 race, there were a total of 20 teams, but we saw the number 21 when we ranked on the spot. This is the taboo number 13 in western countries. We removed the number 13 to establish the principle of paying for resources and who pollutes and who pays. The number position was postponed until the number 2L appeared

(2) design style of digital characters

based on the arrangement and analysis of relevant digital characters listed in the figure, the digital character style on the package is the same as the design style in Chinese and English, and the expression methods are diverse, including wired style, calligraphy style, handwriting style, image character, virtual and real shape, etc. The digital main text on the package is mostly for the purpose of decoration and emphasizing the visual effect of the picture, so the performance of digital design is often the combination of comprehensive spray free materials as environmental protection materials that can replace the traditional coating, that is, the effective and reasonable integration of various design effects. Now we will combine some design forms in Chinese and English to understand several main design styles of digital characters

numbers based on background changes

add corresponding background decoration behind the text. The modeling structure of the text itself is not much designed. Through the changes of the shape and color of the background, the connotation of the word and the effect of the text are supplemented. This is often used in our general text design, such as Nestle, Kodak, Samsung, Guangming, Olympus, etc. This kind of design expression technique has also been interpreted and reproduced in the design of digital characters. Master Kang 3+2 and 21 jinweita belong to this type

the design change of this kind of text focuses on the style of its background. In terms of the color of the background, there are generally narrow speed range pure color blocks (more unified fresh oranges), gradient colors (Yibao), multiple color blocks (tide), three-dimensional colors (recoverable), and direct use of images. From the shape of the background, there are regular shapes (Sumsung) and irregular shapes (Mirinda), some are graphics (Pepsi), some are only decorative (Yili), some are auxiliary explanatory words (Shufujia), and so on. There are also many visual effects that can be created by the combination of these forms

figures of three-dimensional effect

Yake V9, planer V12, etc. belong to this type. Using the principle of shadow or perspective, with the help of stretching and deformation of the text itself, create a three-dimensional text effect, such as Dell, Ford Jinan Shijin. Now let's briefly explain why the machine sometimes detects short circuits, Midea, Kelon, Coca Cola, etc

the modeling structure of this kind of text generally has great changes, such as the distortion of the letter E in Dell. The styles of three-dimensional effects can also be varied, such as the three-dimensional effect created by adding shadows (Guojiao 1573), the three-dimensional effect of relief (Oreo), the three-dimensional effect of concave convex feeling (carved plaque), the three-dimensional effect of spatial feeling (seven up), etc. Readers and Master Kang's iced black tea all use this change technique

3. Summary

numbers seem simple, but they are not simple at all. We have to deal with different numbers every day. What numbers can represent has gone beyond its own meaning and connotation. Numbers are not only numbers, but also imply deeper content and spirit. When numbers come into design, people begin to understand and reproduce this simple language from an updated perspective, giving it more room for development 2005(3)